In the life of the screenwriter, especially those who write TV series, there is a peculiar anxiety that appears after the first season is aired. Did the audience like it? Have we reached our goal? Will we have a second season or will the series be canceled? The best news is when the new season is con- firmed, following the success of the first one.

This is exactly how I feel right now, while organizing, to- gether with Rafael Sampaio, the second edition of BrPlot. Last year we organized 3 days of intense and thought- provoking discussions about the wonderful craft of story writing for the most varied screens. The result: sold out tickets and an audience eager for information, exchanges, questions. Simultaneous online broadcasting of the event also hit incredible numbers. We were seen by thousands of people across the country. Faced with such a wonderful result, we achieved our goal and our season was renewed.

The protagonist remains the same: the Brazilian screen- writer, in an environment so hungry for content. The dis- cussions now gain new perspectives and new guests arrive with the same readiness as ever: to share their experiences, anxieties and challenges in the face of the complex art of audiovisual writing.

We could not be in better company. For the opening pan- el, the experienced authors Antônio Prata, Duca Rachid and Fernando Bonassi, mediated by journalist Cristina Padiglione, will discuss the challenges faced by different narrative formats. The three authors have written short sto- ries, chronicles, novels, series, miniseries, films and soap operas. What is the inspiration, the work, and the paths taken to write in such different ways?

On the following day, our "super-Saturday", we will have three very interesting panels. In the morning, a debate about screenwriting for Games and Immersive Reality, new possibilities of work and authorship for screenwriters, with experts Arthur Protasio and Ricardo Laganaro, mediated by writer and screenwriter Sabina Anzuategui. In the afternoon, we will dedicate a "special" on series: a panel on "How to set up a script room?", with screenwriters with large experience at script rooms and series: Renata Martins, Mariana Trench and Lucas Paraizo, mediated by series expert Gustavo Gontijo, from TV Globo. We will wrap up the "super-Saturday" by challenging the boundaries of screenwriters’ work with a panel about the showrunner role. What skills should a screenwriter possess in order to go beyond the script room in a series? This panel will offer different points of view, with executive producer Marcia Vinci, director and screenwriter Carolina Jabor and producer, director and screenwriter Felipe Braga, mediated by screenwriter and producer Giuliano Cedroni.

Then a full week with a panel a day at 7:00 pm. We start on Monday with an important debate about the script and the place of speech. Paulo Lins will discuss, together with Anna Muylaert and Marton Olympio, the challenges of writing and representation, mediated by Juliana Vicente. On Tuesday, I will be happy to mediate a discussion about the script for global audiences, with screenwriter Pedro Aguilera and producer Rodrigo Teixeira. On Wednesday, the debate is about a field that grows exponentially: scripts for the Internet, with the presence of Pedro Esteves, Tatá Lopes and Manuela Bernardi, mediated by screenwriter Leo Garcia. On the last day of panels, we will have a con- versation about the script for animation, with the presence of British screenwriter Phil Parker, accompanied by screen- writers Arnaldo Branco and Zé Brandão and mediated by screenwriter Keka Reis.

Wrapping up the event, this year we have something new to offer. In addition to the panels and debates, there will be two masterclasses with our guests: Phil Parker will share his knowledge on the writing of powerful scripts and Ricardo Laganaro will talk about the novelties of the Immersive Narrative universe.

And to crown this season, we will close our activities on Friday with the presentation of the Screenwriting Awards of ABRA (the Brazilian association of authors and screenwriters) an association of which I am proud to be a board member.

May this season be as interesting as last year’s and, hope- fully, push us into the next year.

Welcome to BrPlot.

2018's Programm

10aug

Panel

BrPlot

Opening - Panel 1 | The author and the form of the story

7 PM

FAAP Auditorium

Screenwriters’ possibilities for expression are increasing: from short series to soap operas with 150 episodes. But what are the differences between writing a soap opera, a series, or a miniseries? And if a choice must be made between humor and drama, what should the screenwriter's work be like? Does the idea determine how the story will be told? Or, going beyond audiovisual narratives, how to seek inspiration for a chronicle, for a play, a short story, a novel?

For the opening panel of the second edition of BrPlot, experienced authors Antônio Prata, Duca Rachid and Fernando Bonassi, mediated by journalist Cristina Padiglione, will discuss the challenges involving in writing and their different ways of telling a good story.

