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


  • Project Development Workshop for 5 Selected European Filmmakers - Brussels (January 14-18)
  • VAF Script Consultancy - Session I - Brussels (January 21-24)
  • Master Class & 3-day workshop - FFP (Hungarian Film Fund) - Budapest (January 28-31)
  • SOURCES2 Scriptcheck sessions - Creative Europe - Basque Country - Vitoria (March 4-6) 
  • VAF Script Consultancy - Session II - Brussels (March 27-29)
  • SOURCES2 Script Development Workshop I  & Master Class - Vilnius ( April 3-12)
  • SOURCES2 Scriptcheck sessions - Hamburg (May 7-10)
  • VAF Script Consultancy - Session III - Brussels (May 20-22)
  • TORINO FEATURELAB I - Bordeaux (June 1-7)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg I (June 17-21)
  • MALLORCA TALENTS LAB - Master Class & Script Workshop - Mallorca (July 1-4)
  • SOURCES2 Script Development Workshop II - Follow-up Session - Barcelona (September 4-8)
  • TORINO FEATURELAB II - Slovenia (September 15-19)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg II (September 30-October 4)
  • MM PROJECT DEVELOPMENT WORKSHOPS - Barcelona (October 11-15 / November 5-10)
  • VAF Training for Coaches - Brussels (December 16 & 17)


Excerpts from Miguel's book SCREENTELLING

“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.”



Top screenplays

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Films I worked on

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