The possibilities of expression for a scriptwriter are increasing: from short series to soap operas with 150 episodes. But, what are the differences between writing a novel, a series, or a miniseries? And if you have to choosing between humor and drama, what should a screenwriter’s job be like? The idea determines the way the story will it be counted? Or, in addition to audiovisual narratives, how to find inspiration for a chronicle, for a play theater, a short story or a novel?

For the opening table of the second edition of BrPlot, three experienced authors Antônio Prata, Duca Rachid and Fernando Bonassi will be mediated by journalist Cristina Padiglione, and will discuss the challenges of writing and the different ways to tell a good story.

Speakers

Antônio Prata

Palestrante

Antônio Prata

Palestrante

Antonio Prata was born in São Paulo in 1977. He has published twelve books, including “Meio intelectual, meio de esquerda” (Editora 34, 2010) and “Nu, de botas” (Companhia das Letras, 2013). In 2013, he was selected by Granta magazine as one of the 20 best Brazilian writers under 40. He writes columns on Sundays for the newspaper “Folha de S. Paulo” and works as a screenwriter for Rede Globo, where he was part of the team for the soap operas “Bang bang” (2006) and “Avenida Brasil” (2012), “A regra do jogo” (2015) and the series “Os antigos” (2016) and “Sob pressão” (2017). He is currently developing his first series as a titular author for Globo, “Pais de primeira”, a comedy about the changes that the birth of a first child brings to a couple’s life. The series was created and written with Chico Mattoso, Thiago Dottori, Bruna Paixão and Tati Bernardi.

Duca Rachid

Palestrante

Duca Rachid

Palestrante

Duca Rachid began his career as a novelist in Portugal with “A banqueira do povo” (The People’s Banker), directed by Walter Avancini. With director and author Walter Dürst, Duca worked on “Tocaia grande” (Tocaia grande) on TV Manchete and “Ossos do Barão” (Barão’s Bones) on SBT. That was when he met Walcyr Carrasco, with whom he collaborated on “O cravo e a rosa” (2000) and “A padroeira” (2001). In 2005, together with Alessandro Marson and Júlio Fischer, he wrote “Sítio do picapau amarelo” (Story of the Yellow Woodpecker). In 2006, he began a partnership with Thelma Guedes, with the remake of the soap opera “O profeta” (The Prophet). The partnership continued with “Cama de gato” (Cat’s Bed) in 2009, “Cordel encantado” (Enchanted Cordel) in 2011, and “Joia rara” (Rare Joia) in 2013.

Fernando Bonassi

Palestrante

Fernando Bonassi

Palestrante

Fernando Bonassi was born on November 16, 1962, in São Paulo, Brazil. He is a screenwriter, playwright and author of several books – among them, the novels “Subúrbio” (Ed. Objetiva) and “Luxúria” (Ed. Record), the children’s book “Declaração universal do moleque invocado” (Ed. Cosac Naify/SENAC) and the book of short stories “SP Brasil” (Ed. Dimensão), the last two finalists for the Jabuti Award. In cinema, his highlights include the screenplays for “Carandiru” (directed by Hector Babenco) and “Cazuza – o tempo não para” (directed by Sandra Werneck and Walter Carvalho); and in theater, the productions of “Apocalipse 1,11” (with Teatro da Vertigem) and “Arena Conta Danton” (directed by Cibele Forjaz). Winner of the DAAD (German Exchange Service) arts scholarship, with which he lived and wrote in Berlin in 1998. He was a columnist for the newspaper “Folha de São Paulo” from 1997 to 2007, and developed, in partnership with Marçal Aquino, the series “Força-Tarefa”, “O Caçador”, “Supermax” and “Carcereiros”, for Rede Globo de Televisão.

