Yesterday, Tuesday, June 15, the controversial law was passed antidescargas, known as the law Sinde. Many people did not learn, because the press focused on media yesterday on a news nuclear energy (which also has fabric), leaving the law Sinde on a secondary level, making a brief mention during the informative. These smoke screens are very common to divert attention and even if it may seem, work.
In vain did that on Sunday hundreds of people come together in celebration of Goya to protest the law. The cameras were placed strategically so the rest of the country would not know that there are "people unhappy."
In vain did the actress Assumpta Serna show on the red carpet a banner reading "Viva Wikileaks" they entered the theater.
of no avail to Alex de la Iglesia resign as president of the Academy. His words make it clear "Internet is the salvation of our film" or "File sharing is the essence of the Internet and we are not afraid"
Finally, after all, is a law that comes from the U.S., no matter whatever you say, no matter what you do, the Internet will be free and we have no voice. As is clear of communications filtered by WikiLeaks , it was all part of a master plan in which Spain and its politicians were mere pawns in an industry, a number of U.S. companies.
WikiLeaks Under the Act Sinde is made in USA. sure how far these industries, through the Embassy, \u200b\u200bhave been manipulating and threatening our politicians is simply overwhelming.
Interview with Tina Olivares "Waiting for September"
First, Tina, congratulations on your film, regardless of the very few means with which you produced, I found it very entertaining, well written, with wonderful performances. Can you sum up briefly, what is "Waiting September?
Have you ever spent time in August without a penny in Madrid? ... Have you become so stripped of pasta to find a euro in his pocket he opened a world of possibilities? ... Have you looked thoughtfully light bill thinking where the hell will you get the money for it? ...
This is a nice comedy about five friends who suffer from the economic crisis they face explodes in finding a bag with 20 million pesetas in bills of the old pesetas. A treasure of both sides that connects and separates at once. They are united because they need to change a little money in the Bank of Spain and separates them because, you know, when money goes into human relations, friendship goes out the window ...
What was your career before directing the first feature film? How does it write? "Clearly you had always wanted to direct?
My career is quite varied, I came to Madrid for fifteen years and apart from selling calendars door to door, I became secretary RTVE production. Next, chronologically, waitress, assistant Lola Films production, a waitress, a production assistant on Star Line PC, waitress and finally in 2000, screenwriter Globomedia, left the world of hospitality to write flash fiction series in various producers. The latest: "The Mysteries of Laura" and "My sister is an only child." I have also won the National Children's Theatre SGAE my work "Au Revoir Marie" and I wrote and directed two short films: "The ants go point appointments" (2004) and "Energy!" (2007), the first one you see on YouTube.
And yes, I always knew I wanted to direct. What I was not sure how I would get it. "Waiting for September" has been let go.
When did you decide to wear with this idea?
The idea of "Waiting for September" was born in 2008 in Albacete. I was writing the script for what I hope is my second long and disciplined me every day going to the public library. On the road passing by the site of a house where perceived perfectly still room, kitchen, bathroom, ... It occurred to me that if someone had given up his life savings hidden behind one of those tiles. It had to be a lot of money and had to be pesetas. I told him the idea to my sister and she, while preparing a jar for your child, gave me the best point plot twist: What if those millions were not saving anyone, but had an origin much more sinister? ...
I think it was very important collaboration with the actors. Did you know them from before?
I made a mental casting among the people he knew. David Tenreiro ("Fish People"), Pedro Almagro ("La Fiesta") and Victoria Teijeiro (Max Prize 2007) had worked with me on "Energy!" And Ana López ("Human Trials") and Natalia Erice ("Go semanita ") had been seen working in theater. I went to talk individually with each of them and proposed the project. They loved it and in the spring of 2009 I began to meet separately with each actor to speak his character, we talked about what the problem was personal, what he did ... each character got a lot of illusion. All of them asked me who the others, but I was silent as if that were the CESID did not want to pollute. Only first met all the end, when the rundown was complete and there were all interrelated. There was much laughter at that first meeting.
