Un mes de la escuela de guión: http://www.um.edu.uy/comunicacion/noticias/1229_Un-mes-de-la-Escuela-de-... Gracias y hasta pronto a Florencia, Alan, Paola, Hernán, Sabina, Federico, Javier y Sergio. |
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Por ello, tanto a guionistas noveles, como a analistas en ciernes, como a cinéfilos, les aconsejo que lean guiones: si les interesa el “montaje del director”, ¿por qué no atreverse con el “montaje del guionista”? Salvador Rubio. La entrevista completa -que incluye un piropo a Cuéntalo Bien-, aquí. |
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Publicado hoy en el diario Información. Me ha encantado descubrirme, en el último párrafo, en tan ilustre compañía. http://www.diarioinformacion.com/artes-letras/2010/08/26/auge-guion/1038... |
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- "Si se pudiera triunfar sólo con publicidad, todos los empresarios de Nueva York serían millonarios -intervino Goldweiser-. Lo que hace subir la entrada en tal o cual taquilla es la fuerza oculta y misteriosa que empuja a las multitudes en las calles y las mete en un teatro determinado. La publicidad no puede hacerlo, la buena crítica tampoco. Será tal vez el genio, será tal vez la suerte, pero si uno puede dar al público lo que quiere, cuando quiere y donde quiere, éxito seguro (...) El empresario no tiene más dominio sobre esto que el meteorólogo sobre el tiempo. ¿Es verdad o no lo que digo?" John Dos Passos, Manhattan Transfer |
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El guionista David Muñoz recomienda "Cuéntalo bien" en: http://www.clubcultura.com/diariode/2519/DavidMu%C3%B1oz.html Y yo se lo agradezco infinitamente... |
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En el taller Four Corners de Sitges, la semana pasada, el director danés Rumle Hammerich compartió sus trucos para escribir guiones. Aquí va uno que me pareció muy bueno: pon a tu protagonista en una escena aburrida, como pedir en préstamo un libro de la biblioteca, o comprar medio kilo de lomo en la carnicería. Si la escena es interesante, entonces es que el protagonista es interesante. Es fácil que una escena espectacular interese, al margen de cómo sea el protagonista... |
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From a memo sent to the writers of the TV series My Favorite Martian: "Please change the dialogue on page 14--a Martian wouldn't say that". More: "Can you make the Rabbi less Jewish?" To cop-turned-writer Joseph Wambaugh, re his script: "Regards scene on page 38--we don't think cops really talk that way, please correct." "Re The Fred Astaire Special- too much dancing." Quotes from "A Martian Wouldn't Say That", Diane L. Robinson and Leonard B. Stern |
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Bret: Hello. Jemaine: Hi. Bret: Hello man sitting in the park. Jemaine: I just said hi, woman in the park. Bret: How you doin'? Jemaine: Mmm'good thanks. Bret: Your looking good. Jemaine: Pardon? Bret: I said you're looking good. Jemaine: Fair enough. Bret: 'Jenny Jemaine: Pardon? Bret: Jenny Jemaine: No I am sorry I think you've mistaken me for somebody else Bret: No it's me, I'm jenny, my name is Jenny Jemaine: Oh You're'oh' Ha ha ha ha' I thought' oh' what a hilarious misunderstanding. Bret: We've met before - quite a few times actually. Jemaine: Yes of course we have. I meant it was nice to meet you that time that I met you. Where was it that we met that time that I met you when I met you? Bret: At a party. Jemaine: That's right! Wasn't it one of those boring work parties? Bret: No. Jemaine: That's why I said wasn't it. It was the party of a mutual friend. - Was it? - Wasn't it? - Was it? - Wasn't it? Bret: Yes it was. Jemaine: Yeah, I thought so. Oh'Bobby's. Bret: No Jemaine: Doug's? Bret: No Jemaine: D-dog's? Bret: No Jemaine: Maxwell's? Bret: No Jemaine: Andy's? Bret: Yes Andy's Jemaine: Yeah Andy's party, ooh that's right. Ooh, Andy knows how to throw a party, doesn't he Jenny? Bret: Yeah, I love Andy's parties! Jemaine: I love Andy's parties. What crazy parties. How is that guy anyway? Bret: She's good Jemaine: Ooh that's right, Andy hates it when I forget that. Bret: We watched a movie. Jemaine: Yeah'it was something like but not necessarily Schindler's List. We watched it and we wept Bret: It was Police Academy 4. We went for a walk Jemaine: On our feet if I remember correctly. Bret: We walked to the top of the hill and we ate sandwiches. Jemaine: Oh, We'd just grab a sandwich and put it in our mouths. Oh, that's the only way to have sandwiches. Oh Jenny, tell me do you still walk? Do you still get into sandwiches in a big way? Bret: Still walk a lot but I am not eating as many sandwiches as back then Jemaine: Uh' Bret: Do you remember what we did up there at the top of the hill? Jemaine: Kind of' Bret: We were standing at the look out Jemaine: Oh, I remember exactly what we did at the look out. We just looked out' across the city from our little spot on the hilltop. Oh, It is so pretty from way up there. We talked about how the lights from the buildings and cars seemed like reflections of the stars that shined out so pretty and bright, that night. Bret: It was daytime. Jemaine: The daytime of the night. Bret: Do you remember what you said to me? Jemaine: Not word for word actually Jenny, but I remember there was some verbs. Bret: Well you said meet me here in one year. You just needed some time to clear your head, and you seem to have done that. Jemaine: La la la la la la la la la la la la la. Bret: We have a child. Jemaine: Pardon? Bret: We have a child. Jemaine: Why didn't you tell me, Jenny? Why didn't you tell me that day when we went to the top of the hill and we made sweet, oh how we made such sweet, sweet sandwiches. Does it have my eyes, my way with words? Does it look like me at all? Bret: No, not at all 'cause we adopted him. I can't believe you don't remember, it was a very difficult process! Jemaine: Oh'uh, oh'are you sure that was me Jenny? Bret: Yes I am pretty sure that it was you, John. Jemaine: I'm Brian Bret: Oh my god! I'm so sorry! Jemaine: Don't worry. Bret: Now that's terrible. Jemaine: Oh, don't worry. Bret: Oh, how embarrassing! Jemaine: Don't worry Jenny, I'm actually quite relieved. That kind of thing just happens all the time, I just got one of those faces I suppose Bret: So does John, ha, he's got one of those faces as well' Bret and Jemaine: *awkward laugher* (Gracias, Nacho y María). |
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Otro de los cambios que introducirá esta orden es la necesidad de que las películas pasen un «test cultural» para que puedan recibir ayudas. Según asegura Guardans, «éste no es un invento español. La Comisión Europea exige que las ayudas automáticas vayan a películas con interés cultural». Y, aunque el director general no quiso desvelarlos, LA RAZÓN ha tenido acceso a ellos. Son ocho puntos y sólo dos son necesarios para pasar el citado test. - La versión original debe realizarse en una de las lenguas oficiales de nuestro país. Lo leí aquí: http://www.larazon.es/hemeroteca/6101-los-recortes-al-cine-espanol-llega.... Y pensé: ¿Cómorrr? |
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Estos días me han recordado a mis años de colegio, cuando todo el mundo en clase llegaba comentando el 1,2,3 de la noche anterior. Había que ver el 1,2,3, o el programa que fuera. Todo el mundo lo veía, y era de lo que se hablaba, y pobre del chaval a quien sus padres mandaran a la cama a las 10, porque se quedaba en fuera de juego. |
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