DOCSLIB.ORG

HERE to FIX YOUR STORY 2017-2018 EDITION It’S OK to Start with a Cliché

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HERE to FIX YOUR STORY 2017-2018 EDITION It’S OK to Start with a Cliché HERE TO FIX YOUR STORY 2017-2018 EDITION It’s OK to start with a cliché. It’s just not OK to end up with one. Alfred Hitchcock THE WORKSHOP The Film Garage is a story development workshop created by Scuola Holden. The Film Garage is focused on genre movies (thriller, sci-fi, horror, crime, black comedy and road movies) with the aim of helping the participants work on their projects and resolve underlying script problems. We will select twelve writers’ scripts that suffer from using cliché in an unimaginative way and need an expert eye to work on these problems. The selected projects will have a full inspection at The Film Garage to check their roadworthiness and prepare them for the road to production. HOW DOES IT WORK? THE STRUCTURE The Film Garage consists of five sessions. 1. First session. Turin, December 15-17, 2017. A three-day meeting focusing on the projects in the workshop. During this session all the participants will work on the projects divided into three different groups coordinated by the tutors: Alberto Marini and Guillermo Tato for horrors and sci-fi, Luke Schiller for thriller and crime stories, Lucian Georgescu for black comedies and road movies. In this session the tutors will advise the participants on the target audience of their projects, address the weak aspects of the story and strengthen the script’s potential. 2. Online sessions. The participants will work on the development of their script, with online support via Skype and email. 3. Intermediate session. Turin, March 16-18, 2018. The participants will meet the tutors in three days of intensive story editing. 4. Online sessions. The participants will work on the development of their treatment, with online support via Skype and email. 5. Final presentation. Cluj-Napoca (Romania), May 31 - June 2, 2018. In the final session, participants will attend a training pitching and present their projects in front of a panel of carefully selected genre producers, during the Transilvania International Film Festival. HOW TO PARTICIPATE We are looking for twelve feature film projects represented by a scriptwriter. Participants must send their application to [email protected] in PDF format and in English language: • a professional CV, filmography, and a motivation letter for being in the workshop; • a project synopsis and a logline (max one page); • a project treatment (10 pages maximum); • a project intention note (it may include a director’s and/or a producer’s notes). Optional: • a previous work (link to a video or to references); • a first financing plan and budget, where available. Fee: 2,500 euros (board and lodging not included) DEADLINE: November 26, 2017 TUTORS ALBERTO MARINI GUILLERMO TATO HORROR / SCI-FI TEAM HORROR / SCI-FI TEAM He graduated in Law He is a writer and at the Università degli scriptwriter based in Studi di Torino. After Barcelona. Guillermo completing a Master’s studied Audiovisual in Audiovisual Admin- Communication at the istration at the Me- Ramon Llull University dia Business School in Barcelona and then (Spain), in 1999 he later went on to study joined the Development Department at Fil- a Master in Film Production and Direction, max Entertainment, where he is then promot- taught by Fernando de Felipe (scriptwriter of ed to the positions of Head of Development, films such as Darkness and Killing Words) at Managing Director of Content and Develop- the same university. ment, and finally Executive Producer. Later, Guillermo moved to Los Angeles with His credits as Executive Producer include such the idea of broadening his knowledge in the titles as [REC] and [REC]2 (Jaume Balagueró field of scriptwriting and took several courses and Paco Plaza), The Way (Emilio Estevez), given by people such as Syd Field, Robert Mc- Sleep Tight (Jaume Balagueró), Snowflake, Kee and Linda Seger. the White Gorilla (Andrés Schaer), and [REC] In 2007 began to work in Filmax. There, as Genesis (Paco Plaza). At Filmax, Alberto has Development Executive, he has participated been involved in the development of over 30 in the script of