Marcelo Mitnik, el reconocido guionista argentino radicado en Los Ángeles, filmará próximamente su ópera prima “Living and Leaving L.A” producida por Utópica Cine y otros coproductores internacionales que aún no han sido revelados.

El guión de Mitnik tuvo un intenso y laureado recorrido por festivales ganando premios de BAFTA, George Burns Awards por mejor comedia y WorldFest entre otros.

Esta comedia “off beat” sobre las desventuras de un actor argentino tratando de navegar el laberinto de egos de Hollywood, será realizada de forma bilingüe y filmada en Los Ángeles y Buenos Aires..

Mitnik, que desde hace años es un reconocido guionista latino en Hollywood, narra con esta <<historia de dos ciudades>> una tierna y actualizada fábula sobre el indestructible sueño de los inmigrantes que van a la búsqueda de una vida mejor.

Este film marca el comienzo de una serie de coproducciones internacionales que tendrán a Buenos Aires ,no sólo como parte de sus escenarios, sino como centro de sus núcleos temáticos.

Los dejamos aquí con más información sobre Marcelo Mitnik y su ópera prima. Disfruten!

Marcelo Mitnik en Screen Daily

Sitio Oficial de M.Mitnik

Mitnik en Primer Plano News

Hemos finalizado la realización de “Destino Rectificado” Nuevo Cortometraje de SeirenFilms.

Un videominuto que explora los alcances del destino.

Próximamente en Todos Lados.

]]> http://www.seirenblog.com.ar/en-espanol/destino-rectificado/feed/ 0 http://www.seirenblog.com.ar/english/happy-hour/ http://www.seirenblog.com.ar/english/happy-hour/#comments Wed, 19 Aug 2009 20:00:34 +0000 SeirenFilms
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Siguiendo el espíritu de nuestras actividades Pro Bono, estaremos lanzando el Happy Hour en los próximos dias. Si eres uno de nuestros amigos de Facebook y/o Twitter podes reunirte con nosotros en ese momento especial del día o la semana. Nuestra especialísima versión del Happy Hour no es una ronda de cervezas o Vodka, sino un momento para ofrecer soluciones, ayuda, historias. Un momento para brindar asistencia a alguien que precisa algo. La pregunta de siempre será : Cómo podemos ayudar?….entonces si nos encuentras en el Happy Hour, podemos ayudarte con diseño gráfico, web marketing, un review, un lugar de exposición para nuevos artistas etc…. Cualquier cosa que ustedes precisen y que nosotros podamos proveerles en una hora de nuestro tiempo.  Sabemos que suena experimental pero como muchos ya presienten, el camino al éxito está siempre  en construcción. Nos vemos en el experimento del Happy Hour!

Happy Hour

Following the spirit of our Pro Bono activities, we’ll be launching the Happy Hour. If you’re one of our Facebook Friends and/or Twitter followers you can join our special hour of the day/week.  Our own very special version of the Happy Hour, is not a round of vodka, my friends, but it’s a moment to offer solutions, help, words, stories, to share a moment of our time to help somebody else. The question is “How Can we help you?”…so if you catch us on the Happy Hour Special, we can help you with a graphic design, some web marketing wisdom, a review, exposure for artists etc… anything you may need and that we may be able to provide. I know it sounds very experimental, but as you may already know, the road to success is always under construction. Be there for the Happy Hour experiment!

SeirenFilms is getting ready to launch the SeirenFilms Online Channel. Video Podcasting is becoming a very useful way for everyone out there trying to learn/get information/ or simply have fun. We’re getting our team and hardware ready for our new adventure. We’ll be Podcasting once a month (every Full Moon) for a trial period and then we’ll blog every week. Our main topics will be Content Design/Technology/ Guerrilla Filmmaking and Environmental issues. Interviews, shots from our travels, tips from the experts will be also be featured in our bilingual podcast. Podcasting will have different versions: Audio and Video podcasts.

