It's a well-known fact that Iberoamerican cinema, which includes Latin American, Spanish, and Portuguese productions, has had a prominent presence at the most important international film festivals for several years now and several films have been recognized at some of the most important film awards around the world. Colombia's "Embrace of the Serpent" earning the country's first-ever Oscar nomination in the Best Foreign Language Film category and Argentina's "Wild Tales" taking home the 2016 BAFTA Award for Best Film Not in English Language are juts two examples of recent victories.
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
Acknowledging the need for a unified industry in the region and a platform for the Iberoamerican industry to honor and support its own productions, the Premios Platino of Iberoamerican Cinema were born three years ago. Each year the organizing committee selects a diverse group of nominees and invites members of the industry across the American continent and the Iberian peninsula to vote in order to select the winners. The ceremony takes place in a different country every year as a way to include all of the varied industries in the process and execution of the event.
This morning, after considering more than 150 films from a pool of over 800 theatrically releases productions, the final nominees were announced by a group of talented actors, including legendary Mexican-American thespian Edward James Olmos, and filmmakers led by CNN en Español's journalist Juan Carlos Arciniegas. Guatemala's Berlin-winning gem "Ixcanul" received 8 nominations, just as Colombia's Oscar-nominated "Embrace of the Serpent" did. These two gorgeously executed works center on indigenous stories and highlight the rich cultural heritage of Latin America. It's a pleasant surprise to see these two fantastic films get the most love.
Chile's "The Club" and Argentina's "The Clan," films by the two most prolific Pablos working in South America, Pablo Larrain and Pablo Trapero, received 6 nominations each. Larrain's dark tale about Catholic priests with questionable pasts was also nominated this year for a Golden Globe in the Best Foreign Language Film category. Perhaps one of the most surprising, yet well-deserved nominations, was the inclusion of Alonso Ruizpalacios among the Best Director nominees for his brilliant debut "Güeros."
Two films distributed by Pantelion received nomations: "600 Miles" and "Un Gallo con Muchos Huevos." Oscilloscope earned 10 mentions with properties "Ma Ma" and "Embrace of the Serpent." Kino Lorber's "Ixcanul, ""Güeros," and "The Pearl Button" also earned the art house distributor 10 nominations.
Regarding the quality of the films being produced in Iberoamerica Egeda's Elvi Cano said, “This has been an exceptional year for Iberoamerican Cinema, with 826 qualifying releases. Iberoamerican Cinema is alive, growing and stronger then ever.” Renowned journalist and host Juan Carlos Arciniegas added," These awards are starting a revolution and it's my dream, as an ambassador for Premios Platino, that these magnificent films that got nominated today to be seen by all our Iberoamerican audiences. I can't be more proud of what our filmmakers are doing today and if the public don't get to enjoy them, we won't be doing our job"
The 3rd Annual Premios Platino of Iberoamerican Cinema will take place on July 24th in Punta del Este, Uruguay
Here is the full list of nominees:
Premio Platino for Best Iberoamerican Picture
-"Embrace of the Serpent" (El abrazo de la serpiente), by Ciro Guerra (Ciudad Lunar Producciones, Caracol Cine, Dago García Producciones, Nortesur Producciones S.A., Mc Producciones, Buffalo Films) (Colombia, Venezuela, Argentina).
-"The Clan" (El clan), by Pablo Trapero (Kramer & Sigman Films, Matanza Cine S.R.L., El Deseo, P.C., S.A.) (Argentina, Spain).
-"The Club" (El club), by Pablo Larraín (Fabula Producciones) (Chile).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Truman," by Cesc Gay (Imposible Films S.L., Truman Film A.I.E., Bd Cine S.R.L) (Spain, Argentina).
Premio Platino for Best Director
-Alonso Ruizpalacios, for "Güeros."
-Cesc Gay, for "Truman."
-Ciro Guerra, for "Embrace of the Serpent" (El abrazo de la serpiente).
Pablo Larraín, for "The Club" (El club).
Pablo Trapero, for "The Clan" (El clan).
