España, una de las mejores localizaciones del mundo para hacer cine

Rodaje de Exodus en España

No lo decimos nosotros que somos parte interesada en que se ruede mucho y bien en España. Lo dice KFTV una prestigiosa web en inglés de la industria audiovisual.

Muchas veces desconocemos lo que tenemos a nuestro alcance y la falta de entendimiento del cine como cuestión industrial y artística en nuestro país hace que muchos padres aún no consideren la opción de estudiar cine o televisión como profesión para sus hijos una vez finalizado el colegio o instituto, al contrario de lo que ocurre en otros países de nuestro entorno donde la industria audiovisual es ya la segunda en generación de empleo, de facturación y de importancia dentro del PIB nacional.

Esto ocurre gracias a las producciones nacionales y también a las superproducciones internacionales.

España es variada en sus escenarios lo que permite a pocos kilómetros de distancia realizar rodajes completamente diferentes y tiene un clima que permite rodar en exteriores prácticamente todo el año.

A eso le añadimos personal técnico bien formado y capacitado por las múltiples escuelas de cinematografía distribuidas por el territorio que permiten la realización de cualquier contenido audiovisual de calidad como bien saben quienes ya han rodado aquí. Profesionales muy competitivos con respecto a otros países.

¿Nos falta algo?

Si deseas leer lo que la industria audiovisual piensa de España y de los motivos por los que interesa hacer películas o series aquí sigue leyendo:

«Overview

Spain is one of the world’s top filming locations, with a track record that goes back to the glamour days of cinema in 1960s and 1970s. Directors like Sergio Leone, with his Spaghetti Westerns, helped Spain establish its reputation – and it has never looked back (though competition for work has intensified with the emergence of popular Eastern European locations). Iconic titles to have been shot there include Spartacus, Indiana Jones and the Last Crusade and a slate of James Bond films.

Spain’s strengths include the diversity of its locations, the quality of its crews, its climate, its transport links, the studio/equipment infrastructure and the fact that it is safe. It is also pretty cost-efficient. This is partly because of the economic downturn and partly because it is easy for French and UK agencies and producers to get to (cheaper than flying specialists to locations like South America or Eastern Europe). In fact, Spain’s costs are now so competitive that Brazilian and Argentinian producers have even been tempted to fly in.

The biggest issue for Spain is the lack of filming incentives from the central government. Some regional authorities have taken the matter into their own hands by offering rebates. 

Recent Productions

Spain’s appeal to filmmakers continues. Alejandro Amenabar shot some of his thriller Regression in Madrid through 2014. The film stars Emma Watson and Ethan Hawke. Paul Greengrass’ Green Zone used the country to help recreate modern day Iraq. Other productions to have been based in Spain (at least part of the time) include The Impossible starring Naomi Watts and Ewan McGregor) and Sacha Baron Cohen’s 2012 release The Dictator, which took over Seville’s Plaza de Espana. Parts of Justin Lin’s blockbuster Fast & Furious 6 (2013) were also filmed in Spain.

Ron Howard’s Heart of the Sea shot in the Canary Islands in 2014, as did Exodus and some scenes from HBO’s Game of Thrones.  

As for television, recent visitors include the BBC, which shot scenes for its popular sci-fi series Doctor Who at the Oasys Parque Temático del Desierto de Tabernas in Almeria…»

Leer el artículo entero Filming – A practical guide to filming in Spain

 

10 Cosas que «Reservoir Dogs» de Quentin Tarantino te puede enseñar sobre la dirección de cine

Reservoir Dogs Tarantino

Un director de cine debe dominar completamente todas las facetas de una película. Esto no quiere decir que lo haga todo él. El cine es un trabajo en equipo, pero como responsable de la película, el director de conocer los fundamentos de los elementos que la componen y que los responsables de cada departamento se encargarán de desarrollar completamente.

Si quieres ser director de cine, no dudes en ver muchas películas, muchas series de televisión, míralas con ojos diferentes… y luego rueda mucho, pon lo aprendido en práctica junto a estudiantes como tú, cada uno realizando las funciones que le correspondan.

El análisis de películas es una gran herramienta de aprendizaje, en la escuela la utilizamos mucho. Hoy como ejemplo traemos un extracto del análisis de Reservoir Dogs, la película que lanzó a la fama a Quentin Tarantino, realizado por Tasteofcinema.com y que allá por 1992 algunos tuvimos el privilegio de ver en los Cines Alphaville en versión original subtitulada. Elementos como el guión, el montaje, la secuencia de apertura… hacen que Reservoir Dogs sea una película diferente. Mira por qué:

 

«Quentin Tarantino is one of the biggest names in Hollywood, and with his most recent film “Django Unchained” being his highest grossing film to date, it’s hard not to give the man respect. He started off as an Indie darling and has risen through the upper echelon of the business where when he speaks (and he will, at great length), people listen. He’s gotten to the point where anything he touches can just about get greenlit, and has the ability to pick and choose his projects.

