Warning: array_merge(): Argument #2 is not an array in /usr/home/fundacionfirstteam.org/web/wp/wp-includes/widgets.php on line 546 noviembre 2013 – Fundación Internacional firstteam

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Coloquio con Enrique Urbizu: ¿De dónde vienen las películas? 21 Noviembre 2014


Enrique Urbizu¿De dónde vienen las películas? Por Enrique Urbizu

La fundación First Team acogió, el 6 de noviembre de 2013, el coloquio del director y guionista cinematográfico Enrique Urbizu Jauregui (Bilbao, 1962), ganador del premio Goya 2012 al mejor director y película por ‘No habrá paz para los malvados’.
Desde la última vez que estuvo en first team, se corrió la voz de que sus palabras eran las de un maestro y más de noventa alumnos, actores, directores y guionistas las esperaban impacientes.
Comenzó su ‘speech’ haciendo incidencia en las motivaciones que le han llevado a dedicarse al cine: la lectura y su vocación y ansia de aprendizaje por el lenguaje y las imágenes.

“Desde pequeño, todo mi mundo era leer y contar historias, pero con la luz, con cámaras, este taller era el cine. Mi vocación me llegó muy pronto. Mi referencia ha sido siempre David Lynch. Fui a verle en la presentación de su libro “Atrapa el pez dorado’, libro que os recoiendo donde Lynch reflexiona sobre el proceso creativo y de donde viene la vocación”.

Tras preguntarse sobre como llega la inspiración y la procedencia de las ideas, aseguró que pueden llegar de muchas maneras. “La caja 507 surgió de mis viajes en Algeciras y Puerto Banús, no de la adaptación de la preciosa novela de Bernardo Artxiaga, que era la que en un principio quería adaptar”.
Al profundizar en un guión se debe volver a la idea inicial o tema de lo que queremos contar.

“No hay muchos libros de cine, pero los mejores libros son aquellos realizados por los cineastas.”

Dijo que él no se separa de los 10 mandamientos del escritor de Stephen Vicinczey y comentó cada uno en profundidad:

1.    No beberás, ni fumarás, ni te drogarás.
2.    No tendrás costumbres caras.
3.    Soñarás y escribirás; soñarás y volverás a escribir.
4.    No serás vanidoso. 
5.    No serás modesto.
6.    Pensarás sin cesar en los que son verdaderamente grandes.
7.    No dejarás pasar un día sin releer algo grande…
8.    No adorarás Londres-Nueva York-París
9.    Escribirás por tu propio placer 
10.  Serás difícil de complacer
Declaró que para un cineasta es importante saber ver el mundo exterior, lo que nos rodea, la gente que pasa por la calle, cada gesto y detalle es fundamental para no filmar nada artificialmente

La memoria selectiva es un gran invento, hay ideas que se quedan, hay ideas chispa, que si te pillan en un momento (determinado) pueden arrancar, y hay ideas que naufragan con el tiempo”

Sobre los guiones, el también guionista, aseguró que para trabajar en ellos es posible ser subjetivos, pero sin dejar de lado el rigor y la buena información. Opinó que tener límites para crear un guión puede ser motivo de inspiración, “ porque te da límites, no eres completamente libre.

Aprovechó para decir su opinión sobre los productores no quieren que seamos felices: una vez que crees que has acabado el guión, los productores te piden que lo cambies. El guión esta en continuo movimiento”.
Hizo también una crítica social hacia el mundo actual “’La obra de arte es una reacción a lo absurdo que es la vida’ recogida de una frase de ese mismo día en el periódico ‘El país’. Comentó que “si te dedicas a hacer cine negro, leer los periódicos es un gran manantial
Para ser un buen cineasta, dice Enrique, hay que ser un soñador. “El truco es soñar, escribir y seguir soñando, de otra manera no se conseguirá que el público sueñe con nada de lo que se haga para ellos, ya que a fin de cuentas el cineasta vive por y para el público”.
Siendo una escuela de actores, Urbizu también hizo hincapié en su relación con los actores y sobre el proceso de selección. Lo mejor, para un director, es escoger uno mismo a los actores, ya que luego es él quien trabajará con ellos. “ Un actor puede inspirar a un director a cambiar el guión en un casting, como me sucedió a mí”.
Antes de finalizar, Enrique Urbizu, explicó la importancia que tiene en su oficio, como en muchos otros, el hacerle caso a la intuición y al mecanismo de trabajo “prueba-error”.
Urbizu despertó en todos los presentes, un gusto por el trabajo bien hecho, por el rigor, la lectura, la observación y la escucha de otros cineastas. A todos los asistentes, sus palabras les siguieron inspirando para seguir en su vocación elegida. 