Premio Platino for Best Actor
-Alfredo Castro, for "The Club" (El club).
-Damián Alcázar, for "Magallanes."
-Guillermo Francella, for "The Clan" (El clan).
-Javier Cámara, for "Truman."
-Ricardo Darín, for "Truman."
Premio Platino for Best Actress
-Antonia Zegers, for "The Club" (El club).
-Dolores Fonzi, for "Paulina."
-Elena Anaya, for "The Memory of Water" (La memoria del agua).
-Inma Cuesta, for "The Bride" (La novia).
-Penélope Cruz, for "Ma Ma."
Premio Platino for Best Original Score
-Alberto Iglesias, for "Ma Ma."
-Federico Jusid, for "Magallanes."
-Lucas Vidal, for "Nobody Wants the Night" (Nadie quiere la noche).
-Nascuy Linares, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Pascual Reyes, for "Ixcanul."
Premio Platino for Best Animated Feature Film
-"Capture the Flag" (Atrapa la bandera), by Enrique Gato (Telecinco Cinema S.A., Los Rockets La Película A.I.E., Telefónica Studios S.L.U., 4 Cats Pictures S.L., Ikiru Films S.L., Lightbox Animation Studios S.L.) (Spain).
-"Top Cat Begins" (Don Gato 2: El inicio de la pandilla), by Andrés Couturier (Anima Estudios) (Mexico).
-"El Americano", by Ricardo Arnaiz, Mike Kunkel (Olmos Productions, Phil Roman Entertainment, Animex) (Mexico).
-"Amila's Secret" (El secreto de Amila), by Gorka Vázquez (Baleuko, S.L., Talape Animazioa, Draftoon Animation) (Spain, Argentina).
-"Huevos: Little Rooster's Egg-Cellent Adventure" (Un gallo con muchos huevos), by Gabriel Riva Palacio Alatriste, Rodolfo Riva Palacio Alatriste (Huevocartoon Producciones) (Mexico).
Premio Platino for Best Documentary Feature Film
-"Beyond My Grandfather Allende" (Allende mi abuelo Allende), by Marcia Tambutti Allende (Errante Producciones Ltda, Martfilms) (Chile, Mexico).
-"New Girls 24 Hours" (Chicas nuevas 24 horas), by Mabel Lozano (Mafalda Entertainment, S.L., Aleph Media S.A., Puatarará Films, Hangar Films, Arte Vital) (Spain, Argentina, Paraguay, Colombia, Peru).
-"The Pearl Button" (El botón de nácar), by Patricio Guzmán (Atacama Productions, Valdivia Film, France 3 Cinema, Mediaproduccion, S.L.) (Chile, Spain).
-"Tea Time" (La once), by Maite Alberdi (Micromundo Producciones) (Chile).
-"The Propaganda Game," by Álvaro Longoria (Morena Films S. L.) (Spain).
Premio Platino for Best Screenplay
-Cesc Gay, Tomás Aragay, for "Truman."
-Ciro Guerra, Jacques Toulemonde, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jayro Bustamante, for "Ixcanul."
-Pablo Larraín, Guillermo Calderón, Daniel Villalobos; for "The Club" (El club).
-Salvador del Solar, for "Magallanes."
Premio Platino for Best Iberoamerican Debut Feature Film
-"600 Miles" (600 Millas), by Gabriel Ripstein (Lucia Films) (Mexico).
- "Retribution" (El desconocido), by Dani de la Torre (Atresmedia Cine S. L., Vaca Films Studio, S.L.) (Spain).
-"The Boss, Anatomy of a Crime" (El patrón: radiografía de un crimen), by Sebastián Schindel (Magoya Films S.A., Estrella Films) (Argentina, Venezuela).
-"Ixcanul," by Jayro Bustamante (La Casa de Producción, Tu vas voir Productions) (Guatemala).
-"Magallanes," by Salvador del Solar (Péndulo Films, Tondero Producciones, Cepa Audiovisual S.R.L., Proyectil, Cinemara, Nephilim Producciones, S.L.) (Peru, Colombia, Argentina, Spain).
