March 21, 2024 • 31 mins
Es este episodio, conversamos junto a la escritora y cineasta Karlina Veras sobre la importancia de los festivales de cine, destacando eventos como el Festival de Cannes, Festival de Cine Iberoamericano de Huelva, JIIFF y la Berlinale.
A través de su proyecto "La Mansa" exploramos las oportunidades de co-producción, sus experiencias en los diferentes laboratorios de desarrollo, como elegir el festival adecuado, cuándo es el momento ideal para aplicar y el apoyo de DGCINE.
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández
Karlina Veras
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
Préstale tus oídos al cine y después los ojos.
Descubre La Boca Fílmica, un medio muy casual creado por Lauren Fernández Lora en 2019, que sumerge a su audiencia en el apasionante mundo del cine con un enfoque de entretenimiento educativo, convirtiendo cada espacio en una cautivadora conversación sobre los diversos temas que rodean el fenómeno cinematográfico y la televisión. Prepárate para hablar de cine hasta por los codos en esta experiencia que conjuga el conocimiento y la diversión. Co-hosted por JuanCa Gil y Carlos Toribio.
Un podcast original de DBC Network & Studios.
Síguenos en:
La Boca Fílmica en Instagram
La Boca Fílmica en Letterboxd
La Boca Fílmica en Youtube
A través de su proyecto "La Mansa" exploramos las oportunidades de co-producción, sus experiencias en los diferentes laboratorios de desarrollo, como elegir el festival adecuado, cuándo es el momento ideal para aplicar y el apoyo de DGCINE.
Síguenos en Instagram:
La Boca Fílmica
Denisse Gómez
Lauren Fernández
Karlina Veras
Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/la-boca-filmica--4109820/support.
Préstale tus oídos al cine y después los ojos.
Descubre La Boca Fílmica, un medio muy casual creado por Lauren Fernández Lora en 2019, que sumerge a su audiencia en el apasionante mundo del cine con un enfoque de entretenimiento educativo, convirtiendo cada espacio en una cautivadora conversación sobre los diversos temas que rodean el fenómeno cinematográfico y la televisión. Prepárate para hablar de cine hasta por los codos en esta experiencia que conjuga el conocimiento y la diversión. Co-hosted por JuanCa Gil y Carlos Toribio.
Un podcast original de DBC Network & Studios.
Síguenos en:
La Boca Fílmica en Instagram
La Boca Fílmica en Letterboxd
La Boca Fílmica en Youtube
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Hey. I' m Denis Gomezand I' m Louren Fernández and this
is the film mouth. An originalpodcast by Fernández y Gómez, communications recorded
in the studies of the American Dominican. In each episode, the magic of
cinema comes to life through our conversations. You can listen to all our episodes
in Spotify and Apple Podcast. Whatcomes to mind first when you think about
(00:30):
film festivals, exhibition, competition,networking and film screenings. In this episode
we explore the key opportunities and considerationsto participate in international film festivals. Find
out if these events are the inappropriatetrampoline for your film career. Welcome to
a new episode of film mouth.On this occasion we have here a very
(00:52):
special person I met this year.She was one of the little people she
knows this year already is Carlina VerasHello Loren Platás very well, very happy
and very happy to see you alsobecause we did not see each other from
January. We saw an experience thatwe will tell you when the episode progresses
(01:15):
and nothing to introduce you to Carlinaa bit. Carlina is a Dominican filmmaker
and writer who you were residing inLondon because you' re back. Right.
That' s right. He cameto Dominicana explosive with his project.
Her work focuses on women' sempowerment and the underlyings of everyday life and
(01:38):
draws inspiration from her memories, herhomeland and her childhood. With his film
project, in development. La Mansahas been selected in the laboratory of La
Deja Cine in one of them,and the cinema residence of Extremadura in Spain.
In Spain and in the co-production market of the Ibero- American
(02:00):
Film Festival in Huelva. That waslast year, last year and this year
you were also at the José IgnacioInternational Film Festival in the project development part.
Right, right, so exactly nothingwelcome to the firm mouth that I
think starts a little bit by talkingabout the apple that, as you'
(02:20):
ve been telling me, comes outof a book that you wrote. Yeah,
well, like you said, I' m a filmmaker, I'
m a writer, I' mreally a multidisciplinary artist, mostly a storyteller.
I' m a writer, right, filmmaker, more storytelling. What
(02:44):
they say multidisciplinary artist is happening.I can' t just fit in a
light box, something like that.Then I wrote the novel called La Mansa.
It was published last year by theArgentine Editorial ex distancias that is between
Argentina and London. The publishing house. So, since I don' t
(03:10):
know the gimmick, what they dois publish Latin American authors who live outside
their land or who have that experience. Then I had that novel and in
a drawer and nothing there was foundwith the author. It' s all
like fast things happen sometimes, justlike their rhythms do. No, then
(03:31):
I had the novel there earlier lastyear, but I didn' t have
it published. I had the ideathat when I finished the novel, I
said counter this may be very visual. I think the apple has to be
a movie and I see it soI know it. But everything was still
(03:52):
like an idea. And well ithappened that I saw on the instagram page,
from the film page, that therewas a project development lab and the
mans started to try because the charactersare like this And well, I gave
(04:13):
him over there and you can tellus, that is briefly what the apple
is about. Oh yeah, right, well, the movie or the book,
the project, the project, theproject, right, right. In
the end it' s the samefor the project this character tells you in
Mansa is a wing girl. Soshe' s a clumsy writer who doesn
(04:44):
' t write Dominican from a goodfamily, lives in London and gets obsessed
with participating in a clandestine mixed martialarts competition. That' s interesting,
it' s very particular. Yeah, yeah, yeah, so, of
course that' s the thing abouther. She has all these internal conflicts,
(05:11):
also of how she lived in SantoDomingo, how she lives in London,
her relationship with her husband, herrelationship with her friends, with her
family, with work, and thereare times what makes her really move.