Muchas gracias Enrique por ser como eres- Assumpta Serna 

 
 
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Primera Edición de Tourisfilm

Primera Edición de Tourisfilm

Jornadas de turismo e industria audiovisual

Madrid, 19,21 y 22 Noviembre 2013


El próximo 19 de noviembre 2013, la Fundación first team acoge las primeras Jornadas de turismo e industria audiovisual (17:00 a las 21:00)

La inauguración de las jornadas de debates entre turismo y cine, ‘Tourisfilm’, tendrá lugar en la Fundación first team, mediante la celebración de un debate en el que intervendrán Scott Cleverdon en su calidad de vicepresidente de la Fundación first team; Alfonso Eduardo P. Orozco, como director de festivales; Francisco Jiménez, como representante de ‘Instituto Goethe’, dedicado a la difusión del cine alemán en nuestro país y Javier Angulo, director del Festival de cine de Valladolid ‘Seminci’.

Fesyco es la asociación cultural sin ánimo de lucro que promueve las Jornadas con la colaboración de la Asociación Española de Directores de Hotel (AEDH) y la Fundación first team. El objetivo del programa de estas Jornadas es analizar, difundir y promocionar las nuevas formas de negocio turístico generadas por la creación de las llamadas “Rutas de Cine”, en las que también se incluyen los rodajes de las series de televisión.

El análisis se realizará mediante ponencias que abordarán todas las herramientas de trabajo para empezar a entablar un diálogo entre los dos sectores, incluidas las nuevas aplicaciones tecnológicas existentes y futuras, que permiten la difusión de un destino turístico y los consiguientes beneficios que podrían reportar a las industrias cinematográfica y turística. 

En palabras de los fundadores de la Fundación first team, Assumpta Serna y Scott Cleverdon,  “En países como Italia, la colaboración “Turismo y cine”, es una materia objeto de estudio en las Universidades. Las jornadas de “Tourisfilm” son un evento de vital importancia para generar nuevas vías de negocio para el cine español y para la revitalización del turismo cultural. El hermanamiento del cine con otros sectores industriales, como el turismo, se hace en estos momentos, necesario y relevante. ”

Fundación First team
Edificio del campus ‘Universidad Carlos III’ Madrid – Pta. Toledo, planta 2ª
C.P 28005 (Madrid)

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Rodaje Borgia – Bruno Sevilla

Rodaje Borgia Bruno Sevilla

Bruno Sevilla and Assumpta Serna
Bruno Sevilla (Cardinal Bernardino Lopez de Carvajal) and Assumpta Serna (Vanozza dei Cattanei                  Borgia 3rd season

 


Actor-director, actor-scriptwriter relationship:

1.      I’d like you to put yourself in the shoes of a director…what do you think is the best way to work on set with an actor, from a director’s point of view? Do you think that rehearsals are necessary for all types of film and TV productions?

I would say that it is essential that the actor knows the scene he/she is going to perform in detail and not just the dialogue. Therefore, the actor has to have a meeting with the director prior to the scene, providing precise feedback (precision is what helps the actor most when working), but also the actor must have time to rehearse because it allows the actor to have a general perspective of the character’s journey and to gain confidence, both in his/her work and in the work of the director.  

2.      All actors have different desires, personalities and training, from your experience, what would be the ideal professional relationship between actor and director on set?

For me trust and respect would be the best combination. Trusting in someone that is directing you is essential because actors are usually quite alone when it comes to working and mutual respect makes things flow better, although one might not always agree.

3.      What have you seen or listened to whilst filming on the Borgia series that has made you feel proud of having acted in it?

The professionalism of the people who are involved: the cast, the production team, the scriptwriters, the directors and the makeup and hair department. It makes you realize how lucky you are, to be part of it.

4.      How has it been working on the Borgia set with 19 different nationalities, the most expensive European series to date? What impression do you have of them, having seen them on screen, acting in their characters and working with them on set?