"" Waiting in September "is inscribed on a lot of different locations, with many exteriors (in Madrid in summer) and a large cast, all you got free?
Sip. The majority.
Did you yourself efforts to achieve anything? Did you have experience in production?
Had it not been for my years as a production assistant, had not had the moderation to cover all the efforts that involved "Waiting for September." Funny how no amount in vain.
How many people are members of the crew? What means were available?
We recorded with a Sony HDV camera and the mic (the latter is something that no counsel at all if it is not known to do well), the crew were filming Vera Dominguez, live sound, Aida Blas mirror, stylist and script and I like camera. All recording was done to natural light.
The recording was very agile and I could be in direct contact with my actors, I think that this way of working has given a lot of freshness to the movie.
How long did the recording about?
If I add it all together it took a month and a week, but that total was distributed in several months.
Have you ever considered requesting public subsidies to build the project?
"Waiting in September" has taken film category at the end, when it has been completed, was always a "let's see what happens if we do this." I do not want to feel more pressure to come out of their own history. I do not know if I explain. The grants are expected, reports of activities, deliverables, deadlines. It was my first movie and I focused on the clear objective to sustain a plot for 90 minutes.
Now, the finished film is attracting much interest (the "anti-crisis film" have called in a newspaper) and it seems that you are getting an unexpected dimension in the beginning. But we, in short, this film is fully paid of my pocket. I suppose that apply for grants had slowed the process and it is possible that the wait would have been fruitless and discouraging had finished my initial impulse.
Although the project budget was nearly zero, there are undoubtedly essential expenses (meals for the actors, movements ...). If it is not too indiscreet, can you tell us how much ended up costing "Waiting for September" about?
always answer the same, the costs are not over. I do not mean a figure because the film is a bottomless pit and I do not want the film is measured according to their budget. My answer to this question is "no I have the entrance of a house but I have a movie, "I have a new car because I have a movie." There are houses and multiple cars prices. The house or car that you stop buying it independently valued each. However, it is a good sacrifice.
I strongly believe that in "self" film will multiply the cost of each film is the least you should care for the benefit of brightness and light that has the argument.
The truth that may shed a story is something pure. Measure the truth in terms of numbers or recording formats is in any case, unjust.
Once the film begins another phase, the diffusion of festivals and attempts to get distribution. How is the process going? Can you remember when and where to look "" Waiting in September "soon?
can see "Waiting in September" in the room Berlanga de Madrid, Calle Andres Mellado, 53. From Friday 11 February until Thursday 17 at the 18:00 session. Admission: 3 euros. (Interviewer's note: just the same dates, in the same room at the same price, the project "has ships " another adventure self-produced, written and directed by Juan Cavestany)
Saturday, 12 will do a party at the "Citadel" to all who have seen the movie in its first two days of release. If you're going to Facebook and add to the page of "Waiting for September" will have all the data and timely information on what is happening with the movie.
Music Festivals is working very well, we just won the Award for Best Film at the Film Festival of Castilla La Mancha. As for commercial distribution rather not talk too much. It seems that there are opportunities but I am superstitious half prefer silence, for now. If the film is commercially distributed will be the first to know.
Would you encourage others to be launched this kind of adventure "self-produced"? What have you learned from it? Repeat what and what not?
I learned to be patient. That lesson is above all technical. This office is a distance race and I want to take hold without an ulcer present. I found that things come. Interestingly come when you're more mature and less hope to receive you're done. But come.
Would you to "self-produce? With over pasta, yes. You own everything the process. As a rookie is the total learning. And as a professional too, because you play all the clubs. A director who knows what it takes, from getting a location, to the effort to make a media campaign, has a wider perspective. Is necessary for a director known to produce. For the sake of the movie is absolutely necessary.
Do you have another personal project in mind? Will it be "self-produced"?