We’ll love to hear what kind of information you’d like to see. We’ll try to cover all your questions. Email us!

We’re now looking to get Sponsorship from Flip Cams to make it real. Here’s what we need. Do you work for Flip Cam? Can you get us our Personalized Mino? Are you a private investor that wants to contribute with 300 dollars to be the main sponsor of our Videoblog? We’ll love to hear from you. optical amplifierEmail us!

Vean el artículo en Kinematrix

Note: Special Thanks to Gabriele for his talent, passion and commitment to his work. It’s a beautiful thing to be able to make new friends through our work.

A big THANK  YOU to Gabriele and the Kinematrix Team. Grazie!

Fare surf sulle onde di un destino poco comune:Il cinema di M.Laura Ruggiero

By Gabriele Francioni

By  Gabriele Francioni

Come introduzione alla Berlinale del 2009, Kinematrix decide di partire dal “Talent Campus“, un’iniziativa straordinaria che non ha eguali nell’universo dei festival di cinema.

Da anni TC organizza clinic e scholarship su come sviluppare il processo produttivo di un film seguendo canali alternativi a quelli imposti dal sistema delle grandi case di produzione, aiutando concretamente gruppi di giovani selezionati in base ai progetti presentati.

Talent Campus non si limita a fornire un supporto economico a chi intende passare dal corto al lungometraggio, lasciandolo peraltro privo di reali connessioni con l’universo nemico della produzione.

I seminari che vi si svolgono sono, a detta di chi vi ha partecipato, un tour de force serrato dove l’ analisi delle potenzialità di una sceneggiatura originale viene subito seguita dal confronto con produttori e registi.

La poetica di un potenziale “autore” viene immediatamente passata al vaglio di una pratica “bassa” (o alta), atta a verificare la realizzabilità di un’idea.

Maria Laura Ruggiero, regista argentina appena trentenne, ha partecipato per ben due volte al BTC, nel 2004 e nel 2008, evento più unico che raro nella storia del festival tedesco.

Arrivata a Berlino grazie a uno splendido cortissimo d’animazione (WONDERFUL WOMAN), già segnato da un’ intensità espressiva nel contempo potente e surreale, delicata e decisa nel dominare il mezzo espressivo, Maria Laura è riuscita a sviluppare nel breve periodo del clinic un altro progetto affascinante, SURFING FAVELA, grazie anche alla collaborazione di Tomas Crowder.

La straordinarietà dell’esperienza di MLR sta proprio nell’ essere stata in grado di vivere i giorni del Campus come una palestra unica nel suo genere e, come accade nella maggior parte dei casi, irripetibile.

Unica ad essere stata selezionata tra i candidati dell’ America del Sud, la Ruggiero è riuscita a conquistare l’attenzione di Fuel Tv e ad assicurarsi i fondi per la produzione del suo lavoro, allora ancora sulla carta.

Quello che doveva essere un contest dedicato a corto-medio-lungometraggi sugli sport estremi, ha visto prevalere un lavoro di grande sensibilità espressiva e profondità tematica.

SURFING FAVELA – poi prodotto e regolarmente trasmesso dal canale “Nat Geo” negli anni successivi – non si ostina a definire l’estetica di una prevedibile cinesi dell’immagine messa al servizio delle evoluzioni sull’ acqua di una tavola in resina.

Alla moltiplicazione dei tagli di montaggio preferisce uno stile di scrittura che segue con naturalezza il sogno dei ragazzi delle favelas carioca di Cantagalo e Rocinha: riuscire a fare surf sul mare di una vita che non scorre piatta, ma che va costruita giorno dopo giorno superando ostacoli, affrontando le onde potenti di un destino spesso tragico.

SURFING FAVELA ha una scrittura segnata da un ritmo e da un tempo bossanovisti e meditativi, piuttosto che da un ipercinetico samba di felicità.