films like [REC] 3 (dir. Paco Pla- feature films, which have been distributed za, 2010). Génesis, [REC] 4: Apocalipsis (dir. throughout the world by companies including Jaume Balagueró, 2014), The Returned (dir. Miramax, Lionsgate and Icon. Manuel Carballo, 2013), Sweet Home (dir. In 2011 Alberto founded the production com- Rafa Martínez, 2015), Summer Camp (dir. pany Rebelion Terrestre Film, based in Barce- Alberto Marini, 2015) and Muse (dir. Jaume lona. The Last Days directed by Alex and Da- Balagueró, 2017). vid Pastor and the horror flick Summer Camp He has also published several books (fiction directed by Marini, are the first productions and non-fiction), such as [REC]. El libro ofi- of the label. cial (the ‘behind the cameras’ book of the His credits as screenwriter include To Let [REC] franchise), Una partida más y me ac- (2006, Jaume Balagueró), Sleep Tight (2010, uesto (Timun Mas), and the horror novels El Jaume Balagueró), Extinction (2014, Miguel torreón de las muñecas and Lycaon. Angel Vivas), Retribution (2015, Daniel de la Torre), Summer Camp (2015, Alberto Marini). LUCIAN GEORGESCU LUKE SCHILLER BLACK COMEDY / ROAD MOVIE TEAM THRILLER / CRIME TEAM Professor in screen- Film and TV producer writing at the UN- with a slate of projects in ATC in Bucharest and development through his visiting lecturer at London - based company Scuola Holden in Turin, Clownfish Films. Lucian belongs to the The line-up includes first post-communist A Barren Land, an new wave generation. eight-part thriller for He is a member of FIPRESCI, UCIN (Romanian TV; Safari, a survival thriller set in Africa Filmmakers Association), SRN (Screenwriters and The Big Tender, a love story following Research Network) and EACWP (European the relationship between two adult film Association of Creative Writing Programmes) performers. He is also working with Joanna with international scholar and industry expe- Hogg on her fourth film. In 2015 Luke rience, editorial contributions and lectures. produced Laura Plancarte’s Tierra Caliente, a His main interest is the road movie genre, re-enactment feature documentary about the he is the author of a book on film director Mexican drug wars. Jim Jarmusch (On the Road with Jim, 2007), Other recent credits included Joanna Hogg’s while his latest feature is a road-bitter-come- critically acclaimed film Archipelago; dy, The Phantom Father (2011). Henrique Goldman’s award-winning Jean Currently, Lucian is working on A Subjective Charles, and German Kral’s Buena Vista History of Cinema Told in Road Movies, but Social Club sequel Musica Cubana. Luke until this new editorial work will be availa- spent five years working with the BBC’s ble, read more about his passion in The Road wild-life film-making unit, producing several Movies of the New Romanian Cinema (“Stud- documentaries in Kenya, South Africa and ies in Eastern European Cinema”, UK 2012 In- Costa Rica. tellect Ltd) or The Point of No Return - Cine- He has a degree in modern languages from matic Expressions of a Nation’s Altered State Sussex University and speaks five languages of Mind (in “East, West and Center: Refram- fluently. Luke is a visiting lecturer in film ing Post-1989 European Cinema”, Edinburgh production at the London Film School, Scuola University Press, 2015). Holden in Turin and the MOME in Budapest and was the producing tutor on the MEDIA funded post-graduate programme Adapting for Cinema training programme. Scuola Holden was born in Turin, Italy, in 1994. We teach something called storytelling, which literally means “how to tell stories”. Practically, our students don’t just learn how to become writers, but also scriptwriters, directors, copywriters, social media managers, comic book writers, reports, television authors or radio authors… Once they graduate, they become narrators. People that have mastered all the techniques with which stories are told and produced nowadays and able to work in any field that has to do with narration. Even those that, perhaps, don’t even exist yet. One of the founders is the writer Alessandro Baricco, who is the current headmaster. WHO ARE WE? Project manager Simone Fenoil [email protected] Project promotion Maddalena Longhi [email protected] scuolaholden.it/the-film-garage CONTACTS & ENROLMENT .
