The future of storytelling
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0:00 - 0:02Cyndi Stivers: So, future of storytelling.
-
0:02 - 0:04Before we do the future,
-
0:04 - 0:08let's talk about what is never
going to change about storytelling. -
0:08 - 0:10Shonda Rhimes:
What's never going to change. -
0:10 - 0:13Obviously, I think good stories
are never going to change, -
0:13 - 0:17the need for people to gather together
and exchange their stories -
0:17 - 0:20and to talk about the things
that feel universal, -
0:20 - 0:23the idea that we all feel
a compelling need to watch stories, -
0:23 - 0:25to tell stories, to share stories --
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0:26 - 0:28sort of the gathering around the campfire
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0:28 - 0:30to discuss the things
that tell each one of us -
0:30 - 0:32that we are not alone in the world.
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0:33 - 0:35Those things to me
are never going to change. -
0:35 - 0:38That essence of storytelling
is never going to change. -
0:39 - 0:42CS: OK. In preparation
for this conversation, -
0:42 - 0:44I checked in with Susan Lyne,
-
0:44 - 0:46who was running ABC Entertainment
-
0:46 - 0:49when you were working
on "Grey's Anatomy" -- -
0:49 - 0:50SR: Yes.
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0:50 - 0:53CS: And she said that there was
this indelible memory she had -
0:53 - 0:55of your casting process,
-
0:55 - 0:57where without discussing it
with any of the executives, -
0:57 - 1:00you got people coming in
to read for your scripts, -
1:00 - 1:04and every one of them
was the full range of humanity, -
1:04 - 1:07you did not type anyone in any way,
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1:07 - 1:10and that it was completely surprising.
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1:10 - 1:15So she said, in addition
to retraining the studio executives, -
1:15 - 1:17you also, she feels,
-
1:17 - 1:19and I think this is -- I agree,
-
1:19 - 1:24retrained the expectations
of the American TV audience. -
1:24 - 1:30So what else does the audience
not yet realize that it needs? -
1:30 - 1:32SR: What else does it not yet realize?
-
1:32 - 1:35Well, I mean, I don't think
we're anywhere near there yet. -
1:36 - 1:37I mean, we're still in a place
-
1:37 - 1:44in which we're far, far behind what looks
like the real world in actuality. -
1:44 - 1:48I wasn't bringing in
a bunch of actors -
1:48 - 1:51who looked very different from one another
-
1:51 - 1:53simply because I was
trying to make a point, -
1:53 - 1:55and I wasn't trying
to do anything special. -
1:55 - 1:59It never occurred to me
that that was new, different or weird. -
1:59 - 2:02I just brought in actors
because I thought they were interesting -
2:02 - 2:06and to me, the idea that it
was completely surprising to everybody -- -
2:06 - 2:08I didn't know that for a while.
-
2:08 - 2:11I just thought: these are the actors
I want to see play these parts. -
2:11 - 2:14I want to see what
they look like if they read. -
2:14 - 2:15We'll see what happens.
-
2:15 - 2:18So I think the interesting thing
that happens is -
2:18 - 2:21that when you look at the world
through another lens, -
2:21 - 2:25when you're not the person
normally in charge of things, -
2:25 - 2:27it just comes out a different way.
-
2:28 - 2:33CS: So you now have
this big machine that you run, -
2:33 - 2:36as a titan -- as you know,
last year when she gave her talk -- -
2:36 - 2:38she's a titan.
-
2:38 - 2:41So what do you think
is going to happen as we go on? -
2:41 - 2:46There's a huge amount of money
involved in producing these shows. -
2:46 - 2:52While the tools of making stories
have gone and gotten greatly democratized, -
2:52 - 2:55there's still this large distribution:
-
2:55 - 3:00people who rent networks,
who rent the audience to advertisers -
3:00 - 3:02and make it all pay.
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3:02 - 3:07How do you see the business model changing
now that anyone can be a storyteller? -
3:07 - 3:09SR: I think it's changing every day.