Fare surf, per i ragazzi di Rocinha, significa conquistare zone di libertà, andarle a trovare sulla superficie del mare dopo essere scesi dalla favela, siglare con questo movimento quotidiano (un saliscendi continuo, inarrestabile) la volontà di crescita intesa come uscita da quel mondo.

Portare il mare verso la terra, l’Oceano verso la Favela e viceversa, senza credere di essere in un girone di dannati senza speranza.

La purezza e l’essenzialità del Viaggio e del Movimento sono anche alla base di ARCOS (ARCHES), il lungometraggio in fieri di Maria Laura Ruggiero.

Nel suo testo (vedi qui, NdR), la regista argentina racconta cosa sarà ARCOS una volta diventato lungometraggio.

Esseri umani apparentemente “limitati” dal non poter sostenere il confronto con la dimensione, la scala di una Natura che li sovrasta – la resa espressiva di un orizzonte spazialmente infinito e forse inconoscibile rientra tra le tematiche ricorrenti nella grande letteratura e nel grande cinema sud e nordamericano – trovano riscatto nel Movimento come atto di crescita, sfida lanciata verso quella grandezza spesso muta o silenziosa.

ARCOS, come anticipano le parole della regista, sarà un film di vento e cemento, acqua e terra, impostato su contrasti che diventano dialogo e derive che prendono la forma di crescite, maturazioni, avanzamenti dentro la vita.

Il film è figlio di Maria Laura Ruggiero: una creatura totalmente sua, dal soggetto, alla sceneggiatura (premiati in diverse manifestazioni a partire dal 2003), alla produzione, alla regia.

Un destino poco comune come quello della scrittrice e filmaker argentina, può essere da esempio ai giovani che si avvicinano al cinema con le Idee e con l’anima.

A Journey through the Berlinale Talent Campus

(see original Kinematrix post here )

You’ve Got Mail!

I just got that special email that says, CONGRATULATIONS, You’ve been selected. It’s my second time attending the Berlinale Talent Campus. I’m overwhelmed. These things rarely occur. Going to Berlin TWICE! . BTC is a great Program hosted by the Berlinale Film Festival that chooses young filmmakers from all over the world to give them training and inspiration in ten days of FILM-Making-Madness.

My first time in Wim Wenders’ land was magical. I was a kid right out college,(2004) obsessed with Wings of Desire, trying out 3D animation because it seemed the cheaper way to make movies and getting picked by one of the best Film Festivals in the world with a one-minute submission. Surreal.

I’m like WOW…Going there again!? Back in those days, I met Mr. Wenders, who was presenting “The Soul of a Man”. He had pneumonia and was making a huge effort to be there with us: the Young vibrant Talents, he was coughing, I was smiling. I felt like a filmmaker for the first time. I was on the right path, I knew.

That trip was filled with inspiration. Having a conversation with Walter Murch and hearing him talk about “Stevie” and “George” it was like a rollercoaster of motivation. There he was, this monumental Genius, referring to George Lucas and Steven Spielberg by their nicknames. I felt like I could do it. Twenty years from now, my friends and I will be hosting those inspirations sessions. Yeah.

My Bear

Then I remember I have to go there again. Why again? What did I do? Man, I can barely remember what I sent as an application this time around.

I get anxious. My world starts spinning. Literally.

My first feature screenplay ever, won the BAFILM award in Argentina and proved me that writing didn’t seem so difficult. It started out as “Can I write a movie in 21 days?-type of challenge” and got me to Berlin. I was selected for a very special program within the BTC that is called Script Clinic. The BTC team commanded by Mara, had a wonderful sense of humor and, of course the Script Clinic was actually hosted in an improvised hospital in the middle of our Cinematic War Zone. I was appointed a tutor that turned out to be Tom Schlesinger, award winning Script Doctor, teacher, writer and one of the most generous men I’ve ever met. With a rough translation (done in 24 hours straight) of my 120 pages screenplay, I got to Berlin to discuss the dramatic appeal of my baby, my first feature: “Arches”. During my first session I realized I wasn’t going to be talking Plot Points and Character Arc, and all those boring names used in screenwriting, Tom had a different approach. With detailed notes in every page of my screenplay, we talked about every single aspect of my story. Personal aspects. Poetry. Myths. Inner journeys. I remember he even mentioned the way the dog of the movie was presented. I could barely remember the dog in the screenplay. It was Benny, by the way, and it proved to me how in depth his script doctoring work was.