You wrote the novel while in London. Being in London, yes, of
(05:35):
course, of course, of courseto put it like that free process,
yes, that creative process, becauseyou were literally already living there, that
is, you weren' t gettinglike that panorama of the environment. But
also then like you, because youwere out of the country, like you
(05:55):
gave him that duality of Dominican,but I' m here looking. It
happens a lot, I don't know, especially in the time of
the writers of the Boom, Hemingwayand all those people, that Fisher,
etc, who lived in. Isay it a lot that that time I
lived in toyto in Paris, no, but what they write about then happens
(06:21):
to me that I in London,especially my literature in Spanish, because I
write in several languages, then dependingon my literature in English, in Spanish,
it is very Caribbean, it isvery rooted, not necessarily what happens
yes, but also as in thecharacters, in the language, because also,
(06:45):
as you had said, I seea lot in my memories and also
in the memories, in the voicesthat I have heard through my time.
My cibao family you know how DominicanDominican and you already know no. There
' s no more Dominican people,who' s going in for a year.
So that to me, as Ihave it, so it' s
(07:10):
that yes, that duality in mystories is really normal, because that'
s what I saw clearly that I' ve lived in my whole life.
Not then it' s transmitted there. And well, the Mansa is also
a super personal project, because itcomes from what they tell her in literature,
self- fiction ok is not afiction, it is a novel,
(07:31):
it is not memories that I don' t know what, but to me,
for example, in my brothers andmy dad call me Mansa then it
comes from something very very personal,very deep, then that what is like
me I like to write literature,which is where then I in that novel
(07:54):
and also in the film, butotherwise, I don' t completely undress.
I think it' s the beautyof the art of power, of
being free. I am not asfree as I am with a pencil,
a paper initially and then, obviously, in front of a Chamber. Of
course, then the manza project whichI now imagine is in the phase of
hopefully, I in pre is notin script phase, in the phase of
(08:20):
development. Of course then I alreadyhave two versions of script already and now
I' m in script rewriting I' m throwing a little bit back,
instead of I didn' t havethat time in those semises, which went
very well last year until now Januaryeven March, because I was in Berlin
(08:41):
to go to festivals, to knowcontact and what I know and I already
have all that and I already havethe very clear idea of, for example,
what my initial audience is, auramy initial audience in this project.
But now it' s picking meup and finishing my script, because with
a script it' s that youalready know that as the point of aharanke
(09:05):
clear, so to speak clear,of course, something that caught my attention
when you said that you feel likefree, when you' re with the
APP and the role, you knowthat now you' re filming, like
passing that to the movies, likethat process of cinema is a little bit,
like that more rigid, you know, I don' t know how
you feel like with those expectations,because without a doubt, the cinema at
the end is a business. Youknow an industrial factor. Sure. So,
(09:28):
that' s how you can boxlike a little bit more into that
rigidity of the business and the processof making a movie. Yes no and
one, I mean I' malready living it clear and it' s
normal, but I' m alreadyvery excited, that' s already it.
I have made several shorts, Ialready have other projects besides the Mansa
(09:50):
Clomor will first come out smaller,different, not other things, but to
me what I love about cinema isone, collaboration with other people. I
think that' s very nice.Also that different arts are mixed, one
in the other and yes it istrue, it is a business. But
(10:11):
I think the challenge is mostly inme as an artist, because in the
end I am an artist. Howcan I make that balance that also those
people who are merchants, who arein the cinema by business, believe in
my project in me as an artist. Totally, and that' s just
going hand in hand with him.I mean, what we want to talk
(10:31):
about. We' re talking inthe episode and it' s all that
part of I' m an emergingartist or an artist who' s starting
to look for that support. Imean, you were coming in that you
had your novel written and you decidedto go to the movies. What were
those first steps you took in thisprocess of the manza project? Look at
(10:54):
the manza project. It was giventhat I have jazo, I had that
tea that project. And the bigthing is that sometimes I say that you
don' t choose things, yousay projects or characters. They choose you.
I' m faithfully 100 percent clientin that. I have other long
(11:18):
scripts written before the Mansa ok thatwere even a little bit more advanced with
what I know other things, butit came a time that she didn'
t leave me alone and told mewhat I am going to go, that
I am going to go myself,and I heard about that then there are
times I think that in the caseof me, it was something of being
(11:39):
very intuitive, of listening, oflistening and listening to a voice and also
as I don' t know,not necessarily a feeling, but a punch
not that gives you here as inthe guts and and go and give it
there, because I had like theidea and what I know and I was
(12:01):
talking about a person and then whathappened to me I found that call and
always not one as a filmmaker alwaysbringing everything of summons and iarline I know
what I know about life and justI was going to Sicily, that I
had a very big wedding. Allthe Cecilians are like a Dominican lu and
(12:22):
I was going there. And thatweek was that I decided, because that
' s when I realized, Idecided to apply to the development lab of
the Mansa film project, but Ihad to do everything, I mean,
I had nothing. What I hadwas a drop, either it' s
like what kind of document, whatyou had to present, I mean they
(12:43):
ask you, or not to tellme, but more broadly synopsis. You
had to ter opsis, logline argument, things that for a person that you,
what you have is an idea inthree days. Clear the development,
because not as a folder, likea same car a folder something like that,
(13:05):
not letter distention. Why you wantto do this road project. But
something I don' t exactly remembereverything, but something you know, but
also for a person, that isto say, I ask you for a
ten- twelve- page argument fora people who were, but I had,
I mean, what' s goodabout me was that I already have
(13:26):
in my novel. Sure, Ihave my novel and I have my base
or what I want to talk about. And the meek girl told me Carlina,
let' s go and I saidbut there' s no time.