Antônio Prata

filmmaker

Duca Rachid

writer, journalist and author of soap operas

Fernando Bonassi

playwright and writer

Cristina Padiglione

filmmaker

11aug

Panel

BrPlot

Panel 2 | The script in games and immersive narratives (vr)

10 AM

Centro de Pesquisa e Formação do Sesc - SP

The technological advance opens up new fields of work and aesthetic exploration for screenwriters. Two paths are worth a look in the discussion of the script: games and immersive narratives in virtual reality. It is nothing new that the gaming industry has been developing increasingly complex games and narratives built by expert screenwriters. What role does the screenwriter play in the design of a game? How does this specific field work? What kind of specialization should be pursued by screenwriters who want to work with games? Virtual reality and immersion through the use of glasses also suggests a brand new audiovisual experience, with possibilities still to be discovered. From documentary to fiction, the glasses and the experience of total immersion in the created universe stimulate creators and point to a new aesthetic revolution. How is the script of this new format and what is the role of the screenwriter in this new market? Ricardo Laganaro, who has worked exclusively with VR in recent years, and Arthur Protasio, experienced in immersive narratives and games, bring light to these universes, mediated by the writer, screenwriter and professor Sabina Anzuategui.

Arthur Protasio

filmmaker

Ricardo Laganaro

Sabina Anzuategui

filmmaker

11aug

Panel

BrPlot

Panel 3 | How to set up a script room?

2 PM

Centro de Pesquisa e Formação do Sesc - SP

In recent years, series have become an instant hit in the audiovisual narrative, with a public eager for releases worldwide. The growth in the number of players and productions is remarkable, and with it, a new form of creation has been established, almost as a rule, for TV series: script rooms. In general, without a sharp and hard- working team, it would be impossible to handle the volume of work – the need to write all the episodes of a given series within the required deadlines. But what is the ideal model of a script room? Who should be present, and doing what? What is the hierarchy of a script room? Is it collective or led creation? What should be created inside the room and what kind of work should be taken home by the screenwriter? What should be the paths taken by a screenwriter from the original idea to the editing room? Experienced screenwriters Lucas Paraizo, Mariana Trench and Renata Martins will debate these topics under the mediation of Gustavo Gontijo.

Lucas Paraizo

scriptwriter

Mariana Trench

scriptwriter

Renata Martins

Gustavo Gontijo

(mediação)

11aug

Panel

BrPlot

Panel 4 | What does a showrunner do?

4:30 PM

Centro de Pesquisa e Formação do Sesc - SP

A fundamental question involving the artistic conduction of a TV series is the definition of showrunner: the person who is responsible for the project as a whole, from the script to the finalization. In the consolidated US market, generally, this person is the scriptwriter who created the series, and is responsible for the script, budget, shooting and finalization, ensuring that his/her vision as a creator is maintained throughout the process. But in Brazil, is it possible to say that there is a mar- ket for showrunners? And what are the qualities needed for a screenwriter to become a showrunner? Is writing the scripts enough, or is there a need for experience in other areas of production? The panel includes producers, directors and screenwriters, all experienced in the production of series: Carolina Jabor, Marcia Vinci and Felipe Braga, mediated by Giuliano Cedroni.

Carolina Jabor

filmmaker

Felipe Braga

Marcia Vinci

producer

Giuliano Cedroni

scriptwriter

13aug

Panel

BrPlot

Panel 5 | The script and the place of speech

7 PM

Centro de Pesquisa e Formação do Sesc - SP

In the current historical and political context, the discussion about the place of speech in fiction is increasingly present. Questions abound: who can write about whom? Should writers feel free to talk about social positions they do not belong to? Write about dramas they have not experienced? Or has the author’s proximity to the portrayed universe become increasingly important?

The panel will discuss screenwriters' challenges in light of visible and urgent changes in society. At the panel: Anna Muylaert, Marton Olympio and Paulo Lins, mediated by the screenwriter and director Juliana Vicente.

Anna Muylaert

director

Marton Olympio

(mediação) diretor e roteirista

Paulo Lins

poet, novelist, screenwriter

Juliana Vicente

director and producer

14aug

Panel

BrPlot

Panel 6 | How do you create a successful film?

3 PM

FAAP Auditorium

This master class will provide some insight into the balance between reason and emotion, which unlocks the links between the filmmaker and the audience. Looking beyond the dominant thinking of “structure is everything”, explaining why some interesting characters fail and some great ideas do not lead to great films. You could start a film project – short, feature, live action or animation – anywhere. You could be inspired by a song, another film, a story in the news, a friend, someone you saw on the street, an overheard conversation an image which you just cannot let go. Many animators start with a character or a situation. The point is it does not matter where you start or whether anyone thinks it is a good idea – it is where you end that is the all important point.

