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If you really want people to like your short...
you have to start with a guy talking about...
***!
***, *** this, *** that.
He only talks about ***.
A guy explicitely talking about ***, and he gets so annoying...
—That someone interrupts him!
—Exactly!
And then, then's when your story begins
—But what story?
—So, there's this guy, ok? And he has a bag.
—But a bag is too simple... what about something valuable?
...something like... —Ah, I know what you are thinking!
MONEY!
Ok, he has a lot of money and he'll be really happy!
—Wait, wait! He could get robbed He better puts it in the bag!
—And we have... a bag! with money! —Yeah!
...but then someone comes. —And this someone will steal it from him
—Or asks for it nicely. —Sure, and then we have drama...
so he runs to accomplish his dramatic goal! —No, no, he chases him
—Well, yes, you are right. My mistake, wrong verb.
So he comes back, and he'll chase him because he has something he wants
—Precisely.
—Ok, so there's risk, urgency, goal. Then he runs!
—He chases him.
—Ah yes, you are right. He chases him.
So then he chases him with a savage warcry around the city...
...until they get to some stairs and there, at the end, when they are tired...
...there will be a great explosion!
—No, no, no. Way too complicated.
You know what was I thinking about?
—No
—I was thinking, we could do something...
...deeper...
...cathartic...
—Ah, some artsy crap
—Exactly!
—It's doable, you know?...
You just have to reduce the character to a space that represents...
...the social class struggle by means of the uterine illumination...
...and a penguin. —A penguin?
—Yes, the penguin represents the elite, that is going to be phagocytized...
...by the masses in the off-screen space. —Eh... where?
—You didn't understand a thing... Let's better go to a visual space, ok?
Who chose that music?
Doesn't matter.
There he's gonna watch the emptyness and will gloat himself in the...
...calvary of the nihilistic void.
—Whom's?
—Nihilistic, the calvary of the nihilistic void.
He'll gloat himself and will only escape...
...by means of the semiotic redefinition of the form-content of his contortion...
...that tries to go back to the womb. Ok?
—And how do you conclude it?
—Easy, it concludes...
...it concludes...
No, no, it doesn't work!
Why is it so hard to think of a short film?
—You know, I got an idea for a short while taking a shower the other day...
Yeah, I was listening "Be Prepared"...
...and I got it...
...imagine this...
...you have...
...exteriors.
—Ok... and?...
—Nothing, that's all I got
—Ok, there's only one character, right? —Yeah
—So, only one character and he has a problem?...
—Hunger!
—Hunger, ok. He's hungry so he goes to... Pinkberry.
—Ehm... are you sure about that?
—Why not?
—Mmm...
—Ok, ok. He changes and goes to La Lucha, happy?
—Much better
—Ok, everybody likes La Lucha and it's manly because it's full of meat, right?
—That's right —Ok...
...wait, wait! What is he getting? —Ahhm, pork beef?
—Pork beef?...
...No, don't know. He doesn't look like a pork beef guy...
I know! Listen, you'll like it. He gets Huayro potatoes.
—Uh... life saving Huayro potatoes!
—Yeah... How much was the cheapest one?
—S/. 2.90
"Huayro fried potatoes: Perú's best"
—Mmm, that's quiet cheap, anyone could have S/. 2.90 but, get this, he doesn't...
...he has S/. 2.00 and a screw.
—Total cruelty.
—Precisely! He'll have to look for more money in...
...a phone booth!
What an ugly fate.
—Ahm, you do it all the time.
—Don't tell people
—Well, he'll search the booth...
...and because fate is kind... KAPOW!
He'll find his coin and will be very happy eating his potatoes.
—But you ran out of story...
—Ok, then he doesn't find anything.
And we get some kind of Oscar nominee for best tragedy...
...for its sadness and melancholy.
Hah, look, a guy with red glasses...
—Ok, it's fine like that.
I like it! I really like it!
—I like it too. We should film it.
—Ahh... there's so many things we should do Diego...
Beers?