I felt a bit like Alice in Wonderland. The world seemed surreal: you write things about your hometown, people read it, people like it, people get inspired. WOW, Again. I’m loving this.

Back then; you could be brave enough to sign up for as many special programs as you wanted. I signed up for everything I could. From Speed Dating (a non romantic approach to meet your perfect producer/director..etc) to Doc Docs. I pitched an idea for a documentary to a Planet TV representative. I talked and talked and talked about a Surfing Documentary that was going to be shot in every location I wanted to visit. Everywhere from Malvinas to California, stopping in Brazil and Cuba chasing the Surfer’s dream. That day I learnt that Pitching a movie is not about talking non stop, but I’ve also discovered two principles of my line of filmmaking:

A- Passion pays.

B- Anyone can recognize a good story.

What got to be Fuel TV’s award winning documentary was created there, Surfing Favela was about to be born.

Surfing Favela’s Poster

Back to 2008. I’m invited to go to Berlin again, now to the Talent Project Market, where “us:, the young talents” get to experience a real Film Market with our own projects in Development. “Arches” was ready to go out there.

I’m nervous. I’ve just burnt a mug in my microwave and a storm destroyed part of my location for “Arches”. I guess all journeys start with a bit of fear and confusion.

Mistakes

Mistakes

Getting there

I’m in Berlin. British Airways lost my entire luggage. Well, it’s not really lost– they say. It’s in London.

-Do you have everything you need with you?-says the BA representative smiling kindly.

I smile looking at the complimentary shampoo and T-Shirt, thinking that the Film Market starts tomorrow and all I have fits in the pockets of my borrowed jacket. I feel Zen. But I also feel awfully scared.

Berlinale Talent Project Market is special program that chooses 11 projects worldwide to be presented at the Berlinale Co Production Market. BTC sponsors you, gives you VIP treatment, training and inspiration. A unique opportunity to meet potential producers from all over the world. After a few days of INTENSIVE training on the Art of Pitching, producing, finances, cocktail parties, special mentorship and interviews, you start to realize that as anything in life you have to make decisions. Tough decisions and better make them fast.

European projects selected for the TPM are there looking professionally ready to take over the world. Producers, Writers, Directors, even fans are there to support their dreams. Laptop, slides, fancy postcards.

On the other hand, Latin Talents (I assume this happens to everyone, but I was the only Latin talent chosen) are there trying to embody the spirit of Multitasking. I can only afford to be my own producer, writer, director at this time. It shouldn’t be this way, it’s not really sane to try to do everything on your own, but it is what is, and I’m there to show the only thing I have with me. Complimentary British Airways toiletries and Passion. Lots of Passion.

British Airways tries to save my life

Surviving the Ego Rollercoaster.

Being in a Film Market can be amazing, funny, inspiring, brutally overwhelming and fake.

If you are a filmmaker, you better have the natural charm to move around Industry Sharks in order to come out of it alive and glowing. If you don’t have that special talent, you either must have someone to do the hard job or you’re canned Tuna.

During Cannes, my dear friend Laurene, came up with the idea of a Spiritual Approach to a Film Market. I think the Decalogue goes something like this:

A)Don’t get anxious about collecting business cards. Just flow.

B) You’re what you are, and there’s beauty in it.

C) Don’t believe your own Ego-Pitch.

D) Be Responsible, study hard, be on time.