Cristina Padiglione

Palestrante

Cristina Padiglione

Palestrante

Author of the blog “TelePadi”, a partner of “Folha de S. Paulo”, Cristina Padiglione has been writing about TV since the prehistory of pay TV in Brazil and streaming services. Over the last 30 years, she has followed the gigantic (r)evolution of the production and distribution of audiovisual content in the country, in different formats and screens. She wrote columns and reports on television content for the newspapers “Folha de S.Paulo” and “O Estado de S. Paulo”, where she also edited the TV supplement for ten years, and for the now-defunct newspapers “Folha da Tarde” and “Jornal da Tarde”. While still at “Estadão”, she also wrote the blog “Teleguiados”, and was a professor of TV Criticism modules in the postgraduate course in Cultural Journalism at Faap, between 2010 and 2015.

Technological advancement opens up new fields of work and aesthetic exploration for screenwriters. Two paths are valid a dive into the discussion of the script: games and immersive narratives in virtual reality. It is not today that the gaming industry has increasingly complex games with narratives meticulously crafted by specialized screenwriters. What is the role of the scriptwriter in building a game? How does this field work? work? What kind of specialization should screenwriters who want to work with games look for? The reality virtual experience and immersion through glasses also suggest a brand new audiovisual experience, with possibilities yet to be discovered. From documentary to fiction, glasses and the total immersion experience in the universe created stimulate creators and point to a new aesthetic revolution. What is the script for this new form and what is the role of the screenwriter within this new market? Ricardo Laganaro, who in recent years has dedicated himself exclusively to VR, and Arthur Protasio, experienced in immersive narratives and games, brings a little light to these worlds, with the mediation of writer, screenwriter and teacher Sabina Anzuategui.

Speakers

Arthur Protasio

Palestrante

Arthur Protasio

Palestrante

Arthur Protásio is a storyteller and lover of stories. He is a scriptwriter for TV Globo and creative director of Fableware, an independent production company specializing in the development of multiplatform and transmedia content. His portfolio includes the soap opera “Geração Brasil”, nominated for a Digital Emmy Award; the collaborative TV show “Lazinho com você”; Virtual Reality experiences, “Angest” and “O rastro VR”; the books “Negra cicatriz” and “Jogador de mil fase”; the games “Cavaleiros do zodiaco: cosmo cards”, “Holodrive”, “GUTS” and “Sword legacy: omen”, finalist at the BIG, Indie Prize and Quo Vadis festivals and winner of Best Narrative at SB Games.

Ricardo Laganaro

Palestrante

Ricardo Laganaro

Palestrante

Ricardo Laganaro, partner and chief storytelling officer at Árvore Experiências Imersivas, created the entrance experience for the Museu do Amanhã, 360º clips and videos with over 60 million views, and directed the VR documentary “Step to the line”. The short film premiered at the 2017 Tribeca Festival and was cited by “Time” Magazine as one of the 5 best pieces of mobile VR content of the year. In 2018, he was one of the creators of the installation “Objects in Mirror AR Closer Than They Appear”, nominated in the “StoryScapes” category at Tribeca. He has spoken at events such as SXSW, CCXP and the 2017 UN General Assembly.

Sabina Anzuategui

Palestrante

Sabina Anzuategui

Palestrante

Writer and screenwriter. Author of the novels Calcinha no Varal (2005) and O Afeto ou Caderno sobre a Mesa (2011). Screenwriter of the films Absence (Chico Teixeira, 2014) and Jogo das Decapitações (Sérgio Bianchi, 2013), among others. PhD from ECA-USP with the thesis O Grito de Jorge Andrade (Ateliê Editorial, 2013).

In recent years, the series have become a kind of popular audiovisual narrative, with an avid audience for releases worldwide. The growth in the number of players and productions is notable and, with it, a A new form of creation was established, almost as a rule, for TV series: script rooms. So In general, only with a sharp team working daily is it possible to complete the writing of all episodes according to the demand that the series impose. But what is the ideal model of a script room? Who should be present, in what functions? What is the hierarchy of a room? Is it a collective or driven creation? What should be created inside the room and what should be the work that the screenwriter takes home? What should be the paths Does a screenwriter go from the original idea to the editing room? Lucas Paraizo, Mariana Trench and Renata Martins, three very experienced professionals, will debate under the mediation of Gustavo Gontijo.