-
3:09 - 3:12I mean, the rapid, rapid change
that's happening is amazing. -
3:12 - 3:15And I feel -- the panic is palpable,
-
3:15 - 3:17and I don't mean that in a bad way.
-
3:17 - 3:19I think it's kind of exciting.
-
3:19 - 3:23The idea that there's
sort of an equalizer happening, -
3:23 - 3:27that sort of means that anybody
can make something, is wonderful. -
3:27 - 3:33I think there's some scary in the idea
that you can't find the good work now. -
3:33 - 3:34There's so much work out there.
-
3:34 - 3:37I think there's something like
417 dramas on television right now -
3:38 - 3:40at any given time in any given place,
-
3:40 - 3:41but you can't find them.
-
3:41 - 3:43You can't find the good ones.
-
3:43 - 3:46So there's a lot of bad stuff out there
because everybody can make something. -
3:46 - 3:48It's like if everybody painted a painting.
-
3:49 - 3:51You know, there's not
that many good painters. -
3:51 - 3:54But finding the good stories,
the good shows, -
3:54 - 3:56is harder and harder and harder.
-
3:56 - 3:58Because if you have
one tiny show over here on AMC -
3:58 - 4:00and one tiny show over here over there,
-
4:00 - 4:03finding where they are
becomes much harder. -
4:03 - 4:04So I think that ferreting out the gems
-
4:04 - 4:08and finding out who made
the great webisode and who made this, -
4:08 - 4:10it's -- I mean, think
about the poor critics -
4:10 - 4:11who now are spending 24 hours a day
-
4:11 - 4:13trapped in their homes
watching everything. -
4:14 - 4:16It's not an easy job right now.
-
4:16 - 4:19So the distribution engines
are getting more and more vast, -
4:19 - 4:22but finding the good programming
for everybody in the audience -
4:22 - 4:23is getting harder.
-
4:23 - 4:25And unlike the news,
-
4:25 - 4:29where everything's getting
winnowed down to just who you are, -
4:29 - 4:30television seems to be getting --
-
4:30 - 4:34and by television I mean anything
you can watch, television shows on -- -
4:34 - 4:37seems to be getting
wider and wider and wider. -
4:37 - 4:39And so anybody's making stories,
-
4:39 - 4:42and the geniuses are sometimes hidden.
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4:42 - 4:44But it's going to be harder to find,
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4:44 - 4:46and at some point that will collapse.
-
4:46 - 4:48People keep talking about peak TV.
-
4:48 - 4:50I don't know when that's going to happen.
-
4:50 - 4:53I think at some point
it'll collapse a little bit -
4:53 - 4:55and we'll, sort of, come back together.
-
4:55 - 4:57I don't know if it
will be network television. -
4:57 - 4:59I don't know if that model is sustainable.
-
4:59 - 5:01CS: What about the model
-
5:01 - 5:06that Amazon and Netflix are throwing
a lot of money around right now. -
5:08 - 5:10SR: That is true.
-
5:10 - 5:11I think it's an interesting model.
-
5:12 - 5:14I think there's
something exciting about it. -
5:14 - 5:17For content creators, I think
there's something exciting about it. -
5:17 - 5:20For the world, I think
there's something exciting about it. -
5:20 - 5:21The idea that there are programs now
-
5:21 - 5:25that can be in multiple languages
with characters from all over the world -
5:25 - 5:28that are appealing and come out
for everybody at the same time -
5:28 - 5:29is exciting.
-
5:29 - 5:34I mean, I think the international sense
that television can now take on -
5:34 - 5:35makes sense to me,
-
5:35 - 5:37that programming can now take on.
-
5:37 - 5:40Television so much is made for, like --
here's our American audience. -
5:40 - 5:41We make these shows,
-
5:41 - 5:43and then they shove them
out into the world -
5:43 - 5:45and hope for the best,
-
5:45 - 5:48as opposed to really thinking
about the fact that America is not it. -
5:49 - 5:51I mean, we love ourselves
and everything, but it's not i. -
5:51 - 5:54And we should be
taking into account the fact -
5:54 - 5:57that there are all
of these other places in the world -
5:57 - 6:00that we should be interested in
while we're telling stories. -
6:00 - 6:02It makes the world smaller.