I don' t care. Knowthe time and I dawned and I sent
my thing and in the end itis to have a faith, You,
make the summons, you apply andthen you no longer have any control to
(13:46):
get it to you, to getit to you. So I just went
with that was like the start ofit and the project has had a rhythm.
So, because every pirito also hasits rhythms every thing and one is
like I feel, like a kisser, not a kisser or a beauty of
this project and of her as acharacter. And I' m just listening
(14:11):
yes, of course not, andwhat point, Rank days, because tell
us the path of the apple onlydeveloping, in desire the development process,
because man that' s going tokeep rolling in other stages that you,
but developing the project where the bestone has gone. It started there,
not then, there also the beautiful, also what we talked about the collaboration
(14:33):
with what you encounter with people.I didn' t normally get to a
project lab they always go director,screenwriter and producer. The ideal because it
is a lot of work and complementeach other, for example, and it
is an intense week. The hoursare long work. The hours are long
(14:56):
work and, at the same time, there are many things to do,
for example, script and also tobe delivered the next day, make another
budget that I do not know lovesa work plan. So, normally those
things are little to the producer inwhat the lead writer is thinking of saying
(15:16):
hello to Valeri is perba hold onthere I go So the thing is that
I went into this lab alone andthere I met Valeria. Of course or
she went in with another OK project, too. I don' t know
how. It doesn' t fitnormally. So, speaking in the beautifulness
(15:37):
of these sites that you also express, you don' t talk about your
projects and everything about Commune and theadvices are individual advice, but there are
groups and in that process valor sendsme a message because this was virtual,
because I was there, in London, well and in Sicily, because I
did it since a wedding. Thankstoo and she and she in one tells
(16:00):
me I would like to like toparticipate in your project, like I think
they can produce it with you,that I don' t know what and
we went down in a moment,we made a hey and I started talking
and nothing and then she went outwith me and we' re there,
(16:22):
like I say smoldering then it wasvery nice, because that' s where
the collaboration started then that I feelit' s very important. You'
re not alone in my project.Yeah, obviously, I believe the character
I know, but she does.For me it has been a key initial
basis, because we have also workedtogether to apply to calls to do things,
(16:44):
and she has also given me anothervision of people and helped me develop
those first draft scripts that have beenanother basis. So, that was very
nice and good. From there,we started looking and the difference got worse
when she got up early and Islept very late, and so we did
(17:06):
meetings. We don' t startapplying with a summons. We started taking
out a listique that there was onealso looking at the one of jes cinemas.
They have a page of contestant thingsand non- contestant modalities that are
lab encounters, things and well,you' re selecting by looking at what
(17:29):
you consider, but I know theperson I say apply more than less,
because this applies more, it's more likely. Of course, but
it doesn' t go too crazyeither than maybe. They are things like
that, but because it is clearthat something more is an objective, but
the same object does not cease toapply like that. It does not fail
to apply, because also what happensis that many people say woe, but
(17:49):
people always earn it the same peopleas the prize or the summons. Of
course that' s earned by thesame unique genes what they' re applying,
which they' re applying exactly.So, for there to be more
space, for there to be moreas a diversity of projects, people have
to encourage themselves to practice and maybe, and also in that process, you
(18:11):
learn, you make a lot ofmistake and maybe, but that' s
the only way. So, consideringthat I come from another trajectory, I
mean, I' ve done filmin London, short films, I'
ve been working as a production assistant. I also worked many years on television,
BBC content programming, Tara Disney andall that. But that helps me
(18:37):
in another vision of other things.But what I' m going to do
is I keep being an emergent ceneast. Of course not, then he'
ll read too. And also thenthere are two of us who are learning,
we' re like a sponsororbing andwith all the excitement and nothing,
and that' s where we start. Then one applies to the things one
(19:02):
sees and the first one that acceptedus was the Ibero- American festival of
Huelva in Spain, which is inAnda Lucía, near Seville. It is
a small town called Huelva, butit is a festival that Latin American cinema
there and there also then they havea small but very cool market. So
(19:26):
that was very interesting, especially meetingpeople. There was also the European Premier
by mouth Girl, the film.Then I was there with the director who
had already met her, in canthe actors, other people and also one
is doing The nice thing about thoseplaces is that you' re making those
(19:47):
relationships. I had met people andin the market had the opportunity to make
a peach also from there also feedbackto Mariana, the director of the Gesina
and that it worked that not howI can improve. I don' t
know I' ve already had meetings. From there I have now, I
already have conversations with producers in Spainfor it is possible, for possible co
(20:12):
- production. Even if the projectis green, the important thing is that
already the relationships are there and nothaving people like that already understand it,
like I accept it, like youare already in the spotliy as the one
who says yes yes exact and alsothe interesting thing was of one to realize
what works, what does not,how does it receive, because what you
(20:33):
say a mixture of yes, becauseto create you have to be in one
place, but also for it tocome out you have to be in another
place. For functions to have thosefeedbacks are always very important. Yes,
yes, and what I always sayabout festivals and this thing about knowing,
meeting producers and people, and thatone never knows where life takes you.
(20:55):
He never knows no,' causemaybe you' ll get that maybe not
with that producer or someone else.Whatever one knows best for this manza project
doesn' t work, but maybefor others it does, of course n
or who knows. So it's just that I think that the world
of cinema is an opportunity for oneto be able to throw oneself totally and
(21:21):
following the same line that was thefestival where you and I met for this
very reason, because I identified alot with that of applying is attentive to
the calls and launching. I participatedin the two thousand twenty- two in
the s or Paulo Local No IndustryAcademy, which are very focused on what
distribution, exhibition, to think aboutthe audiences of the future, etc,
(21:44):
and I had the opportunity then thisyear to participate in the underlay of The
Working Jeff the Working HEAF and thatwas that we left the three antres along
with you already in the laboratory spaceand I also in that Painsi ene space
in that counterpart of how you aregoing to get out of distribution and also
(22:11):
how what kind of audience is goingto accept those films that you were also
working in that laboratory. Sure,and I think it was kind of cool.
