Master Batting Chicks

(Elena Trapé, last signature, last conference) Base
Last day of 2011. Morning festivals; later blogs. Chance Workshop makes Chamber Angel Festival coincides with the publication of the list of movies that go to the Cannes Film Festival. And that allows us to speak of conservatism, if not stagnation, the largest festival in the world. The most important but also the most stagnant. The list of directors who will in the Official Section Competition is always. It causes a feeling of déjà vu, of known. And fear, it is not possible that all managers make masterpieces every time they make a movie, but it is possible that each time they make a movie be in Cannes. Sorry, but not enough for me. 15 of those selected are ALWAYS in Cannes and not always with good movies. There are two first works, the share of risk for the festival, indeed minimal. And three unusual names, but discovered in other areas. I'm not saying that is not spectacular to see Lars von Trier (who knows me knows that I am of the top defenders of the Director), Aki Kaurismaki (same), or have the opportunity to see the work of Terrence Malick. Of course that is enviable and inviting. But what disappoints me is not to risk a little more, do not bet a little more, not a little surprised, Dardenne, Almodovar, Allen, Moretti, Sorrentino, Ceylan ... is that no one else in Spain, Italy, in Turkey, Belgium? From this and much more room and also spoke of learning to program, to help the raw operas, understanding debut not only as the first feature film, but the first job, or previous work: shorts, music videos, documentaries ... 2

Afternoon Trapé Elena gave a lecture on the creative process Blog. It was interesting, but above all had a wonderful time. When the director confessed to the moment of revelation of the film: the exact point where suddenly you see that movie you want to do. 3

conclusions of this Base. It's early. But one comes to my head for days. The cinema is not dead, the film is more alive than ever. What is dead is a way of making movies, watch movies and writing movies. I thought of the American directors who began making films in the sixties. They also said the film had died, because the production system of the major studios, with lifetime contracts to directors and actors, with safe work throughout the year, with premieres starry; that cinema was dead. And it was true. But that does not mean that the film did not know finding new ways, from Roger Corman producing low budget movies very young people, to Godard and Truffaut on the other side of the sea out on the streets to shoot with precarious means. From people coming from the television as Sidney Lumet, who has just died and brought fresh ideas and different from life, to young people without fear that with a 16 mm camera filming what they could. If they had believed, so that the movie was dead, would not have done anything. But if they were determined to continue making films as before, either. That is the great lesson of this Base. As said Martin Cuenca. There are bad times are times of change and challenges. And people who studied film touches you take those challenges and make their revolution.
Until next year. Best until next entry.