Speakers

Lucas Paraizo

Palestrante

Lucas Paraizo

Palestrante

Lucas Paraizo is a screenwriter with degrees from PUC-Rio and EICTV/Cuba; a postgraduate degree from the Catalunya Film School and a master’s degree in Performing Arts from the University of Barcelona. For TV, he wrote the series “A teia”, “O caçar”, “O rebu” and “Justiça”, and is currently the final editor of the series “Sob pressão”. He is the author of the book “Palavra de roteirista” and a screenwriting professor at PUC and EICTV. For cinema, he wrote “Laura”, “Gabriel e a montanha” and “Domingo”, by Fellipe Barbosa; “Divinas divas”, by Leandra Leal; “Aos teus olhos”, by Carolina Jabor; “Macabro”, by Marcos Prado; and “Divino amor”, by Gabriel Mascaro.

Mariana Trench

Palestrante

Mariana Trench

Palestrante

A graduate in Journalism, she studied Dramaturgy at Sala Beckett, in Barcelona, ​​Spain. She works as a screenwriter and script doctor for film and television projects. She has written nine TV series, including “Pedro e Bianca” (winner of the International Emmy Kids Awards, in 2014).

Gustavo Gontijo

Palestrante

Gustavo Gontijo

Palestrante

Executive Development Producer at O2 Filmes since January 2021, Gustavo Gontijo has a long career in the entertainment and development area. Before that, he worked at Globo (the largest content producer in Latin America) since 2000 when he was hired as an author/screenwriter. In 2014, with the creation of the Weekly Drama division dedicated to drama and comedy series, he was named its Content Manager. During his tenure, he helped conceive and develop hits such as the medical drama “Sob Pressão”, the adventure “Ilha de Ferro”, the drama about education “Segunda Chamada”, Brazil’s first big-budget supernatural drama “Supermax” (and its spin-off in Spanish), the comedy “Mister Brau”, the Emmy-nominated “All the Women in the World” and the best series of the year 2017, according to MIPDramas in Cannes, “Carcereiros”, in addition to twenty other programs, in a total of more than 30 seasons aired. Gustavo was also responsible for the international expansion of these programs, taking Globo series, for the first time, to the biggest international festivals of the format, such as Berlinale, TIFF, SXSW, Canneseries, Seriesfest and many others. Gustavo was also behind the conception and implementation of Casa dos Roteiristas, a physical space with 13 script rooms dedicated exclusively to the development, writing and production of series, with the greatest Brazilian screenwriters, such as Jorge Furtado, Bráulio Mantovani, George Moura, Cláudio Paiva, Marçal & Bonassi, Mauro Wilson, Lucas Paraizo, Antonio Prata and many others. From 2019 to 2020, he was content manager at Globo Filmes with a main focus on feature films.

A fundamental question about the artistic direction of a TV series is the definition of showrunner, the one who is Responsible for the project as a whole, from script to completion. In the consolidated American market, this figure is, in general, the screenwriter who created the series, responsible for the script, budget, filming and completion, and which prints an authorial vision from the beginning to the end of the process. But, in Brazil, we can already say that Is there a market for showrunners? And what qualities are necessary for a screenwriter to become accredited? as a showrunner? Is it enough to write the scripts, or do you need to have experience in other areas of production? The table has producers, directors and screenwriters, all experienced in series production: Carolina Jabor, Marcia Vinci and Felipe Braga, mediated by Giuliano Cedroni.