Load more

Recommended publications
  • Rec 2007 Movie Download in Hindi
    Rec 2007 Movie Download In Hindi Rec 2007 Movie Download In Hindi 1 / 3 2 / 3 [Rec] ² (2009). Year: 2009. Genre: Horror Director: Jaume Balagueró. Starring: Jonathan D. Mellor, Manuela Velasco, ÃÂ"scar Zafra.. Watch [HD 1080p] [720p] [REC] (2007) Free Megashare Full Ultimate Movies Online Streaming.. Labels. Hindi Dubbed (234) ... Rec [2007][BRRip][Spanish][1280-688]350MB. 06:28 Spanish No comments. [Movie Title ]….[ Rec [Release .... You can download free Rec full movie in hindi's latest videos in High Definition FULL HD quality. Also Anyone can download Rec full movie in hindi's newest .... Watch HD movies online free at VIKV.net ... Download ... “REC” turns on a young TV reporter and her cameraman who cover the night shift at .... Manuela Velasco y Jaume Balagueró presentan la película Rec 4 ... REC 4 Apocalypse Trailer #2 (2014 .... Rec Hindi Doubd Full Movie Videos. 01:27:58 · Half Dead hollywood movies in hindi dubbed full action HD hindi dubbed movies 2017. 2 Years Ago .... Rec. (423)7.41h 18min2007X-RayR. From Executive Producers who brought you Quarantine, comes the movie that inspired the terror. A beautiful TV reporter .... Download This Movie Now | Fastest Server 480p 720p Download Link Google ... South Indian | Hindi Dubbed 480p & 720p 1080p 2k 2160p 4K Ultra HD. ... [REC] (2007) Full Movie 480p & 720p BluRay Online Download.. 1. watch [Rec] 2007 movie streaming watch [Rec] 2007 movie streaming LINK IN LAST PAGE TO WATCH OR DOWNLOAD MOVIE; 2. watch .... Rec 2007 Movie Download In 113. May 17, 2018. Rec 2007 Movie Download In 113 - DOWNLOAD (Mirror #1).
    [Show full text]
  • Women and Haunted Houses in the Films of Jaume Balagueró: the Nightmares Of
    Bulletin of Hispanic Studies, published by Liverpool University Press Published in Volume 96, Issue 6, pp. 641-653 : https://doi.org/10.3828/bhs.2019.38 Women and Haunted Houses in the Films of Jaume Balagueró: The Nightmares of Presence Ann Davies University of Stirling Abstract Jaume Balagueró has developed a successful resumé of horror films that show a decided preference for the classic Gothic motif of the haunted house and the Gothic heroine who investigates its interior. This paper touches first on the Derridean concept of ‘dreams of presence’ (as theorized by cultural geographer Mitch Rose), in order to propose the ‘nightmares of presence’ in which the relationship, the call to care or commitment, between the subject and the space in which the subject dwells or moves is Gothicised but nonetheless remains to tie the subject to the space concerned. It then focuses on Balagueró’s Los sin nombre, Fragile and [REC] to consider three very different Gothic heroines: the mother of a dead daughter, a nurse in a children’s hospital, and a television reporter. The antagonistic call to care of the ‘nightmare of presence’ will be used to interrogate spatial aspects of the Gothic heroine. Keywords: Jaume Balagueró; haunted house; Spanish Gothic; Spanish horror; Spanish film Jaume Balagueró ha desarrollado un grupo de películas exitosas que demuestra una preferencia hacia el escenario clásico de lo gótico, la casa encantada tanto como la heroína gótica que la investiga. Este ensayo estudia en primer lugar el concepto derrideano de ‘los sueños de presencia’ (según la teoría de geógrafo cultural Mitch Rose), para proponer las ‘pesadillas de presencia’ en que el vínculo, la llamada a compromiso, entre el sujeto y el espacio en que se mueve o que habita, llega a ser gotizado; pero que fija al sujeto en el espacio relevante.