I don' t already know youon the project development side what you
thought, but I still have thesame perspective as you that you know a
lot of people that you have funwith your project as well and there is
(22:34):
also a lot of work. Sure, sure, that' s people,
that' s super intense stages.One already learns, taking the rhythm,
especially when they are residences, notso much, but especially in festivals and
depending on what type of festivals,there are many parties, much that I
(22:57):
don' t know what then,but also in that site you know many
people then you have to learn howto cope. For me, my key
to all this is a lot ofthings. I, I mean, what
I recommend is not drinking alcohol,because because because of the fact that you
avoid hangovers, you avoid headaches.So much as she has her head clearer.
(23:22):
In a more clear head you canfreely think and know what to do
and you can also lift, laydown, kill early and it doesn'
t have that ay I' mdying giving him the head. Of course
because clearly I as third, Ihear them from experience. You lived two
at that festival, two totally differentexperiences, because you explained that you took
(23:44):
the part of professionals who work thewhole distribution issue and that, but you
were in development. Not then basicallyremoving everything you go from the outside,
which is because if you make filmprojections, that if there is a cocktail
or I don' t know whatyou really do at work level in both
look I can start in the caseof when they are a lab, especially
(24:07):
interesting, because in that working jefof the gefflab is the laboratory within the
festival. Then of course the twothings mix that if you get to see
a screening and also a cocktail,like you said tennis, but you work.
Not the thing is that they putyou advisors, depending on distribution script,
(24:32):
production, as it changes piaching.Also then the project is worked out
and at the end of the laboratorythere is what there was a pitch we
had to do, a peach Ithink was maximum and believing questions, answer
twenty minutes and there was also ajury there. Then there was a jury
(24:53):
and there were also prizes, accordingto which I don' t believe.
The first was a four- monthprize. The dollar he donated was a
person number, one of the patronsor not one of the patrons of the
festival or a company something like that, and then there was another one that
was an award for the producer ofone of the projects to let go of
(25:17):
your light as well as that givenby the French Embassy in Uruguay and other
things, and also, obviously,an honorary mention, etcetera. So that
' s very interesting, because yougo with a project, for example,
I went with the project and thenthe advice, for example, one of
the advisors, that' s whatthey do. The workshops don' t
turn the project upside down. Yes, then and then question for you comes
(25:41):
out of there and the idea isnow to think about projects. What'
s worth taking and leaving. Butit' s not that anymore. All
of a sudden, I' mgoing to good, I' m going
to change project because guy told methat this is bad, that everything is
fine or that it' s notjust but I' ve worked and also
(26:02):
the nice and all is to listento the opinions of the other filmmakers,
the other people also you see theworks of the others that lud learns a
lot. Maybe the advices were mostlyin that, at The Working Jif,
they were group and also, ie Loren that was beautiful to them we
know, I saw and I saidwow. Dreamed or too much the beautiful
(26:22):
truth that many people also think likewow. I am going to submit my
project to Cannes or to one ofthose training spaces, in Cannes or Berlin
or in those recognized places, butthese sites that are smaller, more intimate,
also have their essence and also havetheir great opportunities, because there were
(26:42):
people from all over the world thereand it was, in other words,
that experience that I did not expectit and it was like and as you
say, it was very beautiful theplace to sit down and think and work,
because, as you say, therewere working sessions of a whole day,
totally a whole day, thinking,working, analyzing on my part,
(27:04):
that is, our, so tospeak, our results from everything we absorb
with the tutorings. And all that' s going to come out soon.
We' re writing some really coolstuff. The group that was with me,
but yes, as you say,I mean, totally always work,
work, work, work, eventhose cocktails, like you' re working
(27:26):
too. You' re pooping there, sir, and that' s why
I said that right now about thenote drinking. In my opinion, because
I feel like you' ve beendealing with it from the moment you get
up until you lie down, you' re working. Your head' s
on something else. You meet someoneat the pool, for example, and
you don' t know who you' re talking to. And it'
(27:48):
s all about whether you realized everythingabout your project or what I don'
t know what or what you're doing, how you consider yourself this
or how you indust him in yourcountry, tarara ah look, we'
re going to change numbers there.Then it doesn' t zoom in that
I don' t know what.And yes, it' s all clear,
it' s all work, butthen that' s also energetically.
That can also spend a little biton a person, but one looks for
(28:11):
the most look. We invite youhere on the podcast. That' s
part of the result of living thoseexperiences. Of course it' s in
community, it' s within thefilm scene, locally, and connect and
connect clearly no no no. Andwhat you gave yourself right now is that
(28:33):
locally, for example, I livedin London. No, and I'
m here now, and the thingwas that the meek brought me in,
I mean, the idea of there, I already had my house last year,
I built my house, producer,all things and everything was organically as
it goes then. I am superexcited, also happy to return to my
(28:56):
country, also to connect with thatthere are many cool people and they are
doing very cool things also in thecinema. Then why not clear. Of
course it' s nice I thinkit was making a super enriching episode.
I hear them. I love seeingyour passion and, above all, I
think I identify very much with thepart that when you are an emerging artist,
(29:18):
you sometimes don' t know whatthe opportunities are, what you have
and how. You can develop yourideas and you stay maybe you' ve
stagnated thinking well, you won't give it to me. I'
m not going to participate because I' m sure the same thing that you
commented during the episode that I'm sure my more people will earn it,
but seeing you is an example thatwhen you have a good idea and
you believe in your project as well, you just have to throw yourself and
(29:41):
have hope, that is to say, to have faith that you' re
going to do well and we takeall those tips that I think is not
super relevant to the now drinking,that is, not to take. Maybe
when you' re working, whoworks for me to apply it to,
who doesn' t. But Ifind it super good and in general,
to see these festivals as ideal idioplatforms, like that trampoling one often needs
when one is to see people.So it was a super cool episode.