-
6:04 - 6:05I don't know.
-
6:05 - 6:10I think it pushes forward the idea
that the world is a universal place, -
6:10 - 6:12and our stories become universal things.
-
6:12 - 6:13We stop being other.
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6:14 - 6:17CS: You've pioneered, as far as I can see,
-
6:17 - 6:20interesting ways to launch new shows, too.
-
6:20 - 6:23I mean, when you
launched "Scandal" in 2012, -
6:23 - 6:27there was this amazing groundswell
of support on Twitter -
6:27 - 6:30the likes of which nobody had seen before.
-
6:30 - 6:32Do you have any other
tricks up your sleeve -
6:32 - 6:34when you launch your next one?
-
6:34 - 6:37What do you think
will happen in that regard? -
6:37 - 6:39SR: We do have some interesting ideas.
-
6:39 - 6:42We have a show called "Still Star-Crossed"
coming out this summer. -
6:42 - 6:44We have some interesting ideas for that.
-
6:44 - 6:47I'm not sure if we're going
to be able to do them in time. -
6:47 - 6:48I thought they were fun.
-
6:48 - 6:50But the idea
that we would live-tweet our show -
6:50 - 6:53was really just us thinking
that would be fun. -
6:53 - 6:56We didn't realize that the critics
would start to live-tweet along with us. -
6:56 - 6:58But the fans -- getting people
to be a part of it, -
6:59 - 7:00making it more of a campfire --
-
7:00 - 7:02you know, when you're all
on Twitter together -
7:02 - 7:04and you're all talking together,
-
7:04 - 7:05it is more of a shared experience,
-
7:06 - 7:08and finding other ways
to make that possible -
7:08 - 7:10and finding other ways
to make people feel engaged -
7:10 - 7:11is important.
-
7:12 - 7:16CS: So when you have
all those different people making stories -
7:17 - 7:19and only some of them
are going to break through -
7:19 - 7:21and get that audience somehow,
-
7:21 - 7:24how do you think
storytellers will get paid? -
7:24 - 7:27SR: I actually have been struggling
with this concept as well. -
7:27 - 7:29Is it going to be a subscriber model?
-
7:29 - 7:34Are people going to say, like, I'm going
to watch this particular person's shows, -
7:34 - 7:36and that's how we're going to do it?
-
7:36 - 7:38CS: I think we should buy
a passport to Shondaland. Right? -
7:38 - 7:42SR: I don't know about that, but yeah.
That's a lot more work for me. -
7:42 - 7:44I do think that there are
going to be different ways, -
7:44 - 7:46but I don't know necessarily.
-
7:46 - 7:49I mean, I'll be honest and say
a lot of content creators -
7:49 - 7:52are not necessarily interested
in being distributors, -
7:52 - 7:55mainly because what I dream of doing
-
7:55 - 7:57is creating content.
-
7:57 - 7:59I really love to create content.
-
7:59 - 8:00I want to get paid for it
-
8:00 - 8:03and I want to get paid the money
that I deserve to get paid for it, -
8:03 - 8:05and there's a hard part in finding that.
-
8:05 - 8:08But I also want it to be made possible
-
8:08 - 8:11for, you know,
the people who work with me, -
8:11 - 8:12the people who work for me,
-
8:12 - 8:15everybody to sort of get paid in a way,
and they're all making a living. -
8:15 - 8:19How it gets distributed
is getting harder and harder. -
8:20 - 8:23CS: How about the many new tools,
-
8:23 - 8:26you know, VR, AR ...
-
8:26 - 8:30I find it fascinating
that you can't really binge-watch, -
8:30 - 8:33you can't fast-forward in those things.
