Virtual el nuevo proyecto cinematográfico de Daniel Hernández Torrado

Daniel Hernández Torrado Largometraje Virtual

Daniel Hernández Torrado, diplomado en Dirección de Fotografía de la escuela, se ha liado la manta a la cabeza, una vez más, con su nuevo proyecto Virtual.

A raiz del éxito obtenido con su cortometraje The Pixel Theory: La caja de Pandora, del que ya hablamos en este mismo blog, ahora el proyecto crece hasta convertirse en un largometraje.

Este proceso de crecimiento natural lo han seguido otros conocidos directores cinematográficos. Sin ir más lejos, el profesor de la escuela Paco Cabezas con su cortometraje y posterior largometraje Carne de Neón que le catapultó al cine internacional por lo que ahora no para de rodar.

Pero este proyecto va a suponer un gran esfuerzo por parte de todo el equipo y unos costes mínimos necesarios que desembolsar teniendo en cuenta que se trata de un trabajo de ciencia ficción y además trabajará con lo último en tecnología virtual 360. Para encontrar la financiación necesaria Daniel ha puesto en Kickstarter su proyecto de Crowdfunding. Y está teniendo buena aceptación, pero estamos seguros que nuestros seguidores van a echar el resto porque esta película de ciencia ficción y videojuegos española tenga un final apoteósico.

Para todos los que queráis conocer más del proyecto aquí os dejamos el cortometraje sobre el que está basado el nuevo proyecto y por supuesto el enlace a Kickstarter conde podéis colaborar y apoyar.

Recuerda que  una forma de ayudar muy importante es la de compartir esta información entre tus amigos y amigas que sean aficionados al cine de este género o al cine en general, pues el rodaje de una película siempre es una buena noticia para la industria audiovisual ya que supone generar empleo.

¡¡ Mucho ánimo Dani !!

25 directores de cine para inspirarte

Te traemos 25 directores y 25 frases que pueden inspirarte y ayudarte a comprender lo que otros sienten cuando hablan de cine.

Hemos preferido no traducirlas para mayor fidelidad al original.

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“TO ME CINEMA IS THE ART OF HAVING EACH THING IN ITS PLACE. IN THIS IT RESEMBLES ALL THE OTHER ARTS. LIKE THE ANECDOTE ABOUT JOHANN SEBASTIAN BACH PLAYING FOR A STUDENT, THE STUDENT GUSHES WITH ADMIRATION, BUT BACH SAYS, “THERE’S NOTHING TO ADMIRE. YOU JUST HAVE TO HIT THE NOTE AT THE RIGHT TIME, AND THE ORGAN DOES THE REST.”

ROBERT BRESSON

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“MASTERPIECES ARE BORN OF THE ARTIST’S STRUGGLE TO EXPRESS HIS ETHICAL IDEALS. INDEED, HIS CONCEPTS AND HIS SENSIBILITIES ARE INFORMED BY THOSE IDEALS. IF HE LOVES LIFE, HAS AN OVERWHELMING NEED TO KNOW IT, CHANGE IT, TRY TO MAKE IT BETTER—IN SHORT, IF HE AIMS TO COOPERATE IN ENHANCING THE VALUE OF LIFE, THEN THERE IS NO DANGER IN THE FACT THAT THE PICTURE OF REALITY WILL HAVE PASSED THROUGH A FILTER OF HIS SUBJECTIVE CONCEPTS, THROUGH HIS STATES OF MIND. FOR HIS WORK WILL ALWAYS BE A SPIRITUAL ENDEAVOR WHICH ASPIRES TO MAKE MAN MORE PERFECT: AN IMAGE OF THE WORLD THAT CAPTIVATES US BY ITS HARMONY OF FEELING AND THOUGHT, ITS NOBILITY AND RESTRAINT.”

ANDREI TARKOVSKY

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I’M NOT INTERESTED IN REALISM. ALL MY FILMS HINGE ON THE FANTASTIC. I’M NOT A DOCUMENTARIAN; A FILM IS FIRST AND FOREMOST A DREAM, AND IT’S ABSURD TO COPY LIFE IN AN ATTEMPT TO PRODUCE AN EXACT RE-CREATION OF IT. TRANSPOSITION IS MORE OR LESS A REFLEX WITH ME: I MOVE FROM REALISM TO FANTASY WITHOUT THE SPECTATOR EVER NOTICING.

JEAN-PIERRE MELVILLE

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“WE DIRECTORS HAVE A VERY LARGE RESPONSIBILITY. WE HAVE IT IN OUR HANDS TO LIFT THE FILM FROM INDUSTRY TO ART, AND, THEREFORE, WE MUST GO TO OUR WORK WITH SERIOUSNESS, WE MUST WANT SOMETHING, WE MUST DARE SOMETHING, AND WE MUST NOT JUMP OVER WHERE THE FENCE IS LOWEST. IF FILM AS AN ART IS NOT TO COME TO A STANDSTILL, WE MUST WORK TO CREATE A MARK OF STYLE, A MARK OF PERSONALITY IN THE FILM. ONLY FROM THIS CAN WE EXPECT RENEWAL.”

CARL THEODOR DREYER

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“THE MOST IMPORTANT PART OF YOUR EQUIPMENT IS YOURSELF: YOUR MOBILE BODY, YOUR IMAGINATIVE MIND, AND YOUR FREEDOM TO USE BOTH. MAKE SURE YOU DO USE THEM.”

MAYA DEREN

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“WHEN WE EXPERIENCE A FILM, WE CONSCIOUSLY PRIME OURSELVES FOR ILLUSION. PUTTING ASIDE WILL AND INTELLECT, WE MAKE WAY FOR IT IN OUR IMAGINATION. THE SEQUENCE OF PICTURES PLAYS DIRECTLY ON OUR FEELINGS. MUSIC WORKS IN THE SAME FASHION; I WOULD SAY THAT THERE IS NO ART FORM THAT HAS SO MUCH IN COMMON WITH FILM AS MUSIC. BOTH AFFECT OUR EMOTIONS DIRECTLY, NOT VIA THE INTELLECT. AND FILM IS MAINLY RHYTHM; IT IS INHALATION AND EXHALATION IN CONTINUOUS SEQUENCE.”

INGMAR BERGMAN

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DOVZHENKO TRIED TO TEACH US TO SEE THE WORLD. MOST OF ALL HE WARNED US AGAINST ACQUIRING ONLY THE TECHNICAL SKILLS OF THE CRAFT. HE DID NOT LIKE “FOLLOWERS” WHO JUST TRIED TO APE HIS APPROACH. HE URGED US TO BE FAITHFUL TO OURSELVES, TO TRUST OUR OWN FEELINGS AND TO STAND UP FOR OUR VIEWS. I DID NOT REALIZE AT THE TIME HOW DIFFICULT THIS IS. YOU COME TO UNDERSTAND SUCH THINGS AS YOU GROW OLDER…HE USED TO TELL US THAT WHEN STARTING ON A NEW FILM WE SHOULD KNOW WHAT NEW THINGS IT WOULD TELL THE AUDIENCES, AND WHETHER IT WOULD FOSTER THEIR BETTER HUMAN QUALITIES. I THINK THIS IS THE GOAL OF ART.

LARISA SHEPITKO

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