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


  • Workshop on Creating Characters – TV Screenwriters from O Globo – Rio de Janeiro (January 22-25)
  • Núcleo Criativo CANTO 3 - Project Development Workshop for 5 Brazilian filmmakers - São Paulo (January 28-February 1)
  • SOURCES2 Scriptcheck sessions - San Sebastian (February 26-28)
  • LIM (Less Is More) / Le Groupe Ouest Workshop 1-  Project Development for 16 international filmmakers - Brittany (March 8-13)
  • SOURCES2 Scriptcheck sessions - Hamburg (March 26-28)
  • SOURCES2 Script Development Workshop I - Brandenburg ( April 13-19)
  • LIM (Less Is More) / Le Groupe Ouest Workshop 2-  Project Development for 16 international filmmakers  - Cluj, Rumania (May 31-June 9)
  • Núcleo Criativo CANTO 4 - Project Development Workshop for 5 Brazilian filmmakers - Online (June 18-22)
  • Festival Atlantida - Mini Workshop & Script Sessions - Palma de Mallorca (June 25-27)
  • Master Class & Individual Script Sessions - Vitoria (July 2-4)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg I (September 10-13)
  • SOURCES2 Script Development Workshop I - Follow-up Session - Barcelona (dates TBC)
  • SOURCES2 Training for Mentors P&P - Brandenburg (September 22-26)
  • LIM (Less Is More) / Le Groupe Ouest Workshop 3 -  Project Development for 16 international filmmakers - Luslawice, Poland (October 9-14)
  • Taller de Altos Estudios México - Writers Lab for Mexican Filmmakers - Mexico DF (November 5-9)
  • CNA - Advanced Workshop for Luxembourg Screenwriters - Luxembourg II (November 19-22)
  • Jump In - Writers' Workshop - Poitiers Film Festival (November 30-December 2)
  • Master Class, Workshop & Individual Script Sessions with filmmakers from the Baleares - Palma de Mallorca (December 7-9)


Excerpts from Miguel's book Stick To Your Story

“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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