Speakers

Carolina Jabor

Palestrante

Carolina Jabor

Palestrante

Carolina Jabor has been a director, producer and partner at Conspiração since 2000. “Aos teus olhos” (2018), her second feature film, highlights the controversial theme of lynching on social media. Well received by critics, the film toured the national and international festival circuit, being elected by the jury as the best fiction film at the 41st edition of the São Paulo International Film Festival and winning four trophies at the Rio Festival. Her debut feature film, “Boa Sorte” (2014), starred Deborah Secco and João Pedro Zappa. ​In 2008, co-directed with Lula Buarque de Hollanda, she released the documentary “O Mistério do samba”, about the Velha Guarda da Portela, selected for the Cannes Film Festival and voted best documentary at the Grande Prêmio do Cinema Brasileiro.​ ​On TV, she directed episodes of the series “Magnífica 70” (HBO), about the universe of Boca do Lixo during the dictatorship. She produced and directed episodes of the series “A Mulher invisível” (Globo), winner of the International Emmy in the comedy series category.​ In 2018, Carolina was the artistic director of “Desnude”, the first TV series from the Hysteria platform, a group formed only by women within the Conspiração.

Felipe Braga

Palestrante

Felipe Braga

Palestrante

Felipe Braga is in the role of breeders of the series “Lov3” (Amazon), “Samantha!” (Netflix) and “Sintonia”
(Netflix), the biggest Brazilian streaming success — besides “Latitudes” (Warner) and “A Vida Fora dos
Campos”, both nominated for the International Emmy. Selected by Variety as one of two “New Emerging Talents in Latin America”, it is credited with films such as “Marighella” (2021), “Legalize Já” (2017) and “Cabeça a Prêmio” (2009). Felipe is a partner with Rita Moraes of LB Entertainment, a company dedicated to the development of intellectual property, leader of SXSW for four years, and also a member of ABRA and the International Academy of Television Arts & Sciences.

Marcia Vinci

Palestrante

Marcia Vinci

Palestrante

Partner and producer at Coiote Produções, with over 20 years producing and leading independent projects for TV and cinema, Márcia specializes in fiction and documentary series. The executive producer clearly understands the needs of channels, ensuring that her projects have quality and focus on results. She has worked at Radar, Mixer, Canal GNT/Globosat and O2 Filmes. Among the main projects she has worked on are the fictional series “Felizes para sempre?”, “Psi”, “Lili, a ex” and the documentary series “A verdade de cada um” and “A vaga” and the feature films “Pearl Fishers”, “Gretchen – filme estrada”.

Giuliano Cedroni

Palestrante

Giuliano Cedroni

Palestrante

Giuliano Cedroni began his career in content in photojournalism, and then moved to reporting until he became editor-in-chief of “Trip” magazine. In 2007, he left the newsroom to study screenwriting in Argentina, and then began developing projects for TV and cinema. Since then, he has written and coordinated script rooms, produced “Oscar Freire 279” (Multishow), “Passionais” (Mais Globosat), “Copa Hotel” (GNT), “Outros tempos 1 e 2” (HBO), “Work in Progress 1 e 2” (Arte1), “O guia” (NatGeo) and “FDP” (HBO), winner of the APCA Award in the Fiction Series genre. For cinema, he wrote the documentaries “Coração vagabundo”, “Trinta” and “Motoboys – vida loca”. He recently created and coordinated the script room for “Coisa mais linda” for Netflix, confirmed to premiere in 2019, and directed the documentary series “Rompendo em silêncio” (HBO), set to premiere in 2018.

In the current historical and political context, the discussion about the place of speech in fiction is increasingly present. The questions are many: who can write about whom? Screenwriters should feel free to talk about social positions they haven’t experienced, write about dramas they haven’t experienced? Or will each Is the author’s proximity to the universe portrayed increasingly important?

The panel will discuss the challenges facing screenwriters in the face of visible and urgent changes in society. In mesa, Anna Muylaert, Marton Olympio and Paulo Lins with mediation by screenwriter and director Juliana Vicente.

Speakers

Anna Muylaert

Palestrante | Direção | Roteiro

Anna Muylaert

Palestrante | Direção | Roteiro

In the early 1990s, Anna worked on the creation and scripts of programs such as “Castelo Rá-Tim-Bum” and “Mundo da Lua”. In 2002, she directed her first feature film, “Durval Discos”, which won her several awards. After that, she directed five more features, including “Que Horas Ela Volta?” (2015), which won over twenty awards worldwide. Anna develops complex stories and characters that, like the society in which they live, are constantly changing.