    [Show full text]
  • WHA53-2000-REC-2-Eng-Fre.Pdf
    WНASЗ /2000/REC/2 WORLD HEALTH ORGANIZA TION ORGANISAТION MONDIALE DE LA SANTE FIFTY-THIRD WORLD HEALTH ASSEMBLY GENEVA, 15-20 МАУ 2000 VERBATIМ RECORDS OF PLENARY MEETINGS AND LIST OF PARTICIPANTS ' CINQUANTE-TROISIEME, ASSEMBLEE MONDIALE, DELASANTE GENEVE, 15-20 МАI 2000 COMPTES RENDUS IN EXTENSO DES SEANCES PLENIERES ЕТ LISTE DES PARTICIPANTS GENEVA GENEVE 2000 WНASЗ/2000/REC/2 WORLD HEALTH ORGANIZAТION ORGANISAТION MONDIALE DE LA SANTE FIFTY-THIRD WORLD HEALTH ASSEMBLY GENEVA, 15-20 МАУ 2000 VERBATIM RECORDS OF PLENARY MEETINGS AND LIST OF PARTICIPANTS CINQUANTE-TROISIEME' ASSEMBLЙE MONDIALE, DELASANTE GENEVE, 15-20 МАI 2000 COMPTES RENDUS IN EXTENSO DES SEANCES PLENIERES ЕТ LISTE DES PARTICIPANTS GENEYA GENEVE 2000 PREFACE The Fifty-third World Health AssemЫy was held at the Palais des Nations, Geneva, from 15 to 20 Мау 2000, in accordance with the decision of the Executive Board at its 104th session. Its proceedings are issued in three volumes, containing, in addition to other relevant material: Resolutions and decisions, annex- document WНA53/2000/REC/l Verbatim records of plenary meetings, list of participants- document WНA53/2000/REC/2 Summary records of committees and ministerial round taЫes, reports of committees - document WНA53/2000/REC/3 For а list of abbreviations used in these volumes, the officers of the Health AssemЬly and membership of its committees, the agenda and the list of documents for the session, see preliminary pages of document WНA53/2000/REC/l. In these verbatim records, speeches delivered in Arabic, Chinese, English, French, Russian or Spanish are reproduced in the language used Ьу the speaker; speeches delivered in other languages are given in the English or French interpretation.
    [Show full text]
  • Imaginario Catastrofista En REC Bajo El Yugo Del Discurso Televisivo Catastrophe Imaginary Under the Yoke of Television Dis- Course in REC
    ° Comunicación y Medios N 36 (2017) ISSN 0716-3991 / e-ISSN 0719-1529 www. comunicacionymedios.uchile.cl 71 Imaginario catastrofista en REC bajo el yugo del discurso televisivo Catastrophe imaginary under the yoke of television dis- course in REC Andoni Iturbe-Tolosa Universidad del País Vasco, Bilbao, España. [email protected] Resumen Abstract El presente artículo se centra en el análisis de The present article focuses on the analysis of the la primera entrega de la saga de cine fantásti- first part in the REC saga, one of the most im- co y de terror más importante del cine español. portant fantasy-horror film franchises in Spanish Creemos que REC es un ejemplo paradigmáti- cinema. We believe that REC is paradigmatic for co que entronca tanto con el imaginario catas- the manner in which it links the catastrophe ima- trófico como con el discurso mediático, por lo ginary with media discourse, and thusly, we op- que se opta por la vía de la intertextualidad y el ted to analyze this emblematic movie by exami- análisis del discurso para analizar dicha película ning its discourse structures and intertextuality, emblemática: estructuras de discurso que nos allowing us to underpin a close interrelation be- permiten apuntalar hacia una estrecha interrela- tween cinema and television. The investigation ción entre el cine y la televisión en el audiovisual concludes that REC, in effect, is indebted not contemporáneo. La investigación concluye que, only to traditional film narrative structures, but efectivamente, REC no es deudora solo de la that it also draws on the conventions of contem- narrativa fílmica sino de los resortes del repor- porary TV reporting in its dealing with a fictional taje contemporáneo al tratarse de un reporta- news report.
