Após algumas reuniões com a participação amiga da jornalista Teresa Fazolo, da pesquisadora Alba Ferreira, da consultora jurídica Elba Andrade e do câmera Cristiano Marins formulamos uma sinopse inicial para o início das primeiras gravações. A proposta era apresentar Patápio Silva, o maior flautista brasileiro do final do século XIX. De integrante de bandas no interior do estado fluminense à consagração nos aristocráticos salões da antiga capital federal, o filme retrataria a conflituosa ascensão do artista no Instituto Nacional de Música e suas primeiras gravações na Casa Edson. Na primeira sinopse de roteiro, a prematura morte do flautista na cidade de Florianópolis tornaria ainda mais emblemática a presença deste misterioso flautista. Também apostamos em uma narração entrecortada com depoimentos de músicos e pesquisadores que ilustrariam as imagens de arquivo e suas principais composições. A princípio, a linguagem do docudrama era adequada e escalamos o amigo Bruno Rodrigues para interpretar Patápio em algumas cenas que seriam dirigidas em uma eventual parceria com a companhia teatral Sopro do Ator (http://www.soprodoator.com/). Este primeiro argumento recebeu a afetuosa análise de Irene Black (foto) e de meus colegas do curso de Direção de Arte realizado entre 2006-2007 na Academia Internacional de Cinema (http://www.aictv.com.br/). A professora Irene me presenteou com a cópia de dois documentários fundamentais para este projeto: Rio de Memórias de Inácio Parente (1987) e Oswaldo Cruz (2003) de Silvio Tendler. Além disso, ela nos alertou sobre a necessidade de um foco principal para adequar este investimento a realidade de uma produção independente. Sábias palavras!
After a few meetings with the participation of journalist friend Teresa Fazolo, the researcher Alba Ferreira, Legal Adviser of the Elbe and the camera Cristiano Andrade Marins formulate a baseline overview for the start of early recordings. The proposal was to introduce Patápio Silva, the largest Brazilian flautist the late nineteenth century. Member of the bands in the state of Rio de Janeiro to the consecration in the aristocratic salons of the former federal capital, the film will portray the rise of confrontational artist at the National Institute of Music and his first recordings in the Edson House. In the first synopsis of the script, the premature death of the piper in Florianopolis become even more iconic presence of this mysterious piper. Also betting on a narration intercut with interviews of musicians and researchers to illustrate the images file and its main compositions. At first, the language of the docudrama was appropriate and climbed his friend Bruno Rodrigues Patápio to interpret in some scenes that would be addressed in a possible partnership with the theater company Actor's Breath (http://www.soprodoator.com/). This first argument received the affectionate analysis of Irene Black (pictured) and my colleagues in the Art Direction course conducted between 2006-2007 in the International Film Academy (http://www.aictv.com.br/). Professor Irene gave me a copy of two documentaries critical to this project: River of Memories Ignatius Parente (1987) and Cruz (2003) by Silvio Tendler. Furthermore, she warned us about the need for a main focus for this investment fit the reality of an independent production. Wise words!
After a few meetings with the participation of journalist friend Teresa Fazolo, the researcher Alba Ferreira, Legal Adviser of the Elbe and the camera Cristiano Andrade Marins formulate a baseline overview for the start of early recordings. The proposal was to introduce Patápio Silva, the largest Brazilian flautist the late nineteenth century. Member of the bands in the state of Rio de Janeiro to the consecration in the aristocratic salons of the former federal capital, the film will portray the rise of confrontational artist at the National Institute of Music and his first recordings in the Edson House. In the first synopsis of the script, the premature death of the piper in Florianopolis become even more iconic presence of this mysterious piper. Also betting on a narration intercut with interviews of musicians and researchers to illustrate the images file and its main compositions. At first, the language of the docudrama was appropriate and climbed his friend Bruno Rodrigues Patápio to interpret in some scenes that would be addressed in a possible partnership with the theater company Actor's Breath (http://www.soprodoator.com/). This first argument received the affectionate analysis of Irene Black (pictured) and my colleagues in the Art Direction course conducted between 2006-2007 in the International Film Academy (http://www.aictv.com.br/). Professor Irene gave me a copy of two documentaries critical to this project: River of Memories Ignatius Parente (1987) and Cruz (2003) by Silvio Tendler. Furthermore, she warned us about the need for a main focus for this investment fit the reality of an independent production. Wise words!
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