Original subtitles

I would like to share with you some ideas from my script,

specifically the series "Zamba's excursion".

They are like a kind of precepts or dogmas that we created

to understand why we did some things,

and a kind of list of ideas that should not be missing in any script.

I advise you that while this does not have to be in the presentation folder,

make some internal rules so as not to get lost and understand well

what the series is about and being able to explain to the rest of the people what it is about.

The first is very clear, that we should always look at the world

as boys and girls look at it.

We didn't have to think of a childhood idea, but really

an effort had to be made to see the world as they see it.

On the other hand we could not forget the humor, the gags, the physical humor,

also the crutches, like "I get bored" and those recurring phrases of the character,

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that become "catchphrases", or phrases that repeat.

Gags and physical humor especially have to do with an audience

who is between three and five years old who enjoys those gags or situations.

So, when thinking about something very popular, for a very wide audience

As Zamba was, the idea was not to forget those kinds of resources.

Also, speaking of audiences, we had to think about adults,

in teachers, parents, so we include little winks

for the adult audience, so as not to leave them out

and create some complicity.

Zamba included many video game methods,

perhaps because I grew up in front of an Atari, playing,

or went to electronic games or video games.

In the narrative synthesis that video games have, we find many ideas

and forms of resolution, then the truth is that they are

relevant to childhood

and that aesthetic and that kind of actions helped us a lot.

Also because of the limitations we had

when modeling the characters, perhaps some "staging"

8-bit video games or fairly basic video games

allowed us to explain an idea or show a situation

or make a staging that in addition to being comical was effective.

On the other hand, animation allows us to break the rules of the plausible

and in Zamba we broke it several times.

The good thing about animation is that it allows you to put an elephant,

change the color as many times as you want,

have a character snap their fingers and appear on another stage.

We don't necessarily have to respect the laws of physics

nor the laws of humans,

And I think Zamba exploits those kinds of possibilities to the maximum.

We were trying all the time to demand plausibility in that.

We also decided not to be solemn with historical figures,

we trace a symmetrical relationship between Zamba and the other characters,

without losing respect, obviously, because in Zamba's case

they are highly respected characters, who are practically heroes.

What's new in Zamba is to speak symmetrically

characters that were on top of a pedestal or monument.

We seek to be unprejudiced but at the same time sensitive,

we were clear that we did not do "South Park",

but "Zamba's excursion" and we had to have a certain sensitivity.

Childhood is also about that, right?

In Argentina we talk about "you" many times.

In Río de la Plata much more is used,

but in Argentina there are also other ways of speaking.

Without speaking in neutral Mexican, as we are used to,

We are looking for a kind of neutral River Plate

but specifically, when writing the dialogues, we avoided

the "come", "walk", "carry", "bring", for example,

instead of saying "come", Zamba shouted "come on".

Or "go ahead", which is something we usually say in Argentina,

we said "hurry up" or whatever.

We were already trying from the newsroom that Zamba did not talk about "you"

and also not talk about "you", but we tried to hide that,

which usually creates a certain distance because we are not used to it

to listen to those kinds of words in animation.

We also tried to be anachronistic in the way of speaking,

avoiding current idioms.

We wanted to be correct but not solemn.

We didn't want to include fashionable words,

because personally I was very aware that what I wanted

was that Zamba transcended this generation, even.

My idea, and our idea as a team, was to think dialogues in a way

as anachronistic as possible.

On the other hand, we also avoid contemporary objects and technology

like email or WhatsApp

or put the character with a technological object

that denotes a time and a space.

We wanted Zamba to be as anachronistic as possible.

We also wanted to avoid boredom all the time,

that the series had rhythm, that it didn't stop,

that really, in addition to the narrative, that it has to have twists

and have points of interest, etc.,

that in general the montage rhythm or the rhythm of the scenes

it was quite choppy,

so that the public could be hooked

and I felt that the whole time I was being stimulated.

On the other hand, the songs, which were two or three per episode,

we wanted them to underline certain things

or to synthesize moments in history

that maybe they needed an ellipsis.

Usually songs have those two functions,

either underline a specific time or skip a period.

That in the episodes of "Zamba's excursion"

they talk about history.

On the other hand, Zamba never explains and is learning all the time,

We had to be very clear about that because many times

we had a need to explain content,

or to develop content.

We were also very clear that Zamba was never the character

that developed the content

but the character who listened to the content being developed.

We can also draw on ten tips that come from LatinLab.

LatinLab is a laboratory for research, creation,

training and reflection on the media

and multiplatforms for children and adolescents in Latin America.

On this page you will find many resources

and a lot of guides that can help you approach your projects.

In principle I separated ten that I like very much.

The first thing is to get inspired.

The truth is that children have the ability to create fiction

all the time, we should look for the necessary inspiration

to think content attractive enough.

On the other hand, respect them, respect our audience.

They trust us as adults,

we shouldn't give them archetypes or cliches or stereotypes

that they already know.

We can take them a little further,

and introduce them to new models to work with

diversity and inclusion.

Watch how they do it.

This has to do with research and is perhaps the biggest challenge.

Do we know what appeals to them, what amuses them?

It is our obligation to observe and investigate them.

On the other hand, tell something extraordinary.

Counting is the most significant fact, it should be, of our lives.

What we count should be very important to us.

And that story that we tell should also be very important,

or the most important fact in the life of our protagonist.

So we should take it very seriously

and tell each story as if it were the best we can tell.

We must also be consistent.

If a story begins in a wonderful and incredible way,

the end has to be the same or more incredible.

So we should have an even narration,

Don't start with drums and cymbals and perhaps end up disappointing.

We should be verbose on that.

They also advise us to move.

The truth can be a well structured narrative,

but if it doesn't generate emotions

what will surely generate is indifference.

So we don't have to be recontradramatic,

but we do have to try to reach the heart of our audience.

On the other hand, we have to create credible characters.

They have to be complex,

they have to have defects and virtues, contradictions.

We have to get our audience to identify with our characters.

It is a great job that we have to do when thinking who will take

forward the action, who will face the conflicts.

We also have to be creative. As we talked before,

in animation we can create rules.

We can create a world with its own laws.

We should be consistent throughout history

with those laws that we imagine, not resorting to chance or cheating

to get around some problem we have with the script.

We should have a good time, too,

when writing our stories or thinking about audiovisual formats.

If we don't have a good time and we don't have fun,

our spectators are hardly going to have fun.

On the other hand, we have to become storytellers.

One of the things we can do to test it

is to tell a person who could be our audience,

In this case, we could say to a boy or a girl:

"I want to tell you a story", and really hear your return.

Many times they can enrich us and they can give us a point of view

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that we are not taking into account.