    [Show full text]
  • Sion Discourse in REC Imaginario Catastrofista En REC Bajo El Yugo Del Discur- So Televisivo
    ° Comunicación y Medios N 36 (2017) ISSN 0716-3991 / e-ISSN 0719-1529 www. comunicacionymedios.uchile.cl 71 Catastrophe imaginary under the yoke of televi- sion discourse in REC Imaginario catastrofista en REC bajo el yugo del discur- so televisivo Andoni Iturbe-Tolosa University of the Basque Country, Bilbao, Spain. [email protected] Abstract Resumen The present article focuses on the analysis of the El presente artículo se centra en el análisis de first part in the REC saga, one of the most im- la primera entrega de la saga de cine fantásti- portant fantasy-horror film franchises in Spanish co y de terror más importante del cine español. cinema. We believe that REC is paradigmatic for Creemos que REC es un ejemplo paradigmáti- the manner in which it links the catastrophe ima- co que entronca tanto con el imaginario catas- ginary with media discourse, and thusly, we op- trófico como con el discurso mediático, por lo ted to analyze this emblematic movie by exami- que se opta por la vía de la intertextualidad y el ning its discourse structures and intertextuality, análisis del discurso para analizar dicha película allowing us to underpin a close interrelation be- emblemática: estructuras de discurso que nos tween cinema and television. The investigation permiten apuntalar hacia una estrecha interrela- concludes that REC, in effect, is indebted not ción entre el cine y la televisión en el audiovisual only to traditional film narrative structures, but contemporáneo. La investigación concluye que, that it also draws on the conventions of contem- efectivamente, REC no es deudora solo de la porary TV reporting in its dealing with a fictional narrativa fílmica sino de los resortes del repor- news report.
    [Show full text]
  • An Investigation of Priming, Self-Consciousness, and Allegiance in the Diegetic Camera Horror Film
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR An investigation of priming, self-consciousness, and allegiance in the diegetic camera horror film by Peter Turner A thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University Submitted June 2017 Statement of originality Some of the discussion of The Blair Witch Project throughout this thesis has formed the basis for a book, Devil’s Advocates: The Blair Witch Project (Auteur, 2014). Some of the discussion of priming in chapter four was also used in a conference paper, Behind the Camera: Priming the Spectator of Found Footage Horror, delivered at The Society for Cognitive Studies of the Moving Image in 2015. Sections on personal imagining also formed the basis of a conference paper, Personal Imagining and the Point-of-View Shot in Diegetic Camera Horror Films, delivered at The Society for Cognitive Studies of the Moving Image in 2017. Finally, significant amounts of Chapter 3 and Chapter 5 will be featured in two chapters of an upcoming edited collection on found footage horror films with the working title [Rec] Terror: Essays on Found Footage Horror Films. i Abstract The main research question underpinning this study asks why and how the diegetic camera technique has become so popular to both contemporary horror filmmakers and audiences. In order to answer this question, this thesis adopts a mainly cognitive theoretical framework in order to address the mental schemata and processes that are elicited and triggered by these films.
    [Show full text]
  • November 2014.Pdf (10.72Mb)
    THE FACTORYTIMESNovember 2014 The SpookySpooky Stor Spooky Spooky Spooky Ebola Stories Stories Issue PUBLICATION DIRECTOR ELLIOT O’REILLY LEAD DESIGNER MICHAEL ROSENBERG CHIEF EDITOR KRZYSZTOF GAWEL CONTRIBUTOR ASHTON SIMONS DESIGNER ZACH HANDZEL DESIGNER MATTHEW HANDZEL DESIGNER PAUL JUILIANI CONTRIBUTOR MIKE SIMPSON WRITER ANTHONY BAPTISTE ADVISORS E-mail us! [email protected] KEVIN VOLO JAMES CHau WRITER PRINTING JAmeS CHAU ELIAS PAPATHEODOROU ROBERT JONES & SUNYIT PRINT SHOP 2 • factory times factory times • 3 Bullying See, I learned something in those years. I have no control over others. I By: Abram Bismarck was a ship tossed at sea, and nothing I did could make the storm or waters calm. Yet, I found the one element of control that got me through. Myself. I learned the value of self-control, and the awe inspiring power that it holds. I found that if I forgot the sea and skies, only to guide the ship, I could make it through any Bullying has gained mainstream hate, and is in the cross hairs of parents storm. Since then, there has been little that bothers me. By directing all of my everywhere. There has been television advertisements, posters, seminars, and even control inward, I found that any rage of the stormy seas was only a challenge to government involvement. A collective voice has risen to destroy bullying once and for overcome. all. And it only serves to showcase the misguided nature we have about this touchy subject. Let us be frank; bullying is something that touched the lives of almost every student in US schools, and no doubt beyond.
