08 · 06 · 10

A Good Story Makes a Good Film. Silvia Pasternac

Clara Sánchez translated by Cindy Hawes

Professor and screenwriter for film and television, Silvia Pasternac will conduct the fifth session on Friday, August 6, through Sunday, August 8. She has worked alongside directors like Carlos Carrera with whom she adapted the screenplay De la infancia, with the participation of Fernando León.  In addition, she wrote Sin Remitente with Ignacio Ortíz. The film, also directed by Carrera (Official selection at the Venice Film Festival), received the Public’s Prize and the Golden Montgolfiere at the Festival of The Three Continents in Nantes, France, the Tercer Coral at the Latin American Festival in Havana and the Ariel in the categories of Best Director, Best Actor and Best Actor in a Minor Role in 1996.

Pasternac has written the 4th, 6th and 7th episodes of the series Capadocia, as well as screenplays for the short films of the series Bizbirije on Canal 11 from 2000 to 2002. She is also coordinator of the Screenwriting Course at the CCC.

1. What is your opinion of teaching screenwriting classes outside the confines of established film schools?
"I think there are many ways to approach writing. Outside of these schools, workshops and classes, usually given by interesting, talented people, are a good option. What school gives you is contact with others involved in film, future friends and associates in your life and in your projects -- something you can’t put a price on.”

2. What is the importance of the screenplay in a film?
“The screenplay is vital to the making of a film. When a project is deficient, beginning with the script, it’s difficult to make a good film. Nevertheless, if there is something human and attractive in the project –- even if the script is bad -- an interesting, sensitive, or at least an important film can be made, depending on the talent of others involved in the project. I think that more than a good script -- which is essential in a good film – what is most important is a good story, an interesting and attractive theme or a strong internal dramatic force. If the script is good, much time can be saved.”

3. René Castillo says that Mexican cinema lacks good stories. How do you write a good story?
“I don’t believe that there aren’t good stories in Mexico. There are good, mediocre and bad stories.  And there is a lot of everything to go around. Of course, there are fewer good films, which is common in all cinema.”

4. What do you think of FICM organizing public events throughout the year apart from the week of the Festival?
“I’m not aware of all the festival’s additional activities, but I think the one I’m involved in is vital to open spaces for writing, listening and new creations. It’s very important to renew ourselves to be able to continue in the art of cinematography.”