The general feeling is that we are a big family and that we are all working with the same objective. Straight away you are made to feel at home. Everybody knows the series and the characters so well that the cast works incredibly naturally together.

5.    How has it been working with Metin Huseyin? What would you like to say publicly that you couldn’t say on set?
I feel very lucky to have had Metin as my director. I remember arriving on set on my first day and with only a look, I knew I was welcome. He manages to find the confidence in you. Despite being on an enormous set, (which one always associates with a certain level of tension) I remember him being very comfortable, with a great sense of humour, knowing exactly what he wanted and taking the time to give the actors the information that we needed, independently from the responsibility our characters had in the scene. It has been a real pleasure.

6.      How has it been working with Tom Fontana? Can you tell us what are the advantages of having the scriptwriter on set for the actors? What would you like to tell him publicly that you couldn’t on set?

The truth is that I do not know Tom personally, but the whole team speaks wonders about him.

The Profession:

1.      How did you prepare for the character you played in Borgia? How did you prepare for this casting in particular? What type of investigation did you carry out for performing the character?

For the casting, I had the advantage of living just outside of Madrid so I was able to film at home in a more relaxed environment, with as many takes as I thought necessary (and there were many!) and then I sent the video. Concerning the character’s development, there wasn’t much time to prepare because we started filming 48hours after I got the job. So instead, I made sure that I knew the entire episode script and that I had researched into the historical character (especially how he arrived at the Vatican) and I used a lot of intuition. Luckily, I was able to discuss the doubts that I had about the scene with Metin the director, and at the same time with my cast mate Mario de la Rosa, who plays the other Spanish cardinal. We managed to establish a relationship between the two cardinals and this helped me hugely.

2.       Do you think that castings are fair for actors? Even for those that have experience in their characters and have worked on various films? What would be the best way? An interview? Or even finding your own material for the casting?

The topic of castings is always complicated. A casting is like doing an exam but not knowing which is the right way to do it, and also you have to give the best you can in often-unfavorable circumstances. As actors, we hate doing castings but at the same time we spend our lives waiting for the castings. It’s very strange. I understand that there are many actors for very few roles, so ultimately castings will never stop being a necessary evil. I don’t know if there is an ideal ‘formula’, because every project and casting for each character is different, so in the end, what is left to us actors (or at least what I try to do) is to see castings as an opportunity to perform, although it is only for two minutes.

3.      In your opinion, in the current state of things, do you think that actors and actresses are allowed to completely give their own ideas and be part of the creative team on the film or TV set? Do you think their comments are useful?

For me in general, I don’t miss having more creative responsibility, without having the time available to be able to discuss with the director the direction that I have to do. Ultimately, unless there is a rehearsal period, the actor is only expected to interpret the role that has already been written, so the creative contributions of the actor are limited to making the character his/her own as much as possible or simply making his/her work easier. In my experience, the role of the director is the most overriding, because there are directors that leave things to you and trust in you, and there are others that practically tell you the intonation of every word. I believe that part of our work is to know how to adapt ourselves to whichever of the two styles.

4.      Tell us what is the most important thing that an actor has to know, that you discovered yourself and that no one told you.

For me, the most important thing is to be aware of what this profession involves, that you can’t be half hearted about it, hoping that someone will discover you. You can never stop. If they don’t call you, you call them and create your own network of contacts, make short films, go to classes, create your own work. Above all, if you have to combine working in this profession with a ‘day-job’ (like we have all had to do) make sure that you do not get distracted from the path you want to follow. 

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Coloquio Bruno Sevilla. Interview Noviembre 2013

Interview – Bruno Sevilla

Bruno Sevilla and Assumpta Serna
Bruno Sevilla (Cardinal Bernardino Lopez de Carvajal) and Assumpta Serna (Vanozza dei Cattanei                  Borgia 3rd season




Actor-director, actor-scriptwriter relationship:

1.      I’d like you to put yourself in the shoes of a director…what do you think is the best way to work on set with an actor, from a director’s point of view? Do you think that rehearsals are necessary for all types of film and TV productions?

I would say that it is essential that the actor knows the scene he/she is going to perform in detail and not just the dialogue. Therefore, the actor has to have a meeting with the director prior to the scene, providing precise feedback (precision is what helps the actor most when working), but also the actor must have time to rehearse because it allows the actor to have a general perspective of the character’s journey and to gain confidence, both in his/her work and in the work of the director.  