Phil Parker

14aug

Panel

BrPlot

Panel 7 | Scriptwriting for global audiences

7 PM

Centro de Pesquisa e Formação do Sesc - SP

In an increasingly globalized world, stories cross borders more easily and quickly. But are there specific types of stories that appeal to audiences around the world? What kinds of dramas, genres and themes are capable of reaching audiences in different countries? Is there any kind of demand for local stories with global reach? How to identify a good story that can travel? The panel will feature producer Rodrigo Teixeira, a Brazilian who has produced films of different nationalities, and screenwriter Pedro Aguilera, creator of the global hit “3%”, mediated by screenwriter Thiago Dottori.

Pedro Aguilera

scriptwriter

Rodrigo Teixeira

Thiago Dottori

15aug

Panel

BrPlot

Panel 8 | Scriptwriting for the internet

7 PM

Centro de Pesquisa e Formação do Sesc - SP

A growing field for a screenwriter’s work is the Internet. Through channels on Youtube or viewing on social networks, the audience on mobile phones and tablets is skyrocketing. But is there a specific way of writing videos for the Internet? How can the experts in this field help screenwriters who want to turn a story viral and get millions of views?

The panel invites the screenwriter specialist on Social Video Manuela Bernardi, Pedro Esteves, one of the screenwriters of “Porta dos fundos” – the most successful Brazilian Internet channel – and screenwriter Tatá Lopes – who has worked specifically on internet videos for “Tá no ar” and “Zorra” TV shows – mediated by screenwriter Leo Garcia.

Manuela Bernardi

writer and scriptwriter

Pedro Esteves

Tatá Lopes

Atriz, produtora, escritora e roteirista

Leo Garcia

scriptwriter

16aug

Panel

BrPlot

Panel 9 | Immersive narratives and virtual reality

3 PM

FAAP Auditorium

In the master class "Immersive Narratives and Virtual Reality", Ricardo Laganaro will present case studies that show his creation process for immersive contents, including the projection for full domes, 360 ̊ videos, physical-digital installations in augmented reality and non- gamified interactive content in virtual reality.

The master class will show how and why the process of ideation needs to be appropriate for a medium that, unlike cinema, is still being invented, without established production processes, and without a properly defined language between the creator and the public. This includes completely new concepts for audiovisual creators, such as the need to consider, as part of the content, the space of enjoyment of the experience and the viewer’s body. And it also includes common concepts in cinema, such as editing and decoupage, which can be adapted in the immersive narrative by the appropriation of techniques used in theater and in amusement parks, and which must be taken into account since the phase of script creation.

Works such as the dome projection "Portal cósmico", on display since 2015 at the entrance of Museu do Amanhã, in Rio de Janeiro; the clip "O farol" for the singer Ivete Sangalo (360 ̊ content most seen in the world in 2016); the short film in virtual reality "Step to the line", screened at more than 30 festivals around the world; and the aug- mented reality installation "Objects in mirror AR closer than they appear", shown at Tribeca in early 2018, will be the author's main projects cited at the master class, in addition to advertising videos and immersive projects from other creators, displayed at events such as Sundance, Tribeca and other major film festivals around the world.

Ricardo Laganaro

16aug

Panel

BrPlot

Panel 10 | Animation script

7 PM

Centro de Pesquisa e Formação do Sesc - SP

Another genre that has been growing exponentially in num- ber of productions in Brazil is animation. How does this genre work and what are its particularities in writing? Are there essential differences between writing live-action and animation? Is it necessary to specialize?

For this panel, we invite the English screenwriter Phil Parker, who in the company of writers Arnaldo Branco and Zé Brandão will discuss screenwriting for animation, me- diated by screenwriter Keka Reis.

Arnaldo Branco

filmmaker

Phil Parker

Zé Brandão

producer, scripwriter

Keka Reis

screenwriter and playwright

17aug

Panel

BrPlot

Panel 11 | Eliseo em 100 perguntas

6:30 PM

Cinemateca Brasileira

For Julio Rojas, author of the book "Eliseo em 100 pergun- tas", a conversation with Eliseo Altunaga corresponds to a class on scriptwriting, cinema, life and cultural connec- tions. Based on fragments of the conversations documented in the publication, finally released in Portuguese with the BrLab label, this panel proposes a meeting of the author of the book with his subject and Iana Cossoy Paro, collaborator of Eliseo and translator of the Brazilian edition of the book. The panel will be followed by an autograph session with Altunaga and Rojas during the Brazilian launch of the book.