Premio Platino for Best Film Editing
-César Díaz, for "Ixcanul."
-Eric Williams, for "Magallanes."
-Etienne Boussac, Cristina Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Jorge Coira, for "Retribution" (El desconocido).
-Pablo Trapero, Alejandro Carrillo Penovi, for "The Clan" (El clan).
Premio Platino for Best Art Direction
-Angélica Perea, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Bruno Duarte, Artur Pinheiro, for "Arabian Nights: Vol.2 - The Desolate One" (As mil e uma noites: Volume 2, O desolado).
-Jesús Bosqued Maté, Pilar Quintana, for "The Bride" (La novia).
-Pilar Peredo, for "Ixcanul."
-Sebastián Orgambide, for "The Clan" (El clan).
Premio Platino for Best Cinematography
-Arnaldo Rodríguez, for "The Memory of Water" (La memoria del agua).
-David Gallego, for "Embrace of the Serpent" (El abrazo de la serpiente).
-Luis Armando Arteaga, for "Ixcanul."
-Miguel Ángel Amoedo, for "The Bride" (La novia).
-Sergio Armstrong, for "The Club" (El club).
Premio Platino for Best Sound Direction
-Carlos García, Marco Salavarría, for "Embrace of the Serpent" (El abrazo de la serpiente).
-David Machado, Jaime Fernández, Nacho Arenas, for "Retribution" (El desconocido).
-Eduardo Cáceres, Julien Cloquet, for "Ixcanul."
-Federico Esquerro, Santiago Fumagalli, Edson Secco, for "Paulina."
-Vicente D’Elía, Leandro de Loredo, for "The Clan" (El clan).
- 5/27/2016
- by Carlos Aguilar
- Sydney's Buzz
I met Alain Alfaro some years back after he came to see one of my short films at a festival. He was getting ready to shoot a short film with a mutual friend, actor George Ruiz. It was to be a romantic comedy called 'Waiting For Her', which he said he had to make to convince his mother he was not on drugs after she saw his previous “experimental” film. As a filmmaker he often writes, produces, directs, shoots and edits all of his projects. His newest work, a web series entitled Henry, was an official selection at this year's New York Television Festival to great success and which I was fortunate (or crazy enough) to get involved in.
Along with the rise of quality Latino web content out there, Henry, starring Jaime Fernandez in the titular role, is starting to make its mark. So, I asked Alain from his P.O.V what are his rules of putting together a successful web series from scratch.
1. “Expect Nothing In Return This is your gift to the world. You most likely won't get rich or famous off of it. Ask yourself if this is something you would do with or without the money, attention, or that development deal. Find a personal connection to the material and tell your story.”
2. “So have something to say this will help when you start to promote it around. A consistent theme will keep your series in tact. It may change as you go along and that's fine. Find interest and meaning in what you're saying and have fun expressing it. Make each episode about One thing - pick a theme, plot line or scenario and stick with just that. Keep the story-telling simple and to the point. If a picture is worth a thousand words, imagine 24 of them per second. Trust your frame, trust that your material is sufficient. Don't give your audience so much to digest. Assume that there's a world of activity happening around them. Your video should represent just one other thing to focus on. And keep it funny! This is just a personal opinion of mine. Nobody wants to take ten minutes out of their day to be depressed by their friend's boyfriend's web series. Be easy on the drama. Keep them laughing, keep them coming back. Once you've got them comfortable, then you ease in that real message that you want to say.”
3. “Work the tools, don't let the tools work you, it doesn't cost much to create a great-looking video these days. Take advantage of all the fun, affordable tools that we have available to us but keep it minimal always. Less is more. Trust your story and don't saturate your production with unnecessary fancy camera moves. To fit in a tip within a tip, don't hurt your pockets so much either. Having a low budget will force creative solutions, which will lead to happy surprises. Remember, making a series is an ongoing thing. Pace yourself and avoid getting tainted. Make sure to capture the best audio that you can while on set (stay away from Adr as much as possible). A bad image can be passed off as an artistic choice, but bad audio is bad audio and it will make your piece seem amateur.”
