The fiction told by their creators.
On Tuesday
bummed I can not attend the first meeting and press writers that came about WGA initiative ALMA and which aimed to raise awareness of the situation of TV writers in Spain and seek recognition . It is not a matter of ego, but an invisibility absurd considering that in the series, and all who are familiar with American fiction you know, are coordinated and gestated writers. They run the show, is a writer who usually acts as executive producer and showrunner and decides, along with the chain, where the shots of a TV series. If you know people like Abrams, Sorkin, Ball or Gilligan, what you may not know Faerna Nacho, Ramon Campos and Javier Olivares? Moreover, unlike the Spanish cinema, Spanish television fiction works very well and that’s prime time on television. Is it normal that nothing is known of their creators and their work? Certainly not. This invisibility also favors only the significant deterioration suffered by the guild in their working conditions in recent years. If, before a series was brewing with teams of 8 or 10 writers now hopefully reach 5 for the same work, which means more hours of work, you have to add much lower wages than before. That, ultimately, can only be detrimental to the series itself
Luckily, the media have become quite echo the theme, indicating that the series made here most interest in the press than might be expected. Even 20 minutes a newspaper as part of its cover dedicated to meeting covered by the buddy Daniel Gonzalez.
But to the content that was in this quote. Conducted by Antonio Castelo, it will not be cold this winter in the neck, the meeting was structured so that the writing teams of some major national series were talking about the intricacies of each, his own work, those things that the face of it could improve and also many others that are a source of pride.
CREATIVE PROCESS
Varies
enough of one series to another. In most of a chapter gestation lasts between three weeks and a month, but not the same one chapter of Aida that one of Isabel . In the case of the first and other series set in the present, there is a lot to put your ear to the street, in how and what people talk about. In the second, however, spend between one and two weeks to process documentation for each chapter in order to maintain historical accuracy. Are the writers themselves who should do this work because although it is a series, do not have a documentation team as such.
Then there are cases like the time between seams that, being an adaptation of the novel by Maria Duenas, have their own material in the novel, although they have made some changes without betraying the bulk thereof. In fact, the author herself has collaborated in the development process of the series.
In any case all have that first step documentation of verisimilitude to what is said, either from what you see on the street or what can be removed from the books.
WHY ARE NOT AS SERIES IN USA?
is the eternal question that the public becomes more seriéfilo. There are several reasons ranging from the merely budget to television idiosyncrasies of our country.
is clear that in Spain it is impossible to manage budgets as possible making series like Boardwalk Empire , to take an obvious example. We play in another league budget in a much more limited market, and that forces have to leave out scenes with many extras and very little shooting outdoors. But that happens here in France or Italy. Are Americans, the British and then the rest.
Furthermoreoperation is very different televisions. The most praised series united states are mostly payment chain, series that do not require large audiences to survive, but they are based on a solid subscriber base channels like HBO, AMC and, nowadays, also platforms as Netflix. Here, however, most series are made for mainstream television, living from advertising and therefore rely exclusively on generating large audiences. That causes that famous intended to reach all audiences as far as possible, something that comes with side effects like commercial breaks when the string comes out of the ass.
There have been cases such as Crematorium or What happened to Jorge Sanz? on Canal +, series that have been able afford to be short (six chapters had the first), look for a more adult audience (sex, violence, and humor much more explicit) and have a less standardized and conditioned by tight production schedules. However, for now you have to understand those series as an exception, Canal + is living now a deep crisis and transformation (bet by Yomvi) that has not made it possible for the moment to continue the production of the American fiction . In the medium term, the recent announcement that constituted Telefónica Telefónica Studios, could open the way to new series like this if you opt for a model type distribution through Imagenio Netflix.
Howeverwriters if they claimed to follow the American model certain issues that focus primarily on issues related to respect for coherent programming and viewers. There are well known cases like The Mysteries of Laura , a series that has worked quite well, but has been constantly abused by TVE. His third season is long since finished, but there are no planned issue date. Most chains fit his fiction programming in terms of their financial accounts. If the year is falling apart, the series is delayed, as spending for a range not imputed to its issuance and, meanwhile, is the producer that must bear all the costs of the same without any possibility to make it profitable . That weakens much to the producers and neglects much the audience of the series. Similar cases have lived The time between seams , which has been two years in a drawer, Land of Wolves , as last season was interrupted for almost year and a half and now they are recovering Red Eagle , which was issued a year without peel because TVE had to pay, Winds of water , that being a short series of day and time changed almost as many times as chapters had etc.. Thus it is very difficult to consolidate the audience and a series this feel worthwhile. If the string does not respect why it would do the public?.
Anywaynoticed considerable improvement in many series. Productions 10 years ago Grand Hotel , Gran Reserva or Hispania were unthinkable. Little by little more careful production, focuses more and aesthetic value chains, with small steps, they lose the fear of making fictions of time or even science fiction ( Leak , despite its many alterations from the original idea came forward). Begins to sink the idea that innovation and care often the result is not so much a matter of money and do a good job and promote why this is possible.
AWARENESSThe writer is the great unknown in Spanish television and that is wrong. It is not going making bows in their path, but to recognize their merit and having an established writer in the middle is a value in itself for a series to get ahead. If we were Sorkin HBO and appeared in the door, we’d be all ears. Here you should be able to get to that point, that trust chains that creators and therefore give rise to small quotas conquer freedom and creativity.
Perhaps the last great name that has transcended outside the offices of the chains is to Dani Ecija, creator of Family Medical , Journalists , A step forward , Serrano , Paco Men , Red Eagle or boat . It is the emblem of success and the factory flagship Globomedia, the man who got children and the elderly in the same series and families gathered across the country in front of the TV week after week. It is also someone whose legend is forged with far fewer strings than there are today and inadvertently take anything, because I have, there are many other people who have achieved successes that deserve similar recognition.
Lettalking about them.
Via
Bloguionistas, Session Golfa, 20 Minutes
PS: I have some pictures of the Canal + documentary series, Spain in series, which is a perfect complement.
class=”tags”>Tags: Red Eagle, Aida, ALMA, Crematory, The time between seams, Galleries Velvet, Isabel, what happened to Jorge Sanz?
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