Marton Olympio

Palestrante

Marton Olympio

Palestrante

Marton Olympio is a director and screenwriter. He began his career in 2010 with the series Musas, on Canal Brasil, 26 programs written and directed by him. He then wrote the screenplay for both seasons of the series Natália on TV Brasil, nominated for best series at the Grande Prêmio do Cinema Brasileiro. Marton is the author of the last season of Cidade dos Homens (2018), a collaborator on the series Rio Negro (2019) and one of the new authors of the series Os Experientes (2020), all for TV Globo. In 2018, he wrote and directed the series A Dona da Banca (2021), for Cine Brasil TV, yet to be released. He returned to Rede Globo in 2020 as the head of the room for the series Marielle Franco. He wrote the script for the film Sequestro Relâmpago (2018), for Globo Filmes, and the feature film Alemão 2 (2020), for RT Features. In 2022, he will direct his first feature film in partnership with Gullane, As Tres Senhoras do Tempo. He was the coordinator of the Lab Novos Talentos at Gullane and has been a tutor at Flup Narrativas negras for the past three years, opening up opportunities for new black authors and screenwriters in Brazil. He is currently the head of the series Anderson Spider Silva for Paramount and the Hub de Conteúdos Narrativas Negras at VIACOMCBS.

Paulo Lins

Palestrante

Paulo Lins

Palestrante

Paulo Lins is a poet, novelist, screenwriter for film and television, and a professor with a degree in Portuguese and Brazilian Language from the Federal University of Rio de Janeiro. He is the author of the books: “Under the Sun”, “City of God” (a novel that inspired the adapted screenplay nominated for an Oscar), “These Poets”, “Since Samba is Samba” and “Once Upon a Time”. As a screenwriter, he has worked on the films: “Orfeu da Conceição”, with Cacá Diegues; “Quase dois irmãos”, with Lúcia Murat (winner of the APCA Award for Best Screenplay); “Once Upon a Time”, with Breno Silveira; and “Estrada 47”, by Vicente Ferraz. For television, he co-wrote the screenplay and directed the series “Cidade dos Homens”, with Kátia Lundi. He worked on the script for the series “Suburbia” with Luiz Fernando Carvalho, and as a screenwriter for the series “Carcereiros”, as well as collaborating on the soap opera “I love Paraisópolis”, both productions by Rede Globo.

Juliana Vicente

Palestrante

Juliana Vicente

Palestrante

She is a director, producer and founder of Preta Portê Filmes. She graduated in Cinema from FAAP and EICTV in Cuba and directed the short film “Cores e botas”, which was shown worldwide in more than 50 festivals. As a guest director, she was part of the Berlinale Talents group (2015) at the Berlin Festival, the same year she was awarded with the co-production “A Terra e a sombra” at the Cannes Festival. In 2016, she was awarded the Rumos Itaú Cultural grant for the production of the film “Diálogos com Ruth de Souza”, currently in production, and is developing the script for her first feature film, “Cores de maio”, which was awarded the Spcine Doctoring grant and participated in BrLab 2017. On TV, in 2017 she launched the documentary series “Afronta!”, in partnership with Canal Futura and directed the 13th season of the series “Espelho”, by Lázaro Ramos, shown on Canal Brasil.

This master class will provide some tips on the balance between reason and emotion in the creative process, which unlocks the links between filmmaker and audience. Look beyond the dominant thinking that dictates that “structure is everything”, explaining why some interesting characters fail and some great ideas don’t lead to great films. It is possible to start a film project, be it a short, feature, animation or not, anywhere. You can be inspired by a song, another movie, a story in the news, a friend, someone you saw on the street, in a conversation you overheard, or in an image you just can’t forget. Many Animators start with a character or a situation. It doesn’t matter where you start from, or whether or not you think your idea is good; what matters is where you end up. This master class will introduce you to the various stages of development and will investigate the key elements of a script (such as story, theme, structure, plot, genre, tone and style) are used to ensure that you do not make some basic mistakes in communicating your ideas to the your audience.

