Living
INTINERARIO
5
- producción
- dirección
- guion,
- dirección de fotografía
- sonido
- montaje
- color
- grafismo
- diseño sonoro
- mezcla
- música
- distribución,
- agencia de ventas
- programación
The first stage of producing a film begins with the selection of a project and the identification of its specific characteristics and its possibilities of financing and artistic-creative proposal and innovation. The following steps require taking into account the dimension of the project in order to plan a sustainable budget and tailored financing. The documentary can be approached in different ways depending on the model it represents, from artisanal, industrial or self-production.
At this stage, a crucial task is the development of attractive sales materials (dossier, pitch, teaser) to implement the planned strategy in the competitive ecosystem of funds, grants, markets, forums, festivals and platforms.
Schools: between formal and non-formal
- Did you attend a film school or specialized documentary studies?
- Where would you say you learned film, in an academic institution and/or in another place/s?
- How much of your training would you attribute to experiences outside of formal education?
- What has been the most fruitful experience/person/relationship or discovery in terms of teaching about film?
- Can you share any examples?
- Do you think that film can be taught/learned?
- How?
Experience as a continuing school
- It is well known that experience is a degree in terms of mastery and expertise.And in terms of learning?
- What aspects do you continue to learn about film as you make (or think about) films?
- What is the most important or revealing thing that life experience and film practice has taught you about film and documentary film in particular?
- What aspects, if any, of what you knew or thought you knew about film when you started or when you left school have you abandoned or have lost value for you over time?
Other disciplines: expanding creation
- Do you have training in any discipline outside of film, before or after your film career?
- Have you practiced that other practice?
- Whether or not you have specific training in another area: how have other disciplines influenced your cinema?
- How do they influence the creative process or are they reflected in your work?
The performance of a creative activity such as filmmaking must be healthy and compatible with life inside and outside of work, like any other professional performance. However, it is necessary to raise a deep reflection on this subject. Physical and mental health in productions, care within work teams or reconciliation with personal life are essential aspects in this sense. Sometimes, the precariousness of documentary film production is incompatible with vital and economic stability, forcing many professionals to seek other means of livelihood. All these factors and others can lead to the abandonment of film projects and a certain frustration. In this chapter we delve into the essential well-being of filmmakers.
Schools: between formal and non-formal
- Did you attend a film school or specialized documentary studies?
- Where would you say you learned filmmaking, in an academic institution and/or in another place/s?
- How much of your training would you attribute to experiences outside of formal education?
- What has been the most fruitful experience/person/relationship or discovery in terms of teaching about film?
- Can you share any examples?
- Do you think that film can be taught/learned?
- How?
Experience as a continuing school
- It is well known that experience is a degree in terms of mastery and expertise. And in terms of learning?
- What aspects do you continue to learn about film as you make (or think about) films?
- What is the most important or revealing thing that life experience and film practice has taught you about film and documentary film in particular?
- What aspects, if any, of what you knew or thought you knew about film when you started or when you left school have you abandoned or have lost value for you over time?
Other disciplines: expanding creation
- Do you have training in any discipline outside of film, before or after your film career?
- Have you practiced that other practice?
- Whether or not you have specific training in another area: how have other disciplines influenced your cinema?
- How do they influence the creative process or are they reflected in your work?
The geographical territory from which the filmmaker operates is another fundamental axis that determines the practice of documentary film. The imbalance between the peripheries and the epicentres, which have powerful audiovisual ecosystems and consolidated cultural policies, condition the size of the productions and the possibilities of disseminating the films. At the same time, the place of residence and creation determines the options for building communities and networks that allow the filmmaker a collective and shared reflection in relation to his cinematographic practice.”
Schools: between formal and non-formal
- Did you attend a film school or specialized documentary studies?
- Where would you say you learned filmmaking, in an academic institution and/or in another place/s?
- How much of your training would you attribute to experiences outside of formal education?
- What has been the most fruitful experience/person/relationship or discovery in terms of teaching about film?
- Can you share any examples?
- Do you think that film can be taught/learned?
- How?
Experience as a continuing school
- It is well known that experience is a degree in terms of mastery and expertise. And in terms of learning?
- What aspects do you continue to learn about film as you make (or think about) films?
- What is the most important or revealing thing that life experience and film practice has taught you about film and documentary film in particular?
- What aspects, if any, of what you knew or thought you knew about film when you started or when you left school have you abandoned or have lost value for you over time?
Other disciplines: expanding creation
- Do you have training in any discipline outside of film, before or after your film career?
- Have you practiced that other practice?
- Whether or not you have specific training in another area: how have other disciplines influenced your cinema?
- How do they influence the creative process or are they reflected in your work?
