Take these posts as my foot prints.
Sometimes I can’t help but wonder: if we haven’t been personally transformed over the years, then what are we even doing in the storytelling business? Where do all those stories we take in go? Do we just watch them and think, “Well, that only happens in movies”? Are the characters the only ones who need to grow — while we remain safely untouched?
Continue reading “Just a story?”
I’ve always loved the first day of school — and today is no exception.
Here I am, sitting in my own room, yet connecting with writers from Australia to Portugal through John Yorke’s learning platform.
I’m especially excited about this journey, as the course offers a unique approach to online learning.
I plan to share my experiences and reflections here along the way — because sharing gives me a reason to pause and reflect.
And lately, I’ve come to believe that this, too, is an essential part of learning.
The Bear is not my favorite TV show. It’s just too loud and fast for my highly sensitive senses. I can feel the tension building in my body scene by scene, and by the end, I just want to throw a gravy pot at the wall—just like Carmy did in a scene from the pilot script that didn’t make the final cut.
Continue reading “Gravy Pots and CenterFrame Script Club”
Yesterday, I had a chance to join the Pop Up Series Incubator info call. Since the program is aimed at European screenwriters and producers, I’m not eligible for it, but I still wanted to be there and learn more about it. Just because: 1- Adaptation is one of my focuses as a writer. 2- I know firsthand how well-thought their programs are from my experience at the Netflix Adaptation Lab, also created by Tatino Films.
Lately, we’ve been witnessing the rise of IP-based drama around the world, and I feel it’s more rewarding than ever to have a work based on pre-existing IPs as writers and producers.
But why?
Continue reading “Why Adapt?”
I just finished Shonda Rhimes’ “Pitch & Write Stories for Film and TV” course on MasterClass. It’s very beginner-friendly, like most courses on the platform. Actually you don’t even have to be a writer to follow along; it offers a great peek into the story-breaking process and gives you a taste of the writer’s room experience if you’re interested.
Continue reading “My Experience of Shonda Rhimes Course on MasterClass”
Yesterday, I had the chance to attend an online presentation by LIM (Less is More), the European feature film programme. While the presentation focused primarily on their upcoming year-long training programme for story development, it gave me valuable insights into their overall philosophy. I must say, I’m quite impressed by their humanistic approach to storytelling.
Continue reading “An Alternative Storytelling Process”
Some time ago, a producer seemed genuinely surprised that I have my own mind. I was equally surprised—why hire me if you don’t want me to use it?
If all I’m expected to do is write exactly what I’m told, then why have I been watching countless movies and TV shows from around the world, studying screenwriting books meticulously, and racking my brain over the mechanics of storytelling?
Continue reading “It’s Teamwork”
Every project has its own time, and the journey of our beloved Adrian Monk and his creator, Andy Breckman, exemplifies this truth once again. Since the conclusion of the “Monk” TV series after 125 episodes in 2009, Breckman has harbored a dream of bringing the character to the big screen. Over the years, he developed various storylines, pitched them, and even penned two different scripts, but none of them seemed to materialize. That is, until the pandemic struck. Sometimes, out of adversity, opportunity arises.
Continue reading “Mr. Monk’s Last Case”
So, you might be wondering what Dominik Moll’s movie “The Night of the 12th” (La Nuit du 12) has to do with the British true crime series “The Long Shadow.” Let me break it down. Despite their apparent differences, both narratives, adapted from non-fiction books, shed light on a disturbing reality: the bias and prejudice faced by women who are perceived as having multiple partners. It’s almost as if these women are deemed deserving of their fate. Despite being set in Europe roughly half a century apart, the misogyny remains eerily consistent. It’s like that old saying, “There is nothing new on the Western front.”
Continue reading “The Long Shadow”
Once again, here we are in the realm of those wonderfully eccentric Argentinian filmmakers: Mariano Cohn and Gastón Duprat. They’ve captivated me before with their dark humor and expert characterizations in TV shows like “El Encargado” (The Boss) and “Nada” (Nothing). I simply fell in love with their work then, and now, after delving into their 2016 film, “El Cuidadano Ilustre” (The Distinguished Citizen), I’m happy to report that my admiration for them remains steadfast, if not grown stronger.
In “The Distinguished Citizen,” we’re taken on a journey following a Nobel Prize-winning Argentinian author returning to his small hometown after 40 years. As the sophisticated and enigmatic writer inevitably clashes with the narrow-minded locals, we’re given the opportunity to reflect on themes such as identity, origins, art, and fame. Ultimately, the film reinforces the age-old adage that “no one can be a prophet in their own land.”
Continue reading “The Distinguished Citizen”
A Screenwriter’s Journey 