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News - by Miguel 10/08/2010 @ 15:53

WORKSHOPS & LECTURES 2017

  • Núcleo Criativo MATIZAR 1 - Project Development Workshop for 5 Brazilian filmmakers - Online (January 16-19)
  • SOURCES2 Scriptcheck sessions - San Sebastian (March 6-8)
  • SPCINE 1-  Project Development Workshop for 12 Brazilian filmmakers  - Online (March 20-25)
  • SOURCES2 Script Development Workshop I - Luxembourg (March 31-April 6)
  • ​Núcleo Criativo MATIZAR 2 - Project Development Workshop for 5 Brazilian filmmakers - Online (April 24-28)
  • SOURCES2 Scriptcheck sessions - Hamburg (May 8-11)
  • Núcleo Criativo CANTO 1 - Project Development Workshop for 5 Brazilian filmmakers - São Paulo (May 23-27)
  • SOURCES2 Script Development Workshop II - FilmCamp - Norway (June 9-15)
  • SPCINE 2 -  Project Development Workshop for 12 Brazilian filmmakers  - Online (June 26-July 1)
  • SOURCES2 Scriptcheck sessions - Barcelona (July 11-12)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg I (September 13-15)
  • SOURCES2 Script Development Workshop I - Follow-up Session - Barcelona (September 4-8)
  • SOURCES2 Script Development Workshop II - Follow-up Session - Barcelona (November 25-29)
  • BRLAB - Project development for Latin American filmmakers - São Paulo (October 19-27)
  • Núcleo Criativo CANTO 2 - Project Development Workshop for 5 Brazilian filmmakers - São Paulo (November 7-11)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg II (December / dates TBC)

 

OTHER NEWS

Excerpts from Miguel's book Stick To Your Story

“Akira Kurosawa claimed a good director could produce a masterpiece with a good script and a mediocre director a passable film with the same script, but no one can make a good film with a bad script.”

“The first step is to have the clearest possible idea of what the film is meant to be: the genre, the theme, the mood, the spirit, the style… It’s worth noting that evident as this may seem, a large percentage of projects lack this clarity, though it may not appear visible at first sight. And developing a script is very often, initially, finding out what the film really is.”

“Over and above technicalities and writing expertise, the first question I ask myself is: Does the script, and more generally the story, plainly evoke and expose what the film is seemingly aiming at? Do we understand what the author is trying to communicate at all levels?”

“A script is both a creative piece of work and a strategic tool. Most films today need a well-crafted script in order to raise money or obtain any form of funding, as well as lay a solid foundation for the film itself. In an ideal world – which as we know we don’t live in – the same script should by rights serve both purposes.”

“Whereas on one hand I hear an ongoing demand for “good stories” and a complaint of the lack thereof, the trend seems to be towards naturalistic, true-to-life realism where the focus is more on social, political or historical issues or re-enactments – i.e. context and circumstances – than on what I call genuine storytelling.”

“Amongst many other things we may be becoming increasingly deprived of (and doubtlessly some of a more vital nature), I believe we are losing the notion of what stories are, and why they are a more important feature of humanness than we may suppose.”

 

 



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