Programa SCampus 2024

The session will address the dynamics and functioning of some of the main film festivals and markets, and their impact on the production and distribution strategies of projects in development and finished films. We will discuss who are the key players in these important meeting places for the international industry and how to interact with them. We will also analyse some distribution strategies and discuss the relevance of properly designing the essential materials – dossiers, EPKs, teasers, posters – that will accompany the film’s journey from its conception to its premiere.

LLENDES [BORDERS, LIMITS, MARGINS].

Based on my recent filmography (2014-2024), we will reflect on the borders, the limits, the edges, the margins; where biologists say that life is born and filmmakers can find the new paths of evolution of the language of “moving” images and sounds. This reflection will touch on issues such as the obsolete division between fiction and documentary, the idea of the political in cinema, the need for a dissensual fiction, the validity of post-narrative cinema, the potential of the film-essay, archive cinema…

FILM FESTIVALS: MANAGEMENT, DIFFICULTIES AND NEW AUDIENCES

In the third edition of SEMILLERU Campus, we have Alejandro Díaz Castaño, director of the Gijón International Film Festival (FICX) and SEMILLERU, who will hold a conversation with Tito Rodríguez, currently in charge of programming at FICX and former director of Marketing Policies at the ICAA. Both experts in cultural management will discuss the challenges and opportunities facing international film festivals in the current context. They will focus on the different management strategies, the mechanisms to ensure their relevance, and the logistical and creative difficulties that arise in the organisation of events of this magnitude. It will also address how festivals are adapting to thedemands of an increasingly diversifiedaudience. This session promises to offer a deep and thoughtful insight into the complex web of international festival making.

THE AUDIOVISUAL SCRIPT: FROM THE IDEA TO THE SCREEN.

The basics of the audiovisual script will be presented, analyzing formats, structures, mistakes and examples. From the original idea, the shooting script and the final image; including the translation of the script for dubbing and subtitling.

During the training, fragments of the documentary Writing Heads: screenwriters speak.

FILM FINANCING IN SPAIN

A workshop where we will analyze the different possibilities of emerging projects with a focus on financing. It will address how to design a realistic financing plan and economic viability based on the mapping of private and public resources, as well as the different financing channels. This session will offer tips to help emerging producers to establish an effective roadmap to squeeze the economic potential of their project.

In this workshop we will discuss different approaches to the documentary look and non-fiction cinema. We will discuss issues related to directing and producing films with few resources, the limits and possibilities of this type of cinema. We will share materials of the creative processes: examples of the research and writing phases, we will talk about the elaboration of a dossier as a tool, and the creative possibilities that small shoots and writing in montage allow.

THE FOREST OF CREATION

To enter the forest of ideas, to IDENTIFY the ORIGIN OF YOUR IDEA, the SEED. Discard and eliminate the NOISE that keeps you away from the ESSENCE of your project. In short, understand what is IT in what you want to explain.

DON’T TURN ON THE CAMERA

Based on 3 ideas that always haunt my mind during the creation of my documentaries, this talk aims to question the standardized ways of creation and production in order to generate an open debate to reflect on the emerging need to document the world.

1. The attentive gaze

• How do we see the world?
• How do we see others and how do we see ourselves?
• Can we learn to look?
• The gaze without a camera.
• Looking at the known as something totally unknown.
• Technology: living in the age of technology means being under the influence of a certain way of approaching and understanding things.

1. Fragility

• The more developed a society is, the more fragile it is.
• It is by showing my fragility that I can show the fragility of the world.
• The fragility of non-commercial cinema, freedom.
• The search.
• The interview.

1. Details of love

Production and love.

It is because of the need to dilute myself in the other through love that I can make documentaries.

Empathy with the characters.

Tenderness and understanding.

LISTENING, SEEING, FEELING, ATTENDING

“If directing is a look, editing is a heartbeat” JLG

We will approach the act of directing and editing through the analysis of the creative processes that come into play in a film, sharing materials from different projects present in the website ‘Inside Cinema’ created by A Bao A Qu.

Throughout the day, we will unravel issues that come into play, both at a human and creative level, to share different ways of approaching the filmmaking process. The objective, far from being methodological, is to delve into the plurality of ways to find a film and what is at stake in this process. Because elaborating a dramaturgy is not a linear and progressive path, but a process of composition that involves associating, constellating, juxtaposing, amalgamating and a long string of verbs that imply action, decision, listening and reflection. Because cinema is an art of bodies and we, as filmmakers, are, above all, a body that feels.

Ideally, each participant will arrive with three key images of the project they are working on or would like to work on. Failing that, they will bring images of important references in their understanding of cinema.

LISTENING, SEEING, FEELING, ATTENDING

“If directing is a look, editing is a heartbeat” JLG

We will approach the act of directing and editing through the analysis of the creative processes that come into play in a film, sharing materials from different projects present in the website ‘Inside Cinema’ created by A Bao A Qu.

Throughout the day, we will unravel issues that come into play, both at a human and creative level, to share different ways of approaching the filmmaking process. The objective, far from being methodological, is to delve into the plurality of ways to find a film and what is at stake in this process. Because elaborating a dramaturgy is not a linear and progressive path, but a process of composition that involves associating, constellating, juxtaposing, amalgamating and a long string of verbs that imply action, decision, listening and reflection. Because cinema is an art of bodies and we, as filmmakers, are, above all, a body that feels.

Ideally, each participant will arrive with three key images of the project they are working on or would like to work on. Failing that, they will bring images of important references in their understanding of cinema.

CINEMATOGRAPHIC PHOTOGRAPHY SHOULD CREATE UNIVERSES RATHER THAN ATMOSPHERES.

Organically observe the different worlds around us as training to apply these experiences to the creation of a mechanical image.

Not to remain only with the superficial reading of a script, but to get to investigate what it hides.

Transcode the reading of the script into photographic cinematographic thought. Verbalise the light, position and rhythm of the camera.

Preparing the different phases from a creative and logistical point of view. From pre-production to colour correction or colour grading. Without forgetting the concept of “living film”.

Try to choose the most appropriate tools, which will help us to create mechanical images, in accordance with the cinematographic photographic thought developed in each project (camera, lens, lighting, different supports for a dynamic or contemplative camera).

A WHALE: HOW TO PRODUCE INDEPENDENT AND SUSTAINABLE FILMS

This workshop will explore the complete process of development, financing, production and post-production of Una Ballena, a co-production of Mr & Mrs, Sayaka and Orisa Produzioni. Special emphasis will be placed on green filming and the emission reduction measures implemented. Una Ballena is the first feature film in Spain to obtain Green Film certification. The workshop will be facilitated by its producer, Leire Apellaniz, and Eneko Muruzabal, sustainability consultant.

Esta actividad tendrá lugar en la Sala de Conferencias del Centro de Cultura Antiguo Instituto (CCAI)

FILM AS A COLLABORATIVE PROCESS

Filmmaking is not just about telling stories; it’s about building them together. In this practical session, we will unpack how individual ideas are nurtured and transformed when other perspectives are added. Using examples from my career as a director, producer and collaborator in all departments, I will show you how learning to share, discuss and even question your own ideas can take your projects to another level. This talk invites you to discover that, in filmmaking, the real magic happens when we work as a team, growing an internal vision by understanding its resonances and shared influence.

Esta actividad tendrá lugar en la Sala de Conferencias del Centro de Cultura Antiguo Instituto (CCAI)