What makes storytelling interesting?
In an era where consumers can access and enjoy all kinds of content, whether in the form of webtoons, books, movies, TV series or original series created by streaming services, intellectual property (IP ) has become a key perspective among local actors. creators.
IP is a term used in the entertainment industry to describe a concept, theme, characters, or other elements that can be adapted to other types of entertainment formats.
In other words, if a creator comes up with a good narrative, it can transcend any medium.
At a forum co-hosted by the Directors Guild of Korea and Jacops P&D titled “The Center of K-content, the Storytellers – Different Outlets, Joint Project” (translated) on Friday, creators from different fields agreed to unanimity that creating success Intellectual property is no longer a topical or trending issue. They say success depends on originality.
According to director Hong Won-chan, who is behind films such as “Deliver Us From Evil” (2020) and “Office” (2015), the process of creating a screenplay for a film almost always faces to adjustments and changes due to investments. involved. Hong is also a screenwriter who worked on “The Yellow Sea” (2010) and “The Chaser” (2008).
“[The narrative] is refined for people who donate money to the film,” he explained. “With films, a huge amount of capital and human resources are injected into creating something, so it is particularly crucial for [the creators] compromise and mediate between different opinions. When I was a screenwriter, I wrote the screenplay for myself without worrying about who my readers were going to be. But as I started making films, I started becoming aware of readers as I wrote my script – whether it was an audience or the producers […] In cinema, no one can really determine which idea or opinion led to certain changes, because the whole process is subject to countless proposals and decisions. What an administrator needs to do is take them all into consideration and decide what needs to be done. This is the most difficult part of cinema.
Because of this directing quality, Hong said it’s hard to predict what will appeal to audiences. As for “Deliver Us From Evil,” which generated over 4.3 million ticket sales — a rare and impressive feat during the Covid-19 pandemic — the screenplay was penned by Hong a decade ago.
“The script I wrote 10 years ago came back to me,” Hong said. “Since then, many films or similar content have been released, so there have been parts that I have had to edit. As for keeping up with trends, I have discussed it a lot with the producers and my team.
Webtoonist and screenwriter Kim Bo-tong behind Netflix’s hit series “DP” (2021) said it took him years to turn his webtoon into a series because of its setting.
“The offer to turn the webtoon into a movie came first, and it came pretty quickly,” Kim said. “The offer came right after I released two episodes, but for a while it couldn’t start production. All the production companies were intrigued by the story of the military police, who are not as soldiers performing their mandatory military duties themselves, who were tasked with catching and arresting soldiers who went AWOL They said anyone who had been in the military could relate to the story However, they also shied away for the same reasons because it was so quintessentially Korean, and that was before Netflix hit the market.
Screenwriter Han Ji-wan tries to stick to her original stories rather than adapting the IP. If she bases a script on intellectual property, the original creator must give her full creative freedom. Han recently completed tvN’s drama series “The Killer’s Shopping List,” which was adapted from a novel of the same title by Kang Ji-young.
“I try to stick to my original content, but recently I’ve had some IP submissions from other people that might be right for me,” she said. “However, I was never addicted to anything. If I write a screenplay adapted from a novel or a webtoon, there has to be a character, a line that hooks me instantly. For ‘The Killer’s Shopping List’, I was stopped by the novel’s idea that the protagonist can track down the killer from the receipts. I only used that element of the novel, and the author gave me permission to write whatever I wanted.
When it comes to the various platforms available on which creators can publish their works, they agree that choosing the right one can make or break them.
“I don’t think it matters more what platform you launch your content on,” Kim said. “As a writer, I think it’s about choosing the best platform that suits my content and is able to bring out the originality of the content. A writer’s competitive advantage is whether or not they may impact viewers through their work.
“I don’t try to pick a topic that’s trending,” Hong said. “I think it’s more important to look for a genre or a subject that I know well, or that I like. If it reflects well in your story, then people will respond.
BY LEE JAE-LIM [[email protected]]