-
8:33 - 8:36What do you see as the future
of those for storytelling? -
8:36 - 8:39SR: I spent a lot of time in the past year
-
8:39 - 8:41just exploring those,
-
8:41 - 8:43getting lots of demonstrations
and paying attention. -
8:43 - 8:45I find them fascinating,
-
8:45 - 8:47mainly because I think that --
-
8:47 - 8:50I think most people
think of them for gaming, -
8:50 - 8:52I think most people think of them
for things like action, -
8:52 - 8:55and I think that there is
a sense of intimacy -
8:55 - 8:59that is very present in those things,
-
8:59 - 9:01the idea that -- picture this,
-
9:01 - 9:05you can sit there
and have a conversation with Fitz, -
9:05 - 9:07or at least sit there
while Fitz talks to you, -
9:07 - 9:09President Fitzgerald Grant III,
-
9:09 - 9:10while he talks to you
-
9:10 - 9:12about why he's making
a choice that he makes, -
9:13 - 9:14and it's a very heartfelt moment.
-
9:14 - 9:17And instead of you watching
a television screen, -
9:17 - 9:20you're sitting there next to him,
and he's having this conversation. -
9:20 - 9:22Now, you fall in love with the man
-
9:22 - 9:24while he's doing it
from a television screen. -
9:24 - 9:25Imagine sitting next to him,
-
9:25 - 9:29or being with a character like Huck
who's about to execute somebody. -
9:29 - 9:31And instead of having a scene
-
9:31 - 9:35where, you know, he's talking
to another character very rapidly, -
9:35 - 9:38he goes into a closet and turns to you
and tells you, you know, -
9:38 - 9:41what's going to happen
and why he's afraid and nervous. -
9:41 - 9:44It's a little more like theater,
and I'm not sure it would work, -
9:44 - 9:46but I'm fascinating by the concept
of something like that -
9:46 - 9:48and what that would mean for an audience.
-
9:48 - 9:51And to get to play with those ideas
would be interesting, -
9:51 - 9:56and I think, you know, for my audience,
the people who watch my shows, -
9:56 - 9:58which is, you know, women 12 to 75,
-
9:58 - 10:01there's something interesting
in there for them. -
10:03 - 10:05CS: And how about
the input of the audience? -
10:06 - 10:07How interested are you in the things
-
10:07 - 10:10where the audience
can actually go up to a certain point -
10:11 - 10:14and then decide, oh wait,
I'm going to choose my own adventure. -
10:14 - 10:17I'm going to run off with Fitz
or I'm going to run off with -- -
10:17 - 10:19SR: Oh, the choose-
your-own-adventure stories. -
10:19 - 10:21I have a hard time with those,
-
10:21 - 10:24and not necessarily because
I want to be in control of everything, -
10:24 - 10:27but because when I'm watching television
or I'm watching a movie, -
10:27 - 10:32I know for a fact
that a story is not as good -
10:32 - 10:35when I have control
over exactly what's going to happen -
10:35 - 10:37to somebody else's character.
-
10:37 - 10:41You know, if I could tell you exactly
what I wanted to happen to Walter White, -
10:41 - 10:44that's great, but the story
is not the same, and it's not as powerful. -
10:44 - 10:47You know, if I'm in charge
of how "The Sopranos" ends, -
10:47 - 10:50then that's lovely and I have an ending
that's nice and satisfying, -
10:50 - 10:53but it's not the same story
and it's not the same emotional impact. -
10:53 - 10:57CS: I can't stop imagining
what that might be. -
10:57 - 10:58Sorry, you're losing me for a minute.
-
10:58 - 11:01SR: But what's wonderful is
I don't get to imagine it, -
11:01 - 11:03because Vince has his own ending,
-
11:03 - 11:07and it makes it really powerful
to know that somebody else has told. -
11:07 - 11:09You know, if you could
decide that, you know, -
11:09 - 11:11in "Jaws," the shark wins or something,
-
11:11 - 11:14it doesn't do what it needs to do for you.
-
11:14 - 11:16The story is the story that is told,
-
11:16 - 11:19and you can walk away angry
and you can walk away debating -
11:19 - 11:20and you can walk away arguing,
-
11:20 - 11:22but that's why it works.