(30:03):
Thank you very much, Ka,We wish you luck and from now on,
successes in your project, which issuper interesting and I know, that
is, from what I have readand I see you talking you passionately.
I think that' s enough forus a person to be something super big,
so really many hits and thank youfor being with us in the mouth
for the first time because she wasback in her stage up there. Oh.
(30:27):
Thank you. I' m happyto be here. And one last
little thing, which was also whenone is like this, allies appear.
Allies appear, they look like peoplewho believe in you and believe in your
project. Then one has not tobe discouraged, especially to believe in oneself
that when you create your project,everything can be clear that it does.
(30:48):
I love that to close the episode. Thank you so much, Carline.
Thank you, yes chye. Themouth is a grain and produced by Dennis
(31:15):
Gomez and Loren Fernández. Listen toall our episodes in Spotify and Apple Podcast.
Hey. I' m Denis Gomezand I' m Louren Fernández and this
is the film mouth. An originalpodcast by Fernández y Gómez, communications recorded
in the studies of the American Dominican. In each episode, the magic of
cinema comes to life through our conversations. You can listen to all our episodes
in Spotify and Apple Podcast. Whatcomes to mind first when you think about
(00:30):
film festivals, exhibition, competition,networking and film screenings. In this episode
we explore the key opportunities and considerationsto participate in international film festivals. Find
out if these events are the inappropriatetrampoline for your film career. Welcome to
a new episode of film mouth.On this occasion we have here a very
(00:52):
special person I met this year.She was one of the little people she
knows this year already is Carlina VerasHello Loren Platás very well, very happy
and very happy to see you alsobecause we did not see each other from
January. We saw an experience thatwe will tell you when the episode progresses
(01:15):
and nothing to introduce you to Carlinaa bit. Carlina is a Dominican filmmaker
and writer who you were residing inLondon because you' re back. Right.
That' s right. He cameto Dominicana explosive with his project.
Her work focuses on women' sempowerment and the underlyings of everyday life and
(01:38):
draws inspiration from her memories, herhomeland and her childhood. With his film
project, in development. La Mansahas been selected in the laboratory of La
Deja Cine in one of them,and the cinema residence of Extremadura in Spain.
In Spain and in the co-production market of the Ibero- American
(02:00):
Film Festival in Huelva. That waslast year, last year and this year
you were also at the José IgnacioInternational Film Festival in the project development part.
Right, right, so exactly nothingwelcome to the firm mouth that I
think starts a little bit by talkingabout the apple that, as you'
(02:20):
ve been telling me, comes outof a book that you wrote. Yeah,
well, like you said, I' m a filmmaker, I'
m a writer, I' mreally a multidisciplinary artist, mostly a storyteller.
I' m a writer, right, filmmaker, more storytelling. What
(02:44):
they say multidisciplinary artist is happening.I can' t just fit in a
light box, something like that.Then I wrote the novel called La Mansa.
It was published last year by theArgentine Editorial ex distancias that is between
Argentina and London. The publishing house. So, since I don' t
(03:10):
know the gimmick, what they dois publish Latin American authors who live outside
their land or who have that experience. Then I had that novel and in
a drawer and nothing there was foundwith the author. It' s all
like fast things happen sometimes, justlike their rhythms do. No, then
(03:31):
I had the novel there earlier lastyear, but I didn' t have
it published. I had the ideathat when I finished the novel, I
said counter this may be very visual. I think the apple has to be
a movie and I see it soI know it. But everything was still
(03:52):
like an idea. And well ithappened that I saw on the instagram page,
from the film page, that therewas a project development lab and the
mans started to try because the charactersare like this And well, I gave
(04:13):
him over there and you can tellus, that is briefly what the apple
is about. Oh yeah, right, well, the movie or the book,
the project, the project, theproject, right, right. In
the end it' s the samefor the project this character tells you in
Mansa is a wing girl. Soshe' s a clumsy writer who doesn
(04:44):
' t write Dominican from a goodfamily, lives in London and gets obsessed
with participating in a clandestine mixed martialarts competition. That' s interesting,
it' s very particular. Yeah, yeah, yeah, so, of
course that' s the thing abouther. She has all these internal conflicts,
(05:11):
also of how she lived in SantoDomingo, how she lives in London,
her relationship with her husband, herrelationship with her friends, with her
family, with work, and thereare times what makes her really move.
You wrote the novel while in London. Being in London, yes, of
(05:35):
course, of course, of courseto put it like that free process,
yes, that creative process, becauseyou were literally already living there, that
is, you weren' t gettinglike that panorama of the environment. But
also then like you, because youwere out of the country, like you
(05:55):
gave him that duality of Dominican,but I' m here looking. It
happens a lot, I don't know, especially in the time of
the writers of the Boom, Hemingwayand all those people, that Fisher,
etc, who lived in. Isay it a lot that that time I
lived in toyto in Paris, no, but what they write about then happens
(06:21):
to me that I in London,especially my literature in Spanish, because I
write in several languages, then dependingon my literature in English, in Spanish,
it is very Caribbean, it isvery rooted, not necessarily what happens
yes, but also as in thecharacters, in the language, because also,
(06:45):
as you had said, I seea lot in my memories and also
in the memories, in the voicesthat I have heard through my time.
My cibao family you know how DominicanDominican and you already know no. There
' s no more Dominican people,who' s going in for a year.