With the news that we’ll not be seeing “The Hateful Eight” on the big screen, we all clamor to the Internet wondering what he’ll do next. However, QT wasn’t always the top dog, as he had very humble roots where he clawed his way up from being a script doctor to a director. A chance encounter with QT’s longtime producer Lawrence Bender and Harvey Keitel’s wife lead us to having one of the more unique filmmakers in Hollywood.

Film students love him, and with good reason – he’s an inspiration. Here’s a man who said “no!” to traditional film schools and learned filmmaking like a lot of kids did, by watching movies. So, it’s only fitting to make a list dedicated to just that – learning from watching his film “Reservoir Dogs”.

Made for $1.2 million dollars, the film was a breath of fresh air for many moviegoers and critics and showed us that young filmmakers have a creative, new voice that needs to be heard. While QT wasn’t the only filmmaker to come out of the ’90s Independent scene, he’s one of the few that’s made a large impact. So, grab a pen, paper and a Big Kahuna Burger, and let “Reservoir Dogs” make you a better filmmaker.

1. Scripting Your Film

Reservoir Dogs Guión

This lesson is a little more unique, because it’s not entirely based on what you can see while watching the film, but is still an extremely important part of the the filmmaking process. Writing is the backbone to a film, and without a good script there will never be a good movie. The issue is, while you can learn a lot from watching a film, a writer can’t learn to write a screenplay by watching a film. Sure, you can learn a lot about visual storytelling, but the only way to really learn to write is to read.

Quentin Tarantino’s script for “Reservoir Dogs” should be required reading for any young aspiring filmmaker or screenwriter because it’s a useful tool. One thing that Tarantino did with his early scripts was he essentially edited the film with his writing and figured out the pacing that way.

When you read his script you’ll realize his action and description is broken up in such a way that almost feels like cuts, so when there are a lot of small sections we know it’s meant to be a little more fact paced. It’s an interesting way to write and a good resource to learn screenwriting.

2. Editing

Reservoir Dogs Editing

Tarantino has had a lot of collaborators throughout his long career, but I’d argue that none have been nearly as important to his growth as a visual filmmaker than his longtime editor and close friend, the late Sally Menke (1953-2010).

A director is only as good as his editor, because without a good editor who sees the vision the director is going for, all could be lost. When editing your film, whether you’re doing it yourself or working with an editor, you need to find the flow of the scene and find your voice! One thing that works so well in the film is how Menke and Tarantino take their time in a scene.

If a scene is meant to felt chaotic, it might cut around a bit, but neither person is afraid to hold on a great moment. Why cut away if everything you need is in one shot? Granted, this won’t work for everyone or everything, but the two understood each other and had different approaches to a scene.

One thing that Menke would do is to cut the scene to work emotionally and dramatically, and then Quentin would come in with a piece of music and cut for music beats. It’s an interesting way to work, but it helps shape QT’s unique style. Find your style in the edit, because in the edit is when your film is really made.

3. A Strong Opening Scene

Reservoir Dogs Apertura

In school, teachers will tell you that your first sentence of your opening paragraph is the most important because it’s what you use to hook the reader. This is a completely true statement, and can also be applied to the art of filmmaking. If you have a weak opening, you lose your audience and Tarantino knows this as well as anyone. He also knows, that by taking a risk, you can have a large payoff in the end. “Reservoir Dogs” is interesting, because it breaks a big rule that a lot of Hollywood filmmakers follow – don’t begin your film with a long dialogue scene!

The thought process is that audiences aren’t usually 100% settled yet, so to throw so much at them can be problematic. Another thing that we’re taught while writing screenplays is that we should know your story and your characters within the first 10mins. Another rule QT destroys, because if you’re going to make independent film, might as well march to the beat of your own drum.

This scene works not because it’s 5 dudes sitting around, it works because it’s entertaining. They’re not talking about themselves or talking about their job, because we have NO idea why they’re even together. We just know that they’re shooting the shit in a very casual, entertaining way. It tells us a lot about the characters, without knowing them.

Once again, this tactic won’t always work and few writers have the ear for dialogue that QT has, but it should inspire you to think outside the box. He made a heist film that didn’t begin like any other heist film people had seen, and that’s what made it interesting. Your opening scene is your hook, so don’t rush it. Make it so that after seeing your opening scene we can’t help but sit and watch the rest of the film.

4. Dialogue

Reservoir Dogs Dialogos

As previously said, Quentin Tarantino has an ear for dialogue so unique, it’s unlike other screenwriters working today. He is able to find a way to write characters that sound like real people, but at the same time don’t talk like anyone you’ve ever met. It’s almost a contradiction, but it works. Writing dialogue is hard, don’t let anyone tell you it’s not and it can be especially frustrating for beginner writers.

Part of the key to dialogue is not living completely in your head and performing your dialogue as you write. You need a basis for how the character sounds, and a lot of time it’s incredibly difficult to find a unique voice for each character in your beginning scripts.