E) Enjoy the ride. Movies are not done in a day.

TPM interviews are great. Kathi and Steffi set up two whole days of interviews with potential producers. All day, 15 minutes to sell your idea. Then you start over again with another producer. The day goes by and you find yourself pitching to faces you can barely remember.

Then comes lunch break, a German TV reporter wants you for the Berlinale News. Of course!

You don’t eat, you go there trying to look presentable on camera.

Another set of 7 meetings. You pitch over and over and over again.

People from your own country come to meet you because Berlinale has just given you a “Talent Label”. If you are in a Film Market, you’re valuable, if you are back home chained behind a laptop writing a masterpiece, you’re just another wannabe. You won’t get that 15-minute meeting anywhere else. Even if that producer leaves your desk for just 10 minutes.

I’m glad Talent Campus exists.

“Arches” is labeled as a Talent Project

First few meetings, I end up pitching in auto mode. I repeat words trying to honor “Arches”. People seem excited, they like my patience and vision. Later on, words start to flow easily.

Most of the European filmmakers I meet seem interested (or overwhelmed?) by the natural south American ability to be immersed in different worlds, trying to master different skills. I’m a writer/director, sometimes I produce, I’m specialized in Animation and my latest work is a Documentary. Ok, they’re not overwhelmed, they’re confused. I understand. I try to keep my focus on just one tiny dot of this universe. But at the same time I feel so multiplatform! Specializing is good. It’s awesome. To be able to master a skill completely is a blessing. But I guess I was born with a Renaissance ambition.

Can’t you people see how multidimensional the world of images and film is? Television, Films, internet, cellphones, animation, internet based distribution, we’re just starting to ride this way, and there’s no right way to do it but doing it. You can be a Youtube sensation from your basement in the Arctic Circle. If you want to be able to reach out to bigger audiences, there’s the upload button waiting for you. I’m not saying Everything is Art, I’m not calling myself an artist, but the medium is expanding in scary proportions and there will be a moment where the platform won’t really matter and we’ll get back to basics. It’s storytelling, my friends. Learn to love the medium that lets you tell the story.

So, yes, Mr producer, I’m patient, I’ve got stories to tell and I’m patient. I’m a storyteller. I’m not falling under the First Feature trap because that’s the official path to take. I can play producer, I can play director, animator, webmaster, Passion Projects cheerleader, I can multitask and deal with it. Can you?

Question Everything

My personal BMW.

I’m always asked about my influences in filmmaking. I’m a girl. People assume that I’m into some sort of subtle film composition that seems to be “girlie”. Film is not nail polish, folks.

Of course my films are feminine, of course my films are Latin, of course my films are confusing. I’m all that. But that’s not all I am.

I want to be the Latin American-Tim-Burton, but without the exaggerated snow, that’s just his take on life. I want to be Julio Medem without the controversial sexual themes. I want to be Wim Wenders without being him, you know? That’s my holy trinity, my personal BMW. But I want to be more than that.

I’m still not sure what ties all my madness together. I’m not so obsessed about finding my own style. Like Castaneda used to say, I just follow paths that have a heart. It’s all about connecting with the story I’m telling. Could be about surfers in the Brazilian slums, or about a girl trying to escape an asphyxiating small town. It’s about learning to dialogue with immensity around us. It’s all about journeys, confronting dragons the best way we can. Movies with soul. Movies that inspire. Everything in this life can be seen as a journey and those journeys are what move me.

“Fairy Tales are more than true: not because they tell us that dragons exists, but because they tell us that dragons can be beaten”, (G.K Chesterton)

“Arches” is just a modern day fairy tale, a search for identity in a world that seems asphyxiating for those who have innocent eyes. It’s about defeating internal dragons; it’s about the possibility to be alive in a universe of never ending nonsense, where nature provides the only real answer to lost children. Growing up is never easy and I guess that’s one of my main themes. If were not growing, we’re dying. And growing up doesn’t meaning losing the beauty of childlike eyes. Growing is movement. Like a river towards the sea. Like water…flowing without fear.