I have this script I was talking about at first. A mystery story that deals with family heirlooms. Rather, with what one can inherit the family, prestige and fatality are also inherited. Again it is a story of many characters.
And for that particular project I have a producer.
Finally, I wanted to thank you have answered this interview. No doubt, thanks to your movie and your response, many readers have felt an irresistible urge to go out to shoot without thinking twice.
Thank you, Dani, but one thing which is not intended to start thinking about the final ends. Heartily advise the author / maker / self-producer of a film clearly answer this question before taking a single step:
Ernesto received the following query in the box Bloguionistas
Hello Bloguionistas
Happy new year and once again, congratulations on your blog. I find it very difficult to move the paper a few sequences that involve some complexity, say, "time and space." Especially considering that the script is going to read one and, for my sake, you have to understand.
What advice would you give to describe a little flashback? Such as CSI or the like, when a small reconstruct a forensic trail of the crime.
Hi Ernesto, thanks for reading our blog and for daring to raise a query. I'll answer one by one to your queries. We
with those displayed flashes briefly, usually accompanied by a sound effect rather spectacular, how you write?
For if we do not know how they do on CSI, why not look into a script for CSI? Here there are plenty of them in English. I copied an excerpt from the pilot. (Make click image for larger view)
see, in the case of CSI, simply enter rapid flashback with this indication in parentheses, then warn the end of the flashback and return to the present. Despite being from another time and / or other setting, not numbered flashback scene as an independent.
However, in a series where I worked, when a character had prophetic visions, yes we put header and independent numbering sequence (if it was flashes from above sequences, we pointed out in what sequence came from).
words, you see, the answer is simple: you can do anyway. If it's your own script, you can choose form. If you working on a series, it's smart to adapt to the usual way to do it. Yes, it is imperative that the team has definitely got to record (or roll) that plane.
How to transcribe a phone conversation that takes place in two different sites, while the two characters perform different actions? It comes to my mind that Ridley Scott film in which Russell Crowe while picking up his daughters from school Leonardo DiCaprio tells how to catch terrorists in the Middle East. Or, in a more everyday, seeing a mother from the kitchen tells her husband that has to buy at the supermarket when you have finished working in his office. Sorry about the machismo.
Most commonly, they simply collated sequences. Of course, if a character is moving, you have to go changing the headers and describing the different locations that is at all times. Here I have written a small example. Not curradísimo, but I think you will to get an idea. It is not autobiographical, I promise.
Another possibility, somewhat lazy, is simply put in the header of the two locations and indicate that this is a conversation interspersed (intercut) and it will be mounted when deciding which replica will be on "on "and what" off. " This is more appropriate when the telephone conversation is between only two locations (ie, neither partner is moving, as in your example).
Here's an example of the script for "In the Loop." You got here .
How to describe a parallel action? As at the end of The Godfather.
Well, just between. It is not difficult, it's just a little tired. Here
hit part of the final assembly of "The Godfather 2." (Spoilers, obviously). While the protected witness Pentangeli take a "hot bath" in the house protected before going to testify, Fredo goes fishing with the son of Michael and Hyman Roth (the former Jewish partner Michael) arrived at Miami airport. These three plots end with deaths ordered by the Godfather. Just interspersed scenes of these patterns, sometimes with a scene more "neutral" in which Michael Corleone is the Godfather.
How escribiríais the script to explain the circumstances without losing the pace and without the mind of a producer collapse? Could you give some examples?
important thing is that what happens is interesting enough, for the reader to go ahead despite the awkward sequence of headers. One of my tricks, in the case of telephone calls, is cut in the middle of a sentence to be in the next scene when the reader to complete the sentence. So I think that reading is more fluid.
I've already put a few examples. By the way, I feel that some are in English, I hope that this will not pose a big problem. When in doubt about a particular movie, you can find the script, for example in some of these sites: IMSDb , SimplyScripts or Script-O-Rama ; have a lot of them.
Thank you for your care and continue.
Thank you. And will continue for the duration of force and alcohol.
My other conclusion: 