-
11:22 - 11:24That is why it's art.
-
11:24 - 11:25Otherwise, it's just a game,
-
11:25 - 11:28and games can be art,
but in a very different way. -
11:28 - 11:32CS: Gamers who actually
sell the right to sit there -
11:32 - 11:34and comment on what's happening,
-
11:34 - 11:37to me that's more community
than storytelling. -
11:37 - 11:39SR: And that is its own form of campfire.
-
11:39 - 11:42I don't discount that
as a form of storytelling, -
11:42 - 11:45but it is a group form, I suppose.
-
11:46 - 11:50CS: All right,
what about the super-super -- -
11:50 - 11:53the fact that everything's
getting shorter, shorter, shorter. -
11:53 - 11:56And, you know, Snapchat
now has something it calls shows -
11:56 - 11:58that are one minute long.
-
11:59 - 12:00SR: It's interesting.
-
12:03 - 12:05Part of me thinks
it sounds like commercials. -
12:06 - 12:09I mean, it does -- like, sponsored by.
-
12:09 - 12:12But part of me also gets it completely.
-
12:12 - 12:14There's something
really wonderful about it. -
12:14 - 12:15If you think about a world
-
12:15 - 12:18in which most people
are watching television on their phones, -
12:18 - 12:20if you think about a place like India,
-
12:20 - 12:22where most of the input is coming in
-
12:22 - 12:24and that's where
most of the product is coming in, -
12:24 - 12:25shorter makes sense.
-
12:25 - 12:29If you can charge people more
for shorter periods of content, -
12:29 - 12:32some distributor has figured out
a way to make a lot more money. -
12:32 - 12:34If you're making content,
-
12:34 - 12:37it costs less money
to make it and put it out there. -
12:37 - 12:38And, by the way,
-
12:38 - 12:43if you're 14 and have
a short attention span, like my daughter, -
12:43 - 12:46that's what you want to see,
that's what you want to make, -
12:46 - 12:47that's how it works.
-
12:47 - 12:51And if you do it right
and it actually feels like narrative, -
12:51 - 12:54people will hang on for it
no matter what you do. -
12:55 - 12:56CS: I'm glad you raised your daughters,
-
12:56 - 13:01because I am wondering how are they
going to consume entertainment, -
13:01 - 13:04and also not just entertainment,
-
13:04 - 13:05but news, too.
-
13:06 - 13:09When they're not -- I mean,
the algorithmic robot overlords -
13:09 - 13:12are going to feed them
what they've already done. -
13:12 - 13:17How do you think we will correct for that
and make people well-rounded citizens? -
13:18 - 13:20SR: Well, me and how I correct for it
-
13:20 - 13:23is completely different
than how somebody else might do it. -
13:23 - 13:25CS: Feel free to speculate.
-
13:25 - 13:28SR: I really don't know
how we're going to do it in the future. -
13:28 - 13:31I mean, my poor children have been
the subject of all of my experiments. -
13:31 - 13:34We're still doing
what I call "Amish summers" -
13:34 - 13:35where I turn off all electronics
-
13:35 - 13:38and pack away
all their computers and stuff -
13:38 - 13:41and watch them scream for a while
until they settle down -
13:41 - 13:43into, like, an electronic-free summer.
-
13:44 - 13:47But honestly, it's a very hard world
-
13:47 - 13:49in which now, as grown-ups,
-
13:49 - 13:52we're so interested
in watching our own thing, -
13:52 - 13:55and we don't even know
that we're being fed, sometimes, -
13:55 - 13:57just our own opinions.
-
13:57 - 13:59You know, the way it's working now,
-
13:59 - 14:00you're watching a feed,
-
14:00 - 14:02and the feeds are being corrected
-
14:02 - 14:04so that you're only getting
your own opinions -
14:04 - 14:06and you're feeling
more and more right about yourself. -
14:07 - 14:08So how do you really start to discern?