Hypnotic? Edward Hoppersque? Feminine? I can’t really tell, that’s up to those who see my work to really try to define, label, love or hate my work.

Building Arches.

I’m all about Communication. Berlinale Talent Campus is all about communication, collaboration, a platform to jump beyond yourself, a wonderful tool to create long lasting liaisons, face to face networking, a pulsating Facebook ready to explode in wonderful films.

Many people come out of BTC with great movies in mind. They return to the red carpet with a sense of accomplishment. All of us leave Berlin with our pockets full of inspiration.

Inspiration is the fire that keeps us going. It’s the fire that keeps filmgoers going. It’s the secret ingredient.

How else can you deal with the fact that you’re a filmmaker?

ME—I’m a filmmaker

AUNT—yeah, yeah, but how do you pay your rent?

ME—I’m a FILM MAKER!

AUNT—Oh, you really mean it?

You got to be inspired. Inspired to learn, to help, to communicate, to embrace change even when you can’t pay the rent. Flow with the spiritual approach to the Film Business. It’s all about the journey. We should know that.

At the movies!

February again.

I’m letting a Journalist see my filmmaker diary/blog to be able to come up with an interview. I feel like some kind of Berlinale Talent Campus Ambassador now. I’m still working on “Arches” trying to find Producers with secret potions to make it real. Producers that believe in Passion, and magic paths. Producers that believe in movies. Producers that can still enjoy 120 minutes in a dark room being carried away by the power of storytelling without thinking of tax incentives. You may say I’m a dreamer, but I won’t care. And I’m not the only one.

I’ve been blessed with the amazing people I’ve met since my first time in Berlin. I’m in constant state of re-invention. I create. I write. I teach. I love what I do. I’m focused on creating films, I’m not here to shoot coproductions. I hear the voice as Kevin Costner in “Field of Dreams”, “If you build it, they will come”. And I’m building. Every day. All day. Arches made of passion. Bridges full of imagination. Channels made of hope.

Buenos Aires, February, 2009

To know more about Maria Laura Ruggiero, visit her website www.seirenfilms.com

Join SeirenFilms Facebook Group or site. You can also follow her work at www.seirenblog.com.ar

Maria Laura is currently writing animation series, two fiction features, and teaching screenwriting online.

Arches Seahorse

 SEE ARTICLE HERE

All movies have their own personal time, process and format. I want “Arches” to be my debut film as a Director. “Arches” has been my best school so far, it got me to festivals, seminars all over the world, film markets and introduced me to the obscure world of actors. It is and will continue to be my best teacher.

 “Arches” is a movie about movement. Growing up in asphyxiating worlds where any sudden turn into adulthood becomes a catastrophe. Following the story of Dora, a teenager looking for answers about her father’s identity, we submerge ourselves into the reality of a small town by the beach, where small events are the highlights of a mind-numbing rollercoaster of routine.

 While writing “Arches”, I tried to capture that very special moment where we stop being kids with dreams to become adults without ambitions. That particular moment when you realize, that things are not going to be as easy as you thought. That passage, that moment of truth is “Arches”

 The movie is filled with symbolism in landscape and dialogue, as I believe subtext can be amazingly powerful when telling simple stories. The immensity of nature, the absurd intensity of urban architecture are both characters in this movie that create tension, movement and relief as the character walks the path to knowledge and freedom.

Music, the use of texture and postproduction are key to my way of seeing film. I come from a background in Animation, so the esthetic choices I make come from that place of power of the Animator: The God (or Goddess) that can create marvelous worlds from scratch. Rules of reality are your own rules. 

Reality is just a platform to create something else, something bigger and even more magical.