    [Show full text]
  • [REC]² Dirigido Por/Directed by PACO PLAZA, JAUME BALAGUERÓ
    REC 2 [REC]² Dirigido por/Directed by PACO PLAZA, JAUME BALAGUERÓ Productoras/Production Companies: CASTELAO PRODUCTIONS, S.A. Miguel Hernández, 81-87. Polígono Pedrosa. 08908 L'Hospitalet de Llobregat (Barcelona). Tel. 93 336 85 55. Fax 93 336 85 68. www.filmax.com E-mail: [email protected] Con la participación de/with the participation of: TVE, CANAL+ ESPAÑA Dirección/Directors: PACO PLAZA, JAUME BALAGUERÓ. Producción/Producer: JULIO FERNÁNDEZ. Producción ejecutiva/Executive Producers: JULIO FERNÁNDEZ, CARLOS FERNÁNDEZ. Coproducción ejecutiva/Co-Executive Producers: ALBERTO MARINI. Dirección de producción/Line Producer: TERESA GEFAELL, ORIOL MAYMÓ. Jefe de producción/Production Manager: MARTA SÁNCHEZ. Guión/Screenplay: JAUME BALAGUERÓ, PACO PLAZA, MANUEL DÍEZ. Fotografía/Photography: PABLO ROSSO. Música/Score: CARLOS ANN. Dirección artística/Production Design: GEMMA FAURÍA. Vestuario/Costume Design: GLORIA VIGUER. Montaje/Editor: DAVID GALLART. Montaje de sonido/Sound Editor: ORIOL TARRAGÓ. Sonido directo/Sound Mixer: XAVI MAS. Mezclas/Re-recording Mixer: MARC ORTS. Ayudante de dirección/Assistant Director: DANIELA FORN. Casting: CRISTINA CAMPOS. Efectos especiales de maquillaje/Special Make-up Effects: DAVID AMBIT, SANTI GIJÓN, JUAN OLMO, PAULA REQUENA. Peluquería/Hairdressing: IMMA PÉREZ. Web: www.rec2lapelicula.com Efectos digitales/Visual Effects: ÀLEX VILLAGRASA (Supervisión). Intérpretes/Cast: JONATHAN MELLOR, ÓSCAR SÁNCHEZ ZAFRA, ARIEL CASAS, ALEJANDRO CASASECA, PABLO ROSSO, MANUELA VELASCO (Ángela Vidal). Vídeo digital a 35 mm. Panorámico 1:1,85. Duración/Running time - Metraje/Metres: 88 minutos. 2.400 metros. Tipo de cámara/Camera model: Panasonic AJ-HPX3000, AG- HVX200, Sony XC-555 y Sony Handycam MiniDV DCR-HC38 40X. Laboratorios/Laboratories: IMAGE FILM. Lugares de rodaje/Locations: Barcelona. Fechas de rodaje/Shooting dates: 10/11/2008 - 19/12/2008.
