The Dozen, twelve decisions for a film made “from the inside to the outside”.

febrero 4, 2012 § Deja un comentario

 Or 12 rules that led to the film “Novena”

1. Tell present stories, “hyperrealistic inspirations”, and try to be as honest as possible when telling them.

2.   Do not write a screenplay tailored to the industry’s request, but rather seek for a sound narrative structure; the rest of the plot should get assembled to this skeleton.

3. Think, write and produce following a correlative time so that the shooting does not take more than 20 days. Do not use flashback or forward scenes; concentrate on the “real time” of your story.

4. Do not write the exact words of dialogue, but rather the intentions that drive the characters of the story. Get these ideas across to your cast a moment before you say “action!”.

5.  Shoot with any camera available.

6. Always record the direct sound; make an effort to get a good microphone.

7. Do the casting with unexperienced actors, people from the same community, village or neighbourhood.  The strength of the film will lie on how right and genuine the characters you choose are; get to know them in depth.

8. Avoid shooting violent scenes. If the story requires one, empty space or any other creative resource available for this type of scene.

9.  Find a good editor and make sure they become passionate about the film, without losing a critical perspective.

10. Analyze and incorporate a lot of classic and contemporary painting and author photography into your imagery. Take into account the following conceptual order when creating your images: “observation – artistic reflection – contemplation”.

11. Try your shots to be “paintings in real time”, and if you manage to get the full content of a scene in one shot, well done.

12. Be confident that your film can be shown anywhere in the world and even get an award, but do not forget that those are circunstantial events. What really matters  is the creative process, the days you spent with those who believed in the project and the fact that it has come into existence and you are able to present an audiovisual work made “from the inside to the outside”.

Enrique Collar,  miércoles 8 de Diciembre de 2011, Rotterdam


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