Speakers

Phil Parker

Tutor | Palestrante

Phil Parker

Tutor | Palestrante

Phil Parker is one of Europe’s leading content development consultants – his productions include “Wallace and Gromit: Curse of the Were Rabbit” and Terry Prachett’s “Hogfather”. He co-wrote “Manou”, an animated film currently in production; and developed the German/Brazilian action feature “Bach in Brazil” with director Ansgher Ahlers, which ran for 16 weeks in German cinemas in 2016. He founded the UK’s most successful screenwriting course, whose graduates include BAFTA, Palme d’Or and Oscar nominees. He is the author of “The Art and Science of Screenwriting” and is currently working on projects in Poland, the Czech Republic, Slovakia, Germany and the UK.

In an increasingly globalized world, stories cross borders more easily and quickly. But there is some type of specific story capable of pleasing audiences around the world? What types of drama, genre and theme are they able to reach audiences in different countries? There is some kind of demand for local stories with global reach? How to identify a good story capable of traveling? The table will feature the participation of Brazilian producer Rodrigo Teixeira, who has produced films of different nationalities, and the screenwriter Pedro Aguilera, creator of the global hit “3%”, mediated by screenwriter Thiago Dottori.

Speakers

Pedro Aguilera

Palestrante

Pedro Aguilera

Palestrante

Pedro Aguilera is a screenwriter who graduated from ECA-USP. He created and is the screenwriter for “3%”, an original Netflix series. Since 2007, he has been writing for TV in projects such as “SOS Fada Manu”, nominated for the International Emmy Awards, “Haunted Stories”, “Vida de estagiário” and “Sítio do picapau amarelo”. He wrote the feature films “Copa de elite”, “La vendetta” and “Haunted Stories”.

An ever-growing field for screenwriters’ work is the Internet. Through YouTube channels or viewing on social networks, the audience on cell phones and tablets is growing dramatically. But is there a way specific to writing videos for the Internet? How the experience of those who write for this medium can help screenwriters who want to make a story go viral and gain millions of views?

The panel invites the screenwriter specializing in Social Video Manuela Bernardi, Pedro Esteves, one of the screenwriters of “Porta dos Fundos” the most successful Brazilian channel on the Internet and the screenwriter Tatá Lopes who has worked specifically in videos for the Internet of the programs “Tá no ar” and “Zorra” mediated by also screenwriter Leo Garcia.

Speakers

Manuela Bernardi

Palestrante

Manuela Bernardi

Palestrante

Manuela Bernardi is a writer and screenwriter. She has written for series on TV Globo, GNT, Multishow, TBS and History Channel. She was a consultant for the NETLABTV contest in its 2017 edition, having taught the Social Video workshop in three cities. She recently developed a mobile series for Studio+. She holds a bachelor’s degree in Journalism from PUC-Rio and a master’s degree in screenwriting (MFA in Writing for Screen and Television) from the University of Southern California (USC), in Los Angeles, obtained through a Fulbright/CAPES scholarship.

Pedro Esteves

Palestrante

Pedro Esteves

Palestrante

Pedro Esteves is one of the names that make up the small team of scriptwriters for the Porta dos Fundos channel. An actor for 15 years, he has always had a knack for humor. After a few years producing comedy videos on the Internet, he ended up working on the Sensacionalista channel team, where he further developed his talent for comedy. Today he works alongside Fabio Porchat, João Vicente de Castro, Gregório Duvivier and Antonio Tabet in creating the channel’s videos, as well as series, films and other major projects.

Tatá Lopes

Palestrante

Tatá Lopes

Palestrante

Tatá Lopes is an actress, producer, writer, and screenwriter. She is the author, producer, director, and actress of the show Surto, which ran for 9 years and had over a million viewers. She is the author of the book “Crônicas de um blog deserto” (Chronicles of an abandoned blog). Together with Adeline Ramalho, she co-authors the comedy channel “Minutos de Sabedoria” on YouTube, which has over a million views. She also wrote the series “Canalhas” on GNT. She is co-author of the play “Em casa a gente conversa” (We talk at home) and also of “O que a gente não disse” (What we didn’t say). She was a screenwriter for “Zorra” on Rede Globo for 5 years. She is co-host of the podcast “Humor Globo”. She was also a screenwriter for the program “Fora de Hora” and the podcast of the same program.