    [Show full text]
  • [ REC ] 3 GÉNESIS Otros Títulos/Other Titles: [REC]3 GENESIS Dirigido Por/Directed by PACO PLAZA
    [ REC ] 3 GÉNESIS Otros títulos/Other titles: [REC]3 GENESIS Dirigido por/Directed by PACO PLAZA Productoras/Production Companies: REC GENESIS, A.I.E. (99%) Miguel Hernández, 81-87. Polígono Pedrosa. 08908 L'Hospitalet de Llobregat (Barcelona). Tel.: 93 336 85 55. Fax: 93 336 85 68. www.filmax.com ; [email protected] CASTELAO PICTURES, S.L. (1%) Miguel Hernández, 81-87. Polígono Pedrosa. 08908 L'Hospitalet de Llobregat (Barcelona). Tel.: 93 336 85 55. Fax: 93 336 85 68. www.filmax.com ; [email protected] Con la participación de/With the participation of: TVE, CANAL+ ESPAÑA, ONO. Con la colaboración de/With the collaboration of: TELEVISIÓ DE CATALUNYA. Director: PACO PLAZA. Producción/Producer: JULIO FERNÁNDEZ. Producción ejecutiva/Executive Producers: JULIO FERNÁNDEZ, CARLOS FERNÁNDEZ, ALBERTO MARINI. Producción asociada/Associate Producer: ELISA SALINAS. Dirección de producción/Line Producers: TERESA GEFAELL, ORIOL MAYMÓ. Productor creativo/ Creative Producer: JAUME BALAGUERÓ. Guión/Screenplay: LUISO BERDEJO, PACO PLAZA. Fotografía/Photography: PABLO ROSSO. Música/Score: MIKEL SALAS. Dirección artística/Production Design: GEMMA FAURÍA. Vestuario/Costume Design: OLGA RODAL. Montaje/Editing: DAVID GALLART. Montaje de sonido/Sound Design: GABRIEL GUTIÉRREZ. Ayudante de dirección/Assistant Director: FERNANDO IZQUIERDO. Casting: CRISTINA CAMPOS, ANA ISABEL VELÁZQUEZ. Maquillaje/Make-up: PATRICIA REYES. Efectos especiales de maquillaje/Special Make-up Effects: DAVID AMBIT. Peluquería/Hairdressing: PATRICIA REYES. Web: www.recoficial.com Efectos digitales/Visual Effects: ÀLEX VILLAGRASA. Intérpretes/Cast: LETICIA DOLERA (Clara), DIEGO MARTÍN (Koldo), ISMAEL MARTÍNEZ (Rafa), ÀLEX MONNER (Primo Adrián), CLAIRE BASCHET (Natalia), SR. B (Atún), JANA SOLER (Tita Hermana Clara), EMILIO MENCHETA (Tío Víctor), ADOLF BATALLER (Domingo), DOLORES MARTÍN (Manoli), BLAI LLOPIS (Quiquín), MIREIA ROS (Menchu), JOSÉ DE LA CRUZ (Abuelo Matías), XAVIER RUANO (Cura).
    [Show full text]
  • MIENTRAS DUERMES SLEEP TIGHT Dirigido Por/Directed by JAUME BALAGUERÓ
    MIENTRAS DUERMES SLEEP TIGHT Dirigido por/Directed by JAUME BALAGUERÓ Productoras/Production Companies: MIENTRAS DUERMES, A.I.E. (99%) Miguel Hernández, 81-87. Polígono Pedrosa. 08908 L'Hospitalet de Llobregat (Barcelona). Tel.: 93 336 85 55. Fax: 93 336 85 68. www.filmax.com ; [email protected] CASTELAO PICTURES, S.L. (1%) Miguel Hernández, 81-87. Polígono Pedrosa. 08908 L'Hospitalet de Llobregat (Barcelona). Tel.: 93 336 85 55. Fax: 93 336 85 68. www.filmax.com ; [email protected] Con la participación de/With the participation of: TVE, TELEVISIÓ DE CATALUNYA, CANAL+ ESPAÑA, ONO. Director: JAUME BALAGUERÓ. Producción/Producer: JULIO FERNÁNDEZ. Producción ejecutiva/Executive Producers: JULIO FERNÁNDEZ, CARLOS FERNÁNDEZ, ALBERTO MARINI. Producción asociada/Associate Producer: ELISA SALINAS. Dirección de producción/Line Producers: CARLA PÉREZ DE ALBÉNIZ, TERESA GEFAELL. Guión/Screenplay: ALBERTO MARINI. Fotografía/Photography: PABLO ROSSO. Música/Score: LUCAS VIDAL. Dirección artística/Production Design: JAVIER ALVARIÑO. Vestuario/Costume Design: MARIAN COROMINA. Montaje/Editing: GUILLERMO DE LA CAL. Sonido/Sound: ORIOL TARRAGÓ. Mezclas/Re-recording Mixer: DAVID CALLEJA. Ayudante de dirección/Assistant Director: FERNANDO IZQUIERDO. Casting: CRISTINA CAMPOS. Maquillaje/Make-up: ALMA CASAL. Efectos especiales de maquillaje/Special Make-up Effects: DDT. Peluquería/Hairdressing: SATURNINO MERINO. Efectos especiales/Special Effects: MONTSE RIBÉ, DAVID MARTÍ. Web: www.mientrasduermeslapelicula.com ; Intérpretes/Cast: LUIS TOSAR (César), MARTA ETURA (Clara), www.facebook.com/mientrasduermes ALBERTO SAN JUAN (Marcos), IRIS ALMEIDA (Úrsula), PEP TOSAR (Padre de Úrsula), PETRA MARTÍNEZ (Sra. Verónica), MARGARITA ROSED (Madre de César), ORIOL GENIS (Administrador), AMPARO FERNÁNDEZ (Sra. de la limpieza), ROGER MORILLA (Hijo de la Sra. de la limpieza), CARLOS LASARTE (Vecino 4ºB), MARIA DOLORS VIDAL (Madre de Clara).