4. “Set deadlines don't get lost in your own creative cycle. Release it. A deadline is a great way to push yourself harder. Stay true to it and enforce it among the other people in your team. The concept of perfection can be dangerous for an artist. Once your piece is in the hands of the audience, it is no longer yours. Do your best to create something memorable, then send it off to the real world and watch it get all grown up and be proud of it.”
5. “Keep it short and concise whether or not the "YouTube Audience" has a short attention span is still up for debate, but the truth is that most people are watching a web series on the go. This is your calling card as a filmmaker. Your digital elevator pitch. Ten minutes or under is a good time frame for a web series episode. If you're projecting an episode being longer than this, make sure it's extraordinary. Get to the point fast. Today's audience just gets it. Anytime someone sits to watch something they're bringing a lifetime of movie-watching from over 100 years worth of titles. The cinematic language is embedded in all of us. Be ahead of your audience in your story-telling.”
View his work here: www.alignfilms.com and check out Henry at Henrywebseries.com.
Written by Juan Caceres , LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook .
Along with the rise of quality Latino web content out there, Henry, starring Jaime Fernandez in the titular role, is starting to make its mark. So, I asked Alain from his P.O.V what are his rules of putting together a successful web series from scratch.
1. “Expect Nothing In Return This is your gift to the world. You most likely won't get rich or famous off of it. Ask yourself if this is something you would do with or without the money, attention, or that development deal. Find a personal connection to the material and tell your story.”
2. “So have something to say this will help when you start to promote it around. A consistent theme will keep your series in tact. It may change as you go along and that's fine. Find interest and meaning in what you're saying and have fun expressing it. Make each episode about One thing - pick a theme, plot line or scenario and stick with just that. Keep the story-telling simple and to the point. If a picture is worth a thousand words, imagine 24 of them per second. Trust your frame, trust that your material is sufficient. Don't give your audience so much to digest. Assume that there's a world of activity happening around them. Your video should represent just one other thing to focus on. And keep it funny! This is just a personal opinion of mine. Nobody wants to take ten minutes out of their day to be depressed by their friend's boyfriend's web series. Be easy on the drama. Keep them laughing, keep them coming back. Once you've got them comfortable, then you ease in that real message that you want to say.”
3. “Work the tools, don't let the tools work you, it doesn't cost much to create a great-looking video these days. Take advantage of all the fun, affordable tools that we have available to us but keep it minimal always. Less is more. Trust your story and don't saturate your production with unnecessary fancy camera moves. To fit in a tip within a tip, don't hurt your pockets so much either. Having a low budget will force creative solutions, which will lead to happy surprises. Remember, making a series is an ongoing thing. Pace yourself and avoid getting tainted. Make sure to capture the best audio that you can while on set (stay away from Adr as much as possible). A bad image can be passed off as an artistic choice, but bad audio is bad audio and it will make your piece seem amateur.”
4. “Set deadlines don't get lost in your own creative cycle. Release it. A deadline is a great way to push yourself harder. Stay true to it and enforce it among the other people in your team. The concept of perfection can be dangerous for an artist. Once your piece is in the hands of the audience, it is no longer yours. Do your best to create something memorable, then send it off to the real world and watch it get all grown up and be proud of it.”
5. “Keep it short and concise whether or not the "YouTube Audience" has a short attention span is still up for debate, but the truth is that most people are watching a web series on the go. This is your calling card as a filmmaker. Your digital elevator pitch. Ten minutes or under is a good time frame for a web series episode. If you're projecting an episode being longer than this, make sure it's extraordinary. Get to the point fast. Today's audience just gets it. Anytime someone sits to watch something they're bringing a lifetime of movie-watching from over 100 years worth of titles. The cinematic language is embedded in all of us. Be ahead of your audience in your story-telling.”
View his work here: www.alignfilms.com and check out Henry at Henrywebseries.com.
Written by Juan Caceres , LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow [At]LatinoBuzz on Twitter and Facebook .
- 11/6/2013
- by Juan Caceres
- Sydney's Buzz
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