All language subtitles for 18 - Escaleta.eng

Before we start writing
in Word, Final Draft or wherever

you want to write the script,

I'm going to recommend
use two things.

In principle, make the runway.

But the recommendations are:
one, work with slips or chips,

and if they have any surface,
be a table, a wall or whatever,

try to work on the runway
As I'll show you later

like I did in my movie,
it works on almost everything

and try to see it in time.

It's hard but it will help them a lot
at the time of writing the script.

Maybe if they put the computer near
they will be able to visualize it

and go writing it
as they read it.

On the other hand, what they can do is,
a little less romantic,

but they can work with Excel
or with a spreadsheet.

I with "Petit",
with my script partners

work directly with the Excel.

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We made a model, we made a format
and we are completing the cells.

Let's see in this lesson
how I did it with the movie

"How most things work"
and how I do it in the "Petit" series.

Let's see how it works
that synopsis taken to runway.

Imagine that the synopsis is
as vertebrae, we already know the order,

but now we must add
more vertebrae,

we must start to put the ribs,
the shoulder blades, the clavicles

and let's know what other bones
exist in the human body,

but more or less we should be forming
that structure so that later,

when we write the script,

is as if we put
not only the soul but also the flesh.

But we need to know that that script
can stand up.

So let's work a little more
on that structure.

I work with Excel.

I worked a lot as an administrative assistant
in a company.

That made me familiarize
with the spreadsheets.

And is that to let it develop
the creative part needs structure.

Then I go and I come
between the spreadsheet

and the blank page with the pencil.

So I'm going to show you how I work
with the escaleta in episodes of "Petit".

We're going to work with the same chapter.
At that time,

was called
"My imaginary pet exists."

The topics he addresses are reality
and imagination, and pets.

And the synopsis of that chapter
we just gave it, but I repeat it:

"It's the week of the pets
at school,

Petit must draw his,
but the problem is that he does not have.

So he draws
his imaginary pet: a dog

He asks a dog for his parents,
but they give him

a very unfriendly bird.
While Petit tries to draw it,

the bird escapes
and when trying to retrieve it,

Petit meets Tadeo,
a dog that turns out to be the same

as his imaginary pet ".

Immediately next to
I put the detonator,

which is what causes,
what leads to the action.

The teacher proposes that each one
draw his pet,

but Petit does not have one.

"I do not have a pet,
what am I going to draw?"

I pretty much know that
if the episode lasts seven minutes,

the trigger should appear
to the minute, minute and a half as much,

as to have time
to develop it

And then I write down Petit's wish.

What does Petit
throughout the chapter?

Petit wants a pet,
that I have to be very clear about.

This I'm going to keep in mind
throughout the writing of the script.

Then I get to work
on the actions and the reactions.

Let's see.

The first action is that Petit
asks his parents for a pet

on the pretext that at school
they asked him to draw a pet

and that he has no way of doing homework.

His parents accept,
but if he takes care of her.

Petit fantasizes that the mascot
that his parents give him

is the Tadeo that he drew.

Notice here that
starting to have more actions,

and it is already a little more developed
than we put in the synopsis.

Now, what will happen to this action?
What will cause Petit's request?

Petit's request causes a reaction:
they give him an unfriendly bird,

very far from his expectations.

This makes Petit
have to trigger again.

Like a chess turn,
each one is moving.

Now Petit what he's going to do
is try by all means

make friends with his bird,
sing, play together, draw,

and nothing, "I wish you were like Tadeo" ,
tells him.

Remember that Petit's desire,
in the background, is to have a pet,

does not necessarily
do the homework for the school.

What will happen from Petit's attempt
to make friends with his pet?

The bird looks at the picture and then,
looking through the window,

I see a dog equal
to Petit's drawing.

Then he goes crazy
and tries to get Petit's attention

so that he realizes that the imaginary dog
he drew is nearby.

Then, the bird indicates
where is the real Tadeo.

This is a reaction
that would not have happened

if the parents had not
given him a bird,

if Petit had not made the attempt
to draw him and become his friend,

and if the bird had not
had access to Petit's drawing.

What will happen now? It's going to happen
that Petit runs out

and in the climax we realize
that Petit's pet,

that he had imagined,
exists.

Petit runs away because the bird
escapes through the window

and Petit goes after him. That way,
Petit is found,

through the action of the bird,
with his imaginary pet.

Finally, Petit draws Tadeo
and they ask him in class:

"Why did you choose a dog
and not a bird?"

He says he did not choose him
but the pet chose him.

They are some notes and they are some things
that can come to serve

as reminders
or as a structure, basically,

at the time of sitting
to write a script.

Before you sit down yourselves,

try to mark in an Excel
or in a list, it does not matter,

or maybe in the same program
you are using,

the test of marking which are
the hits and which are the counterpoints.

What are the actions,
what are the reactions.

Mark what are
the topics you are playing,

have the synopsis that they wrote
by hand,

always think what is
what triggers the action,

what is the character's desire
and whether he will achieve what he wanted or not.

Finally, in this case, Petit
ends up getting what he wanted,

he was a pet and, coincidentally,
ends up with the pet he imagined.

Another thing you can do if you do not want
use a spreadsheet,

is to use
posters or colored papers.

This is an example
of how was the

of the movie I wrote
with Esteban Garelli,

and that I directed, which is called
"How almost all things work "

This is how the movie script
looked outside the word processor

or outside the computer.

What I did was to separate
the smaller scenes

into narrower roles,

the longer scenes
into longer papers

and then, in a different color,
in red,

the most important points,
the turning points,

the midpoint or moments where
reveals a very important information

and then, in other colors,
as green,

I put some moments
as interviews

or moments of transition.

If you watch the movie, you will notice
that in the middle you have

brief interviews with the characters,
as if it were a documentary.

In this way, what was I looking for?
I was trying to know, more or less,

if the movie was balanced,

as if I were watching
the film already in edit.

And I was trying to see if I was able
to hold the movie

with interesting moments
every X amount of time.

If I already saw that there were
many yellow pieces of paper

and there was no pink paper,

was that a lot of things were happening
without any twist.

And as if they were a shelf,
I should try to put

a support in the middle so that
that shelf would not make a belly.

My fear was if I would be able
to hold

the interest of the spectators
for 90 minutes.

So, I tried to visualize
the feature film in cork.

If you have a bigger wall,
or maybe on tables, using chips.

There are many systems,
but I recommend them a lot

because that way they can start
to visualize in time and space

what they are going to narrate,
what are the interesting moments,

what are the moments
of transition

and more or less what is the duration
that your audiovisual piece will have.

If you can do this, and once
you finish it to write,

it seems to me that they will have
done the task

and they will have at least
a smaller dose of Anguish

or uncertainty at the time
of starting to write the script.

Well, we already have a synopsis,
we have the runway

and now we finally get to write
the first chapter of our series.