    [Show full text]
  • The Transatlantic Undead: Zombies in Hispanic and Luso-Brazilian Article 1 Literatures and Cultures
    Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía Volume 6 Issue 1 The Transatlantic Undead: Zombies in Hispanic and Luso-Brazilian Article 1 Literatures and Cultures Introduction: The Transatlantic Undead: Zombies in Hispanic and Luso-Brazilian Literatures and Cultures David Dalton University of North Carolina at Charlotte, [email protected] Sara Potter The University of Texas at El Paso, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/alambique Recommended Citation Dalton, David and Potter, Sara (2018) "Introduction: The Transatlantic Undead: Zombies in Hispanic and Luso-Brazilian Literatures and Cultures," Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía: Vol. 6 : Iss. 1 , Article 1. https://www.doi.org/http://dx.doi.org/10.5038/2167-6577.6.1.1 Available at: https://scholarcommons.usf.edu/alambique/vol6/iss1/1 Authors retain copyright of their material under a Creative Commons Attribution-Noncommercial 4.0 License. Dalton and Potter: Introduction Stretched to the point of breaking, the early twenty-first century zombie now seems to signify everything and nothing at all. As Sarah Juliet Lauro reasons in her excellent book The Transatlantic Zombie (2015), the zombie is a disturbingly flexible receptacle of meaning; as such, context matters a great deal as we theorize this particular monster. “At various points,” Lauro observes, “the zombie is [. .] a metaphor, a symbol, an allegory, a figure, and an icon, not to mention, as Ulrich Beck claims, a category” (4).1 The essays in this special edition prove Lauro’s point as they engage literary and cultural production from Spain, the Caribbean, Mexico, Brazil, and other parts of the Hispanic and Lusophone worlds.
    [Show full text]
  • How to Order: 1.Pilih Judul Yang Di Inginkan Dengan Mengetik "1" Dikolom Yg Disediakan & JANGAN Merubah Format Susunan List Ini 2.Isi Form Pemesanan (WAJIB!) 3
    EMAIL : [email protected] YM: henz_magician TELP :XL 081910293132 (CALL OR SMS) How To Order: 1.Pilih judul yang di inginkan dengan mengetik "1" dikolom yg disediakan & JANGAN Merubah Format susunan list ini 2.Isi Form Pemesanan (WAJIB!) 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 4.Kirimkan File List ini ke email : [email protected] 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) How To Order: 1.Pilih judul yang di inginkan dengan mengetik "1" dikolom yg disediakan & JANGAN Merubah Format susunan list ini 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 4.Kirimkan File List ini ke email : [email protected] 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) How To Order: JANGAN Merubah Format susunan list ini 3. Save pesanan anda dan ganti nama file list ini dengan nama id anda (Order / id kaskus atau chip / nama anda sendiri ) 5.Konfirmasikan pesanan anda ke 081910293132 (SMS) & Sebutkan type dan ukuran hardisk yg diinginkan (Jika Ingin Membeli Hardisk baru) JENIS Total Terpilih HD Movie #NAME? HD Music Concert #NAME? 3D Movie #NAME? Documenter #NAME? PC Games #NAME? Asian TV Series & Movie #NAME? TV Series 710.36 Comedy & Indo Movie 2.2 Anime 0 Tokusatsu 0 Smack Down 0 TOTAL #NAME? Harap form pengiriman diisi dengan jelas dan benar Rek.
    [Show full text]