In the master class “Immersive Narratives and Virtual Reality”, Ricardo Laganaro will bring case studies that show its creation process for immersive content, from projection for full domes, through 360˚ videos, physical-digital installations in augmented reality and non-gamified interactive content in virtual reality.

The class will show how and why the ideation process needs to be adapted to a medium that, unlike the cinema, is still being invented, without established production processes, and without a language properly defined between creator and public. Completely new concepts will be covered for creators of audiovisual as the need to consider, as part of the content, the space for enjoying the experience and the spectator’s body to common concepts in cinema, such as editing and decoupage that can be adapted in the narrative immersive appropriating techniques used in theater and amusement parks, as long as they are taken into account counts from the creation of the script.

Works such as the “Cosmic Portal” dome projection, on display since 2015 at the entrance to the Museum of Tomorrow, in Rio January; the clip “O Faral”, with singer Ivete Sangalo, the most viewed 360˚ content in the world in the format 2016; the virtual reality short film “Step to the line”, with international prominence in more than 30 festivals around the world; and the augmented reality installation “Objects in mirror AR closer than they appear”, in poster in Tribeca at the beginning of 2018, the author’s main projects will be mentioned in class, as well as videos advertising and immersive projects from creators who stood out at events like Sundance, Tribeca and others major film festivals around the world.

Speakers

Ricardo Laganaro

Palestrante

Ricardo Laganaro

Palestrante

Ricardo Laganaro, partner and chief storytelling officer at Árvore Experiências Imersivas, created the entrance experience for the Museu do Amanhã, 360º clips and videos with over 60 million views, and directed the VR documentary “Step to the line”. The short film premiered at the 2017 Tribeca Festival and was cited by “Time” Magazine as one of the 5 best pieces of mobile VR content of the year. In 2018, he was one of the creators of the installation “Objects in Mirror AR Closer Than They Appear”, nominated in the “StoryScapes” category at Tribeca. He has spoken at events such as SXSW, CCXP and the 2017 UN General Assembly.

Another genre that is increasingly growing in the number of productions in Brazil is animation. How this genre works and what are your particularities in writing? Are there essential differences between writing live-action and animation? AND Do I need to specialize?

To this table, we invited the English screenwriter Phil Parker, who in the company of screenwriters Arnaldo Branco and Zé Brandão will debate the specific issue of writing for animation, mediated by screenwriter Keka Reis.

Speakers

Arnaldo Branco

Palestrante

Arnaldo Branco

Palestrante

Arnaldo Branco, wrote and directed the series “Overdose” (MTV); was a screenwriter for TV Globo; is the screenwriter for the series “Irmão do Jorel” (Cartoon Network), “Oswaldo” (Cartoon Network), “Tromba trem” (Cartoon Network, TV Brasil), “Gigablaster” (Gloob), “Greg news” (HBO), “Terminadores” (Band, TNT and Netflix) “Juacas” (Disney XD, SBT).

Phil Parker

Tutor | Palestrante

Phil Parker

Tutor | Palestrante

Phil Parker is one of Europe’s leading content development consultants – his productions include “Wallace and Gromit: Curse of the Were Rabbit” and Terry Prachett’s “Hogfather”. He co-wrote “Manou”, an animated film currently in production; and developed the German/Brazilian action feature “Bach in Brazil” with director Ansgher Ahlers, which ran for 16 weeks in German cinemas in 2016. He founded the UK’s most successful screenwriting course, whose graduates include BAFTA, Palme d’Or and Oscar nominees. He is the author of “The Art and Science of Screenwriting” and is currently working on projects in Poland, the Czech Republic, Slovakia, Germany and the UK.