2.      All actors have different desires, personalities and training, from your experience, what would be the ideal professional relationship between actor and director on set?

For me trust and respect would be the best combination. Trusting in someone that is directing you is essential because actors are usually quite alone when it comes to working and mutual respect makes things flow better, although one might not always agree.

3.      What have you seen or listened to whilst filming on the Borgia series that has made you feel proud of having acted in it?

The professionalism of the people who are involved: the cast, the production team, the scriptwriters, the directors and the makeup and hair department. It makes you realize how lucky you are, to be part of it.

4.      How has it been working on the Borgia set with 19 different nationalities, the most expensive European series to date? What impression do you have of them, having seen them on screen, acting in their characters and working with them on set?

The general feeling is that we are a big family and that we are all working with the same objective. Straight away you are made to feel at home. Everybody knows the series and the characters so well that the cast works incredibly naturally together.

5.    How has it been working with Metin Huseyin? What would you like to say publicly that you couldn’t say on set?
I feel very lucky to have had Metin as my director. I remember arriving on set on my first day and with only a look, I knew I was welcome. He manages to find the confidence in you. Despite being on an enormous set, (which one always associates with a certain level of tension) I remember him being very comfortable, with a great sense of humour, knowing exactly what he wanted and taking the time to give the actors the information that we needed, independently from the responsibility our characters had in the scene. It has been a real pleasure.

6.      How has it been working with Tom Fontana? Can you tell us what are the advantages of having the scriptwriter on set for the actors? What would you like to tell him publicly that you couldn’t on set?

The truth is that I do not know Tom personally, but the whole team speaks wonders about him.

The Profession:

1.      How did you prepare for the character you played in Borgia? How did you prepare for this casting in particular? What type of investigation did you carry out for performing the character?

For the casting, I had the advantage of living just outside of Madrid so I was able to film at home in a more relaxed environment, with as many takes as I thought necessary (and there were many!) and then I sent the video. Concerning the character’s development, there wasn’t much time to prepare because we started filming 48hours after I got the job. So instead, I made sure that I knew the entire episode script and that I had researched into the historical character (especially how he arrived at the Vatican) and I used a lot of intuition. Luckily, I was able to discuss the doubts that I had about the scene with Metin the director, and at the same time with my cast mate Mario de la Rosa, who plays the other Spanish cardinal. We managed to establish a relationship between the two cardinals and this helped me hugely.

2.       Do you think that castings are fair for actors? Even for those that have experience in their characters and have worked on various films? What would be the best way? An interview? Or even finding your own material for the casting?

The topic of castings is always complicated. A casting is like doing an exam but not knowing which is the right way to do it, and also you have to give the best you can in often-unfavorable circumstances. As actors, we hate doing castings but at the same time we spend our lives waiting for the castings. It’s very strange. I understand that there are many actors for very few roles, so ultimately castings will never stop being a necessary evil. I don’t know if there is an ideal ‘formula’, because every project and casting for each character is different, so in the end, what is left to us actors (or at least what I try to do) is to see castings as an opportunity to perform, although it is only for two minutes.

3.      In your opinion, in the current state of things, do you think that actors and actresses are allowed to completely give their own ideas and be part of the creative team on the film or TV set? Do you think their comments are useful?

For me in general, I don’t miss having more creative responsibility, without having the time available to be able to discuss with the director the direction that I have to do. Ultimately, unless there is a rehearsal period, the actor is only expected to interpret the role that has already been written, so the creative contributions of the actor are limited to making the character his/her own as much as possible or simply making his/her work easier. In my experience, the role of the director is the most overriding, because there are directors that leave things to you and trust in you, and there are others that practically tell you the intonation of every word. I believe that part of our work is to know how to adapt ourselves to whichever of the two styles.

4.      Tell us what is the most important thing that an actor has to know, that you discovered yourself and that no one told you.

For me, the most important thing is to be aware of what this profession involves, that you can’t be half hearted about it, hoping that someone will discover you. You can never stop. If they don’t call you, you call them and create your own network of contacts, make short films, go to classes, create your own work. Above all, if you have to combine working in this profession with a ‘day-job’ (like we have all had to do) make sure that you do not get distracted from the path you want to follow. 

Read more