So that to me, as Ihave it, so it' s
(07:10):
that yes, that duality in mystories is really normal, because that'
s what I saw clearly that I' ve lived in my whole life.
Not then it' s transmitted there. And well, the Mansa is also
a super personal project, because itcomes from what they tell her in literature,
self- fiction ok is not afiction, it is a novel,
(07:31):
it is not memories that I don' t know what, but to me,
for example, in my brothers andmy dad call me Mansa then it
comes from something very very personal,very deep, then that what is like
me I like to write literature,which is where then I in that novel
(07:54):
and also in the film, butotherwise, I don' t completely undress.
I think it' s the beautyof the art of power, of
being free. I am not asfree as I am with a pencil,
a paper initially and then, obviously, in front of a Chamber. Of
course, then the manza project whichI now imagine is in the phase of
hopefully, I in pre is notin script phase, in the phase of
(08:20):
development. Of course then I alreadyhave two versions of script already and now
I' m in script rewriting I' m throwing a little bit back,
instead of I didn' t havethat time in those semises, which went
very well last year until now Januaryeven March, because I was in Berlin
(08:41):
to go to festivals, to knowcontact and what I know and I already
have all that and I already havethe very clear idea of, for example,
what my initial audience is, auramy initial audience in this project.
But now it' s picking meup and finishing my script, because with
a script it' s that youalready know that as the point of aharanke
(09:05):
clear, so to speak clear,of course, something that caught my attention
when you said that you feel likefree, when you' re with the
APP and the role, you knowthat now you' re filming, like
passing that to the movies, likethat process of cinema is a little bit,
like that more rigid, you know, I don' t know how
you feel like with those expectations,because without a doubt, the cinema at
the end is a business. Youknow an industrial factor. Sure. So,
(09:28):
that' s how you can boxlike a little bit more into that
rigidity of the business and the processof making a movie. Yes no and
one, I mean I' malready living it clear and it' s
normal, but I' m alreadyvery excited, that' s already it.
I have made several shorts, Ialready have other projects besides the Mansa
(09:50):
Clomor will first come out smaller,different, not other things, but to
me what I love about cinema isone, collaboration with other people. I
think that' s very nice.Also that different arts are mixed, one
in the other and yes it istrue, it is a business. But
(10:11):
I think the challenge is mostly inme as an artist, because in the
end I am an artist. Howcan I make that balance that also those
people who are merchants, who arein the cinema by business, believe in
my project in me as an artist. Totally, and that' s just
going hand in hand with him.I mean, what we want to talk
(10:31):
about. We' re talking inthe episode and it' s all that
part of I' m an emergingartist or an artist who' s starting
to look for that support. Imean, you were coming in that you
had your novel written and you decidedto go to the movies. What were
those first steps you took in thisprocess of the manza project? Look at
(10:54):
the manza project. It was giventhat I have jazo, I had that
tea that project. And the bigthing is that sometimes I say that you
don' t choose things, yousay projects or characters. They choose you.
I' m faithfully 100 percent clientin that. I have other long
(11:18):
scripts written before the Mansa ok thatwere even a little bit more advanced with
what I know other things, butit came a time that she didn'
t leave me alone and told mewhat I am going to go, that
I am going to go myself,and I heard about that then there are
times I think that in the caseof me, it was something of being
(11:39):
very intuitive, of listening, oflistening and listening to a voice and also
as I don' t know,not necessarily a feeling, but a punch
not that gives you here as inthe guts and and go and give it
there, because I had like theidea and what I know and I was
(12:01):
talking about a person and then whathappened to me I found that call and
always not one as a filmmaker alwaysbringing everything of summons and iarline I know
what I know about life and justI was going to Sicily, that I
had a very big wedding. Allthe Cecilians are like a Dominican lu and
(12:22):
I was going there. And thatweek was that I decided, because that
' s when I realized, Idecided to apply to the development lab of
the Mansa film project, but Ihad to do everything, I mean,
I had nothing. What I hadwas a drop, either it' s
like what kind of document, whatyou had to present, I mean they
(12:43):
ask you, or not to tellme, but more broadly synopsis. You
had to ter opsis, logline argument, things that for a person that you,
what you have is an idea inthree days. Clear the development,
because not as a folder, likea same car a folder something like that,
(13:05):
not letter distention. Why you wantto do this road project. But
something I don' t exactly remembereverything, but something you know, but
also for a person, that isto say, I ask you for a
ten- twelve- page argument fora people who were, but I had,
I mean, what' s goodabout me was that I already have
(13:26):
in my novel. Sure, Ihave my novel and I have my base
or what I want to talk about. And the meek girl told me Carlina,
let' s go and I saidbut there' s no time.
I don' t care. Knowthe time and I dawned and I sent
my thing and in the end itis to have a faith, You,
make the summons, you apply andthen you no longer have any control to
(13:46):
get it to you, to getit to you. So I just went
with that was like the start ofit and the project has had a rhythm.