-
14:08 - 14:10It's getting a little bit disturbing.
-
14:10 - 14:13So maybe it'll overcorrect,
maybe it'll all explode, -
14:13 - 14:15or maybe we'll all just become --
-
14:16 - 14:18I hate to be negative about it,
-
14:18 - 14:22but maybe we'll all
just become more idiotic. -
14:22 - 14:23(Cyndi laughs)
-
14:23 - 14:27CS: Yeah, can you picture
any corrective that you could do -
14:27 - 14:30with scripted, fictional work?
-
14:30 - 14:33SR: I think a lot about the fact
that television has the power -
14:33 - 14:35to educate people in a powerful way,
-
14:35 - 14:37and when you're watching television --
-
14:37 - 14:40for instance, they do studies
about medical shows. -
14:40 - 14:42I think it's 87 percent,
87 percent of people -
14:42 - 14:46get most of their knowledge
about medicine and medical facts -
14:46 - 14:47from medical shows,
-
14:47 - 14:49much more so than
they do from their doctors, -
14:50 - 14:51than from articles.
-
14:51 - 14:54So we work really hard to be accurate,
and every time we make a mistake, -
14:54 - 14:57I feel really guilty,
like we're going to do something bad, -
14:57 - 15:00but we also give a lot
of good medical information. -
15:00 - 15:03There are so many other ways
to give information on those shows. -
15:03 - 15:04People are being entertained
-
15:04 - 15:06and maybe they don't want
to read the news, -
15:06 - 15:10but there are a lot of ways to give
fair information out on those shows, -
15:10 - 15:14not in some creepy, like,
we're going to control people's minds way, -
15:15 - 15:17but in a way that's sort of
very interesting and intelligent -
15:17 - 15:21and not about pushing
one side's version or the other, -
15:21 - 15:22like, giving out the truth.
-
15:22 - 15:24It would be strange, though,
-
15:24 - 15:28if television drama
was how we were giving the news. -
15:28 - 15:29CS: It would be strange,
-
15:29 - 15:32but I gather a lot of what
you've written as fiction -
15:32 - 15:35has become prediction this season?
-
15:36 - 15:39SR: You know, "Scandal" has been
very disturbing for that reason. -
15:39 - 15:42We have this show
that's about politics gone mad, -
15:42 - 15:45and basically the way
we've always told the show -- -
15:45 - 15:47you know, everybody
pays attention to the papers. -
15:47 - 15:49We read everything.
We talk about everything. -
15:49 - 15:51We have lots of friends in Washington.
-
15:51 - 15:54And we'd always sort of
done our show as a speculation. -
15:54 - 15:56We'd sit in the room and think,
-
15:56 - 15:58what would happen
if the wheels came off the bus -
15:58 - 15:59and everything went crazy?
-
15:59 - 16:01And that was always great,
-
16:01 - 16:04except now it felt like
the wheels were coming off the bus -
16:04 - 16:06and things were actually going crazy,
-
16:06 - 16:09so the things that we were speculating
were really coming true. -
16:09 - 16:10I mean, our season this year
-
16:10 - 16:14was going to end with the Russians
controlling the American election, -
16:14 - 16:17and we'd written it, we'd planned for it,
-
16:17 - 16:18it was all there,
-
16:18 - 16:22and then the Russians were suspected
of being involved in the American election -
16:22 - 16:25and we suddenly had to change
what we were going to do for our season. -
16:25 - 16:26I walked in and I was like,
-
16:26 - 16:29"That scene where our mystery woman
starts speaking Russian? -
16:29 - 16:32We have to fix that
and figure out what we're going to do." -
16:32 - 16:34That just comes from extrapolating
-
16:34 - 16:36out from what we thought
was going to happen, -
16:36 - 16:38or what we thought was crazy.
-
16:39 - 16:40CS: That's great.
-
16:40 - 16:45So where else in US or elsewhere
in the world do you look? -
16:45 - 16:47Who is doing interesting
storytelling right now? -
16:47 - 16:50SR: I don't know, there's a lot
of interesting stuff out there. -
16:50 - 16:53Obviously British television
is always amazing -
16:53 - 16:56and always does interesting things.