What Tarantino claims to have done in his films is he based characters off friends of his and a lot of conversations said in “Reservoir Dogs”, “Pulp Fiction” and “True Romance” came directly from his friends; almost word-for-word. The point to this is not to mimic what Tarantino does and to go and add a long, eleven-page dialogue scene about Madonna to your script. No, it’s about finding your voice and using a filmmaker like QT as your inspiration.

Go to the mall and listen to everyone. Listen to people’s conversations. Listen to how people speak. If you’re writing a script and your character sounds too much like yourself, change them! You don’t want every character sounding the same. Steal from the people around you. Quentin himself once said “I steal from everything. Great artists steal; they don’t do homages…”

Leer el artículo entero: www.tasteofcinema.com 

 

Doble sesión de cortometrajes

Estrenamos dos nuevos cortometrajes del Curso pasado.

200 Sillines es el primero de ellos y cuenta con este equipo técnico:

Director: Javier Carrasco
Ayte. de Dirección: Alejandro Castro
Script: Laura Naranjo
Dirección Artística: Silvia Fernández
Jefe de Producción: Zahira Jaramane
Ayte. de Producción: Iustina Chiritá
Director de Fotografía: Joao Paiva
Operador de Cámara: Inés Pintor
Ayte. de Cámara: Ignacio Carreras
Auxiliar de Cámara: Raymi Guzmán
Jefe de Eléctricos: Patricia Rojas
Montador de Imagen: Carlos Valle
Montador de Sonido: Maricel Polidor
Técnico de Sonido: Enrico Farina
Microfonista: Isabel Morales

El segundo se titula Timba y cuenta con este equipo técnico

Cortometraje rodado en la Escuela Internacional de Cine y TV Septima Ars, Madrid.
Curso Septima Ars 2013/14
Director: Uxue Ezquiaga
Ayte. de Dirección: Sergio Neira
Script: Carlos H. Somet
Dirección Artística: Alejandra Linn
Jefe de Producción: Zahira Jaramane
Ayte. de Producción: Sofía Gea
Director de Fotografía: Inés Pintor
Operador de Cámara: Raymi Guzmán
Ayte. de Cámara: Jessica Arzate
Auxiliar de Cámara: Diego Pou
Jefe de Eléctricos: Joelle Zilbermann
Montador de Imagen: Laura López-Infantes
Montador de Sonido: Néstor López
Técnico de Sonido: Borja Molinello
Microfonista: Silvia Fernández

21 momentos mágicos de cine según los mejores directores de fotografía

21 directores fotografia

Los directores de fotografía son los héroes anónimos del cine. Si el escritor es el cerebro de una película y el director es su corazón, el director de fotografía son los ojos. La manipulación de la luz, la profundidad y la perspectiva permiten llevar incluso las historias más simples a la máxima belleza, haciendo que a menudo sean los héroes anónimos del cine.

Gregg Toland, Freddie Young, Jack Cardiff, Vittorio Storaro, Conrad Hall, Jordan Cronenweth, Christopher Doyle, Roger Deakins … la lista de los grandes es gloriosa. Para celebrar sus logros y desmitificar su trabajo, Film Studies 101 solicitó a 21 de los mejores directores de fotografía de cine que seleccionasen un momento en la historia del arte que les ha inspirado e influido.

Esta es el resultado que Empire Magazine comparte con todos:

The great Roger Deakins CBE is the man who made Skyfall shimmer like no other Bond movie, whose stellar work with the Coens began with Barton Fink ten Joel-and-Ethan movies ago, and who currently has 11 – count ‘em – Oscar nominations to his name.

Beloved of directors and all of his fellow cinematographers, it’s safe to say he’s high on the Christmas card list for most of the actors he’s lit, too. «Sometimes you get a cinematographer who shoots something, and you walk into their light, and they’re doing 50 per cent of my job,» Jake Gyllenhaal recently told <a href=»http://bit.ly/1ixHs0p» target=»blank»> The Hollywood Reporter.</a> «I walked into Roger Deakins’ lighting in two different movies, and I didn’t feel I had to give a performance.» The Academy has agreed and included his work on Prisoners in this year’s Oscars shortlist.

In short, Deakins is a giant of his field. He spoke to Empire from Sydney, 10,000 miles from his native Torquay, where he was working on Angelina Jolie’s wartime drama Unbroken…»

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

21 momentos mágicos de fotografía

Ver el artículo entero: WWW.EMPIREONLINE.COM

Antonio Román en HKM

Antonio Román estudió en la escuela la Diplomatura en Realización Audiovisual y desde que finalizó no ha parado.

Desde entonces ha realizado multitud de series televisivas como Ayudante de Dirección, sin ir más lejos acaba de terminar los rodajes de Sin tetas no hay paraíso y acaba de comenzar para Notrofilms la serie juvenil HKM que ha comenzado a emitirse esta misma semana.

Confiemos que esta serie que se emite diariamente en Cuatro dure mucho tiempo y que Antonio sea partícipe de su éxito.

¡¡ Enhorabuena Antonio !!