So, because every pirito also hasits rhythms every thing and one is
like I feel, like a kisser, not a kisser or a beauty of
this project and of her as acharacter. And I' m just listening
(14:11):
yes, of course not, andwhat point, Rank days, because tell
us the path of the apple onlydeveloping, in desire the development process,
because man that' s going tokeep rolling in other stages that you,
but developing the project where the bestone has gone. It started there,
not then, there also the beautiful, also what we talked about the collaboration
(14:33):
with what you encounter with people.I didn' t normally get to a
project lab they always go director,screenwriter and producer. The ideal because it
is a lot of work and complementeach other, for example, and it
is an intense week. The hoursare long work. The hours are long
(14:56):
work and, at the same time, there are many things to do,
for example, script and also tobe delivered the next day, make another
budget that I do not know lovesa work plan. So, normally those
things are little to the producer inwhat the lead writer is thinking of saying
(15:16):
hello to Valeri is perba hold onthere I go So the thing is that
I went into this lab alone andthere I met Valeria. Of course or
she went in with another OK project, too. I don' t know
how. It doesn' t fitnormally. So, speaking in the beautifulness
(15:37):
of these sites that you also express, you don' t talk about your
projects and everything about Commune and theadvices are individual advice, but there are
groups and in that process valor sendsme a message because this was virtual,
because I was there, in London, well and in Sicily, because I
did it since a wedding. Thankstoo and she and she in one tells
(16:00):
me I would like to like toparticipate in your project, like I think
they can produce it with you,that I don' t know what and
we went down in a moment,we made a hey and I started talking
and nothing and then she went outwith me and we' re there,
(16:22):
like I say smoldering then it wasvery nice, because that' s where
the collaboration started then that I feelit' s very important. You'
re not alone in my project.Yeah, obviously, I believe the character
I know, but she does.For me it has been a key initial
basis, because we have also workedtogether to apply to calls to do things,
(16:44):
and she has also given me anothervision of people and helped me develop
those first draft scripts that have beenanother basis. So, that was very
nice and good. From there,we started looking and the difference got worse
when she got up early and Islept very late, and so we did
(17:06):
meetings. We don' t startapplying with a summons. We started taking
out a listique that there was onealso looking at the one of jes cinemas.
They have a page of contestant thingsand non- contestant modalities that are
lab encounters, things and well,you' re selecting by looking at what
(17:29):
you consider, but I know theperson I say apply more than less,
because this applies more, it's more likely. Of course, but
it doesn' t go too crazyeither than maybe. They are things like
that, but because it is clearthat something more is an objective, but
the same object does not cease toapply like that. It does not fail
to apply, because also what happensis that many people say woe, but
(17:49):
people always earn it the same peopleas the prize or the summons. Of
course that' s earned by thesame unique genes what they' re applying,
which they' re applying exactly.So, for there to be more
space, for there to be moreas a diversity of projects, people have
to encourage themselves to practice and maybe, and also in that process, you
(18:11):
learn, you make a lot ofmistake and maybe, but that' s
the only way. So, consideringthat I come from another trajectory, I
mean, I' ve done filmin London, short films, I'
ve been working as a production assistant. I also worked many years on television,
BBC content programming, Tara Disney andall that. But that helps me
(18:37):
in another vision of other things.But what I' m going to do
is I keep being an emergent ceneast. Of course not, then he'
ll read too. And also thenthere are two of us who are learning,
we' re like a sponsororbing andwith all the excitement and nothing,
and that' s where we start. Then one applies to the things one
(19:02):
sees and the first one that acceptedus was the Ibero- American festival of
Huelva in Spain, which is inAnda Lucía, near Seville. It is
a small town called Huelva, butit is a festival that Latin American cinema
there and there also then they havea small but very cool market. So
(19:26):
that was very interesting, especially meetingpeople. There was also the European Premier
by mouth Girl, the film.Then I was there with the director who
had already met her, in canthe actors, other people and also one
is doing The nice thing about thoseplaces is that you' re making those
(19:47):
relationships. I had met people andin the market had the opportunity to make
a peach also from there also feedbackto Mariana, the director of the Gesina
and that it worked that not howI can improve. I don' t
know I' ve already had meetings. From there I have now, I
already have conversations with producers in Spainfor it is possible, for possible co
(20:12):
- production. Even if the projectis green, the important thing is that
already the relationships are there and nothaving people like that already understand it,
like I accept it, like youare already in the spotliy as the one
who says yes yes exact and alsothe interesting thing was of one to realize
what works, what does not,how does it receive, because what you
(20:33):
say a mixture of yes, becauseto create you have to be in one
place, but also for it tocome out you have to be in another
place. For functions to have thosefeedbacks are always very important. Yes,
yes, and what I always sayabout festivals and this thing about knowing,
meeting producers and people, and thatone never knows where life takes you.
(20:55):
He never knows no,' causemaybe you' ll get that maybe not
with that producer or someone else.Whatever one knows best for this manza project
doesn' t work, but maybefor others it does, of course n
or who knows. So it's just that I think that the world
of cinema is an opportunity for oneto be able to throw oneself totally and
(21:21):
following the same line that was thefestival where you and I met for this
very reason, because I identified alot with that of applying is attentive to
the calls and launching. I participatedin the two thousand twenty- two in
the s or Paulo Local No IndustryAcademy, which are very focused on what
distribution, exhibition, to think aboutthe audiences of the future, etc,
(21:44):
and I had the opportunity then thisyear to participate in the underlay of The
Working Jeff the Working HEAF and thatwas that we left the three antres along
with you already in the laboratory spaceand I also in that Painsi ene space
in that counterpart of how you aregoing to get out of distribution and also
(22:11):
how what kind of audience is goingto accept those films that you were also
working in that laboratory. Sure,and I think it was kind of cool.
I don' t already know youon the project development side what you
thought, but I still have thesame perspective as you that you know a
lot of people that you have funwith your project as well and there is
(22:34):
also a lot of work. Sure, sure, that' s people,
that' s super intense stages.One already learns, taking the rhythm,
especially when they are residences, notso much, but especially in festivals and
depending on what type of festivals,there are many parties, much that I
(22:57):
don' t know what then,but also in that site you know many
people then you have to learn howto cope. For me, my key
to all this is a lot ofthings. I, I mean, what
I recommend is not drinking alcohol,because because because of the fact that you
avoid hangovers, you avoid headaches.So much as she has her head clearer.