Zé Brandão

Palestrante

Zé Brandão

Palestrante

Zé Brandão is a founding partner of Copa Studio, one of the largest cartoon production companies in Latin America. He is the executive producer and screenwriter of the series “Irmão do Jorel”, by Juliano Enrico, a ratings champion on Cartoon Network. He is the producer, author and director of the series “Tromba trem”, shown in more than 20 countries. He was the animation director for the series “Historietas maravilhadas (para crianças malcriadas)” and is the executive producer of three new animated series that will premiere in 2018 and 2019. He is the coordinator of the project “Estúdio escola de planejamento de planejamento de natureza”, which offers free courses in Rio de Janeiro.

Keka Reis

Palestrante

Keka Reis

Palestrante

Screenwriter and playwright Keka Reis studied Radio and Television at Unesp and began her career at MTV in the 1990s, where she wrote, produced and directed TV programs of different types and formats. She has worked as a freelance screenwriter since 2006 and has written animated series for Nickelodeon, Cartoon Network, Discovery Kids, Gloob and Disney Channel. She was a member of the eighth class of the Sesi/British Council Dramaturgy Center and released her first book, “The Day My Life Changed Because of a Chocolate Bought in the Maldives”, in 2017 by Seguinte, a young publisher of the Companhia das Letras group. The book’s sequel is scheduled to be released in the second half of 2018.

For Julio Rojas, author of the book “Eliseo in 100 questions”, a conversation with Eliseo Altunaga is a lesson in script, cinema, life and cultural connections. Based on fragments of conversations recorded in the publication, finally released in Portuguese with the BrLab seal, this table proposes a meeting between the book’s author and his honoree and Iana Cossoy Paro, Eliseo’s collaborator and translator of the Brazilian edition of the book. In Then, there will be an autograph session with Altunaga and Rojas during the book launch event in Portuguese.

Speakers

Eliseo Altunaga

Palestrante

Eliseo Altunaga

Palestrante

With a degree in Hispanic Literature and Literature, he is the Dean of the Screenwriting Chair at EICTV. His work includes La Invención de las Especies, directed by Tania Hermida (Ecuador), winner of the Sloan Science on Screen Award in 2024; The Count, directed by Pablo Larraín (Chile), winner of the Golden Lion in the category of Best Screenplay in 2023; and Una Mujer Fantástica, directed by Sebastián Lelio (Chile), awarded the Silver Bear for Best Screenplay in 2017 and the Oscar for Best Foreign Language Film in 2018.

Julio Rojas

Palestrante

Julio Rojas

Palestrante

Julio Rojas is a screenwriter for films such as “Mi mejor enemigo”, nominated for the Goya Award for Best Ibero-American Film (2006); “En la cama”, Espiga de Oro for Best Film in Valladolid, and nominated for the Goya Award for Best Ibero-American Film (2007); “La vida de los peces”, Colón de Prata for Best Screenplay in 2010, in Huelva; Goya 2012 for Best Ibero-American Film; and “La memoria del agua” at Venice Days, 2015; among others. He has been a director of fictional content for TV, a professor at several Chilean and foreign universities, and a visiting professor at the International School of Cinema and Television of San Antonio de Los Baños, Cuba, for over fifteen years. Julio Rojas is also a script consultant, and his analysis has included internationally awarded films. He is currently the fiction development coordinator for “Fábula”. As a writer, he has just published his first novel “El visita extranjero” (Penguin Random House, 2018).

Iana Cossoy Paro

Tutor | Speaker

Iana Cossoy Paro

Tutor | Speaker

Screenwriter, professor, and consultant. Director of the Master’s program and residency in Screenwriting at EICTV. She co-wrote the screenplay for Eneida (2022) with Heloisa Passos and Tina Hardy, Três Verões (2019) with Sandra Kogut, Eu Te Levo (2017) with Marcelo Muller, among others. She holds a Master’s degree in Audiovisual Media and Processes from ECA-USP and is a consultant and lecturer in various laboratories and schools throughout Latin America.