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

     WORKSHOPS & LECTURES 2020

  • VAF Atelier Scénario - Session I - Brussels (January 21-24)
  • ScreenTelling I - Project Development Workshop for 5 Selected Filmmakers - Barcelona (February 5-9)
  • ScreenTelling II - Project Development Workshop for 5 Selected Filmmakers - Barcelona (February 26-March 1)
  • VAF Atelier Scénario - Session II - Brussels (March 10-13)
  • Online Mentoring Seminar - Mini-workshop for mentors and providers of feedback (April 27-May 1)
  • EAVE On Demand - Gran Canaria (Cancelled temporarily)
  • VAF Atelier Scénario - Session III - Online (May 5-8)
  • Series People: Character Development  for Series- (sponsored by Creative Europe, FFHSH & SOURCES2) - Creative Europe Hamburg (Online: May 26-29)
  • ScreenTelling III - Project Development Workshop for 5 Selected Filmmakers - Barcelona (Cancelled) 
  • TORINO FEATURELAB I - Online (June 4-9)
  • ScreenTelling IV - Project Development Workshop for 5 Selected Filmmakers (Spanish language)- Barcelona (Online TBC: June 17-21)
  • MALLORCA TALENTS LAB - Master Class & Script Workshop - Mallorca (Online TBC: June 29-July 1)
  • CNA - Advanced Workshop for Luxembourg Screenwriters I - Luxembourg (July 13-17)
  • SOURCES2 Script Development Workshop II - Follow-up Session - Online (Dates TBC)
  • TORINO FEATURELAB II - Venue & dates TBC (September 15-19)
  • GENRE WORKSHOP FOR BRAZILIAN FILMMAKERS - Recife, Brazil (Cancelled temporarily)
  • CNA - Advanced Workshop for Luxembourg Screenwriters II - Luxembourg (October 26-30)

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.”

 

 



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