-
16:56 - 16:58I don't get to watch a lot of TV,
-
16:58 - 17:01mainly because I'm busy working.
-
17:01 - 17:04And I pretty much try not to watch
very much television at all, -
17:04 - 17:07even American television,
until I'm done with a season, -
17:07 - 17:10because things start
to creep into my head otherwise. -
17:10 - 17:12I start to wonder, like,
-
17:12 - 17:15why can't our characters wear crowns
and talk about being on a throne? -
17:15 - 17:17It gets crazy.
-
17:17 - 17:21So I try not to watch much
until the seasons are over. -
17:21 - 17:24But I do think that there's a lot of
interesting European television out there. -
17:24 - 17:26I was at the International Emmys
-
17:26 - 17:29and looking around and seeing
the stuff that they were showing, -
17:29 - 17:31and I was kind of fascinated.
-
17:31 - 17:33There's some stuff
I want to watch and check out. -
17:33 - 17:35CS: Can you imagine --
-
17:35 - 17:38I know that you don't spend a lot of time
thinking about tech stuff, -
17:38 - 17:41but you know how a few years ago
we had someone here at TED -
17:41 - 17:44talking about seeing,
-
17:44 - 17:50wearing Google Glass and seeing
your TV shows essentially in your eye? -
17:50 - 17:52Do you ever fantasize when, you know --
-
17:52 - 17:55the little girl
who sat on the pantry floor -
17:55 - 17:56in your parents' house,
-
17:56 - 17:59did you ever imagine any other medium?
-
18:00 - 18:02Or would you now?
-
18:02 - 18:03SR: Any other medium.
-
18:03 - 18:05For storytelling, other than books?
-
18:05 - 18:08I mean, I grew up wanting
to be Toni Morrison, so no. -
18:08 - 18:10I mean, I didn't even imagine television.
-
18:10 - 18:13So the idea that there could be
some bigger world, -
18:13 - 18:16some more magical way of making things ---
-
18:16 - 18:18I'm always excited
when new technology comes out -
18:18 - 18:21and I'm always the first one
to want to try it. -
18:21 - 18:24The possibilities feel endless
and exciting right now, -
18:24 - 18:26which is what excites me.
-
18:27 - 18:30We're in this sort of Wild West period,
to me, it feels like, -
18:30 - 18:33because nobody knows
what we're going to settle on. -
18:33 - 18:35You can put stories anywhere right now
-
18:35 - 18:36and that's cool to me,
-
18:36 - 18:40and it feels like once we figure out
how to get the technology -
18:40 - 18:44and the creativity
of storytelling to meet, -
18:44 - 18:45the possibilities are endless.
-
18:46 - 18:51CS: And also the technology has enabled
the thing I briefly flew by earlier, -
18:51 - 18:54binge-viewing,
which is a recent phenomenon, -
18:54 - 18:56since you've been doing shows, right?
-
18:56 - 19:01And how do you think does that change
the storytelling process at all? -
19:01 - 19:05You always had a bible
for the whole season beforehand, right? -
19:05 - 19:08SR: No, I just always knew
where we were going to end. -
19:08 - 19:10So for me,
-
19:11 - 19:12the only way I can really comment on that
-
19:13 - 19:17is that I have a show
that's been going on for 14 seasons -
19:17 - 19:21and so there are the people
who have been watching it for 14 seasons, -
19:21 - 19:24and then there are the 12-year-old girls
I'd encounter in the grocery store -
19:24 - 19:28who had watched
297 episodes in three weeks. -
19:28 - 19:31Seriously, and that's a very different
experience for them, -
19:31 - 19:33because they've been inside of something
-
19:33 - 19:36really intensely for
a very short period of time -
19:36 - 19:38in a very intense way,
-
19:38 - 19:41and to them the story
has a completely different arc -
19:41 - 19:42and a completely different meaning
-
19:43 - 19:44because it never had any breaks.