(23:22):
In a more clear head you canfreely think and know what to do
and you can also lift, laydown, kill early and it doesn'
t have that ay I' mdying giving him the head. Of course
because clearly I as third, Ihear them from experience. You lived two
at that festival, two totally differentexperiences, because you explained that you took
(23:44):
the part of professionals who work thewhole distribution issue and that, but you
were in development. Not then basicallyremoving everything you go from the outside,
which is because if you make filmprojections, that if there is a cocktail
or I don' t know whatyou really do at work level in both
look I can start in the caseof when they are a lab, especially
(24:07):
interesting, because in that working jefof the gefflab is the laboratory within the
festival. Then of course the twothings mix that if you get to see
a screening and also a cocktail,like you said tennis, but you work.
Not the thing is that they putyou advisors, depending on distribution script,
(24:32):
production, as it changes piaching.Also then the project is worked out
and at the end of the laboratorythere is what there was a pitch we
had to do, a peach Ithink was maximum and believing questions, answer
twenty minutes and there was also ajury there. Then there was a jury
(24:53):
and there were also prizes, accordingto which I don' t believe.
The first was a four- monthprize. The dollar he donated was a
person number, one of the patronsor not one of the patrons of the
festival or a company something like that, and then there was another one that
was an award for the producer ofone of the projects to let go of
(25:17):
your light as well as that givenby the French Embassy in Uruguay and other
things, and also, obviously,an honorary mention, etcetera. So that
' s very interesting, because yougo with a project, for example,
I went with the project and thenthe advice, for example, one of
the advisors, that' s whatthey do. The workshops don' t
turn the project upside down. Yes, then and then question for you comes
(25:41):
out of there and the idea isnow to think about projects. What'
s worth taking and leaving. Butit' s not that anymore. All
of a sudden, I' mgoing to good, I' m going
to change project because guy told methat this is bad, that everything is
fine or that it' s notjust but I' ve worked and also
(26:02):
the nice and all is to listento the opinions of the other filmmakers,
the other people also you see theworks of the others that lud learns a
lot. Maybe the advices were mostlyin that, at The Working Jif,
they were group and also, ie Loren that was beautiful to them we
know, I saw and I saidwow. Dreamed or too much the beautiful
(26:22):
truth that many people also think likewow. I am going to submit my
project to Cannes or to one ofthose training spaces, in Cannes or Berlin
or in those recognized places, butthese sites that are smaller, more intimate,
also have their essence and also havetheir great opportunities, because there were
(26:42):
people from all over the world thereand it was, in other words,
that experience that I did not expectit and it was like and as you
say, it was very beautiful theplace to sit down and think and work,
because, as you say, therewere working sessions of a whole day,
totally a whole day, thinking,working, analyzing on my part,
(27:04):
that is, our, so tospeak, our results from everything we absorb
with the tutorings. And all that' s going to come out soon.
We' re writing some really coolstuff. The group that was with me,
but yes, as you say,I mean, totally always work,
work, work, work, eventhose cocktails, like you' re working
(27:26):
too. You' re pooping there, sir, and that' s why
I said that right now about thenote drinking. In my opinion, because
I feel like you' ve beendealing with it from the moment you get
up until you lie down, you' re working. Your head' s
on something else. You meet someoneat the pool, for example, and
you don' t know who you' re talking to. And it'
(27:48):
s all about whether you realized everythingabout your project or what I don'
t know what or what you're doing, how you consider yourself this
or how you indust him in yourcountry, tarara ah look, we'
re going to change numbers there.Then it doesn' t zoom in that
I don' t know what.And yes, it' s all clear,
it' s all work, butthen that' s also energetically.
That can also spend a little biton a person, but one looks for
(28:11):
the most look. We invite youhere on the podcast. That' s
part of the result of living thoseexperiences. Of course it' s in
community, it' s within thefilm scene, locally, and connect and
connect clearly no no no. Andwhat you gave yourself right now is that
(28:33):
locally, for example, I livedin London. No, and I'
m here now, and the thingwas that the meek brought me in,
I mean, the idea of there, I already had my house last year,
I built my house, producer,all things and everything was organically as
it goes then. I am superexcited, also happy to return to my
(28:56):
country, also to connect with thatthere are many cool people and they are
doing very cool things also in thecinema. Then why not clear. Of
course it' s nice I thinkit was making a super enriching episode.
I hear them. I love seeingyour passion and, above all, I
think I identify very much with thepart that when you are an emerging artist,
(29:18):
you sometimes don' t know whatthe opportunities are, what you have
and how. You can develop yourideas and you stay maybe you' ve
stagnated thinking well, you won't give it to me. I'
m not going to participate because I' m sure the same thing that you
commented during the episode that I'm sure my more people will earn it,
but seeing you is an example thatwhen you have a good idea and
you believe in your project as well, you just have to throw yourself and
(29:41):
have hope, that is to say, to have faith that you' re
going to do well and we takeall those tips that I think is not
super relevant to the now drinking,that is, not to take. Maybe
when you' re working, whoworks for me to apply it to,
who doesn' t. But Ifind it super good and in general,
to see these festivals as ideal idioplatforms, like that trampoling one often needs
when one is to see people.So it was a super cool episode.
(30:03):
Thank you very much, Ka,We wish you luck and from now on,
successes in your project, which issuper interesting and I know, that
is, from what I have readand I see you talking you passionately.
I think that' s enough forus a person to be something super big,
so really many hits and thank youfor being with us in the mouth
for the first time because she wasback in her stage up there. Oh.
(30:27):
Thank you. I' m happyto be here. And one last
little thing, which was also whenone is like this, allies appear.
Allies appear, they look like peoplewho believe in you and believe in your
project. Then one has not tobe discouraged, especially to believe in oneself
that when you create your project,everything can be clear that it does.
(30:48):
I love that to close the episode. Thank you so much, Carline.
Thank you, yes chye. Themouth is a grain and produced by Dennis
(31:15):
Gomez and Loren Fernández. Listen toall our episodes in Spotify and Apple Podcast.
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