Writer and Director

My mom never read fairy tales to me, as she thought those stories were very cruel for a little girl. She chose Greek mythology as bedtime stories, which of course proved to be was cruel as Cinderella, but probably those two choices made me who I am today as a writer.

Big fan of Joseph Cambell’s work, I use mythology and fairy tale structure to create the twisted worlds I see for my movies. I believe different journeys are al we face in this life and how we face them, what we do in the path to get to the “destination” and the magic potions we pick up on the road to get there, are the soul of my work as a writer.I deeply relieve that everything I do as a writer/director/producer or back up singer is preparing me to be able to Direct this film. Producers call me ambitious, but I think ambition and patience are a good combination. I’m not in a rush to join a team I don’t belong to. I’m not anxious to be something I’m not.

This is who I am. A person in permanent state or re invention and inspiration.

These are the images I see. These are the worlds I create. This is me when I play God in my dreams.

“I was once asked: “So, you want to be a director?”

–But…you’re not Almodóvar!.

Come on, think of al the context of that line. I was sixteen. I guess when Almodóvar was sixteen was not Fellini either. So, well..” 

Robert Rodríguez. 

To see more of Arches, check out the Location Video

Or visit www.seirenfilms.com

Why did you decided to come to Argentina?

I had been invited by someone who’s writing process I really jive with. I was very curious about South America too, never having been here. Of course, it also keeps with the tradition of writing in short spurts in the southern hemisphere. The first draft was written in Australia.

How are you enjoying the local lifestyle?

I am going to miss, painfully, mate at 4 o’clock. There is also an abundance of ice cream shops here, which is the sugar addict’s equivalent to living in front of an opium field.

Most exciting event since you landed in South America?

The natural disaster warnings that turned out to be a man selling fish. Definitely.

Tell us a little bit more about the project you’re working on right now and the recent evolution of it.

It’s called The Mothers and it is sort of a meditation on power, but from a low-income perspective. It’s a story that is extrapolated somewhat from my early childhood experiences, but ended up needing a great deal of clinical and legal footwork. I spent the (North American) summer doing research at a residential treatment center for boys near Chicago, and have been to some conferences and done quite a few interviews, including one with an InterPol detective. I was recently invited to submit the script to the Berlinale Talent Campus’s Script Clinic, and have high hopes for that. It is my first feature, and I am hoping that the second, third, fourth, and fifth will be much more strategic. I wrote the first and second drafts and now I am writing the treatment. My mom tells me that when I was a baby I went from sort of scooting around like a sea lion to standing up and walking one day. She had to teach me to crawl after I had already learned to walk. That speaks volumes about the way I work.

What are your plans for the future regarding The Mothers. Plans? Dreams? Expectations?

I have quite a few talented people who have signed on to the project, and some others that I am working on recruiting. I am really excited to see what kind of collaboration that will emerge from this. I am still aiming to shoot next summer. The main plan/dream/expectation is that it will all come together simply and beautifully – it will be a film that we can all be proud of and that I will want to see thrown into the world.

Can you come up with a quote, a line, a story that sums up what you´ve recently learnt in Buenos Aires, regarding your experience as a filmmaker?

I have been reading mythology since I’ve been here, and a book about Psyche and Eros, which was really interesting to me, personally. Now that I think about it — two things. One is Linda Segar’s autograph on the inside of my friend’s book that says, “Enjoy the process.” This writing is such a process. It’s like painting; you prime the canvas, then you do an underpainting, you continue to add layers and details until everything is there. Writing is a little more nebulous since the pictures only exist in your head. The second thing is a quote from Lily Burana’s website: “If you’re not scared, you’re not even in the room.” That’s Pam Houston. Fear is the ultimate creative accelerant. If you explore that fear and use the adrenaline to fuel your writing, you are doing tremendous service to your work-and your readers. That’s Lily Burana.

Final words to SeirenFilms?

Thank you/ Muchisimas gracias.

For more info about Ria´s work, please check out Prize Fight Films