All language subtitles for 20 - Writing the script II.eng

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.