-
19:44 - 19:47CS: It's like visiting a country
and then leaving it. It's a strange -- -
19:47 - 19:51SR: It's like reading an amazing novel
and then putting it down. -
19:51 - 19:54I think that is the beauty
of the experience. -
19:54 - 19:57You don't necessarily have to watch
something for 14 seasons. -
19:57 - 19:59It's not necessarily
the way everything's supposed to be. -
20:00 - 20:04CS: Is there any topic
that you don't think we should touch? -
20:05 - 20:07SR: I don't think
I think of story that way. -
20:07 - 20:10I think of story in terms of character
and what characters would do -
20:10 - 20:13and what characters need to do
in order to make them move forward, -
20:13 - 20:16so I'm never really thinking of story
in terms of just plot, -
20:16 - 20:19and when writers come
into my writer's room and pitch me plot, -
20:19 - 20:21I say, "You're not speaking English."
-
20:22 - 20:23Like, that's the thing I say.
-
20:23 - 20:26We're not speaking English.
I need to hear what's real. -
20:26 - 20:27And so I don't think of it that way.
-
20:27 - 20:31I don't know if there's a way
to think there's something I wouldn't do -
20:31 - 20:34because that feels like I'm plucking
pieces of plot off a wall or something. -
20:34 - 20:37CS: That's great. To what extent
do you think you will use -- -
20:38 - 20:40You know, you recently went
on the board of Planned Parenthood -
20:40 - 20:43and got involved
in the Hillary Clinton campaign. -
20:43 - 20:47To what extent do you think
you will use your storytelling -
20:47 - 20:49in the real world
-
20:49 - 20:50to effect change?
-
20:52 - 20:54SR: Well, you know, there's --
-
20:55 - 20:57That's an intense subject to me,
-
20:57 - 21:00because I feel like the lack of narrative
-
21:00 - 21:06that a lot of people have is difficult.
-
21:06 - 21:08You know, like,
there's a lot of organizations -
21:08 - 21:12that don't have a positive narrative
that they've created for themselves -
21:12 - 21:13that would help them.
-
21:14 - 21:16There's a lot of campaigns
-
21:16 - 21:19that could be helped
with a better narrative. -
21:19 - 21:22The Democrats could do a lot
-
21:22 - 21:24with a very strong
narrative for themselves. -
21:24 - 21:27There's a lot of different things
that could happen -
21:27 - 21:28in terms of using storytelling voice,
-
21:28 - 21:30and I don't mean that in a fiction way,
-
21:30 - 21:34I mean that in a same way
that any speechwriter would mean it. -
21:34 - 21:36And I see that,
-
21:36 - 21:40but I don't necessarily know
that that's, like, my job to do that. -
21:40 - 21:41CS: All right.
-
21:41 - 21:44Please help me thank Shonda.
SR: Thank you. -
21:44 - 21:45(Applause)
- Title:
- The future of storytelling
- Speaker:
- Shonda Rhimes and Cyndi Stivers
- Description:
-
"We all feel a compelling need to watch stories, to tell stories ... to discuss the things that tell each one of us that we are not alone in the world," says TV titan Shonda Rhimes. A dominant force in television since "Grey's Anatomy" hit the airwaves, Rhimes discusses the future of media networks, how she's using her narrative-building skills as a force for good, an intriguing concept known as "Amish summers" and much more, in conversation with Cyndi Stivers, director of the TED Residency.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 21:58
Brian Greene edited English subtitles for The future of storytelling | ||
Brian Greene approved English subtitles for The future of storytelling | ||
Brian Greene edited English subtitles for The future of storytelling | ||
Brian Greene edited English subtitles for The future of storytelling | ||
Brian Greene edited English subtitles for The future of storytelling | ||
Joanna Pietrulewicz accepted English subtitles for The future of storytelling | ||
Joanna Pietrulewicz edited English subtitles for The future of storytelling | ||
Joanna Pietrulewicz edited English subtitles for The future of storytelling |