All language subtitles for 07 - Content and research.eng

Many times I adapted content
that was quite difficult

and quite unfriendly
and I had to read a lot.

Now I'm going to tell
some examples of how I was

with some content
that ended up being

audiovisual projects
quite entertaining.

I chose the content first

because my creative process
starts here.

always ask me, I do not know why,

that adapts a content
that is not very friendly

and turns it into something entertaining.

So, I decided to show them
some cases

in which I had to deal with them
with difficult contents

and what was the result.

The first is this program

called "Friends of the steering wheel"
and it came out on the Encuentro channel.

The truth is that it was
quite difficult

because we were talking
about road safety,

so, I had to read a lot
about road safety,

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become an expert.

It helped me a lot to read so much.

But the result was

a television show
that was quite award-winning

and pretty much remembered,

showing graphically,
as we're seeing now,

issues about security vial,

but we also had the pleasure
to interview specialists

and the specialists had to drive
a car with a chroma behind.

On the other hand, the program
also had a kind of fiction

with two actors.

A character who was a truck driver
and his companion who was a clerk

who brought him bad luck.

All this gave a kind
of quite strange mix

that was "Friends of the steering wheel"

and everything came out from working
on the content.

I was reading the material,
which was quite difficult,

was making marks

and when I finished reading
all the material,

we already had
something that it was quite innovative

or, at least,
quite risky.

The second case is "Presentes II",

the second season of a series
that came out of Encuentro.

It's quite ambitious because everyone
of the episodes in this series

tackled a difficult topic.

For example, one was about abortion,

another about discrimination,
another about bullying.

It was not easy to read so much content

and see how to make
of that fairly dense content

a series that is entertaining,
that has action

and that is a convener
for the adolescent audience.

The other challenge is
"Lie the truth"

which is a series on philosophy
directed by Darío Sztajnszrajber.

Darío is a very prestigious philosopher
.

The difficulty of this program was

bring philosophers like Kant, for example,

or like Kierkegaard,
to a television program

that is entertaining, that is current,
that be dynamic

In this case what we did
was a philosopher

who ends up believing
a superstar

and he himself has to deal

with the problems that

philosophers dealt with From the past.

Finally, the last example is
"The amazing Zamba excursion".

In Zamba, when they called me,
I did not know anything about history

and I had to read a lot,
helped by a CONICET expert,

a very prestigious historian
who called Gabriel Di Meglio.

He made me read
the letters I sent him,

for example, San Martín to Pueyrredón

asking him for help
for this chapter of Malvinas.

I read a lot
about the Falklands War

and the truth is that from reading
stories began to come out.

I always had an annotator next to
and the truth is that if it had not been

for such an extensive investigation,
not have reached that format.

So, in addition to the content,

we're also going to talk now
a little about the investigation.

The research part
is the one I enjoy the most.

Once we load

with all the content,

for me the creative process
ends up closing

when going to the places.

Many times the work of screenwriters
or filmmakers

takes us to places
that we would never know

and meet wonderful people.

I think there is a spark
and that's when creativity starts to come out.

Once we understand well
what we have to do,

we are going to investigate the field.

I'm going to introduce you to three people
who influenced me a lot

to the investigation.

Before studying film,
studied Communication Sciences

and in Anthropology I met
one of the masters

of ethnography who inspired me
and who somehow gave me

as some kind of work system.

He is Bronisław Malinowski,
I will never pronounce it well.

was an anthropologist
who founded social anthropology.

Wrote "The Argonauts
of the Western Pacific".

In that book I developed this idea
of participant observation

that I like so much.

That one goes and gets involved
directly with the subject

or with their study object

or with the social group
that has to work.

Malinowski went to a tribe

and lived with them
for a long time.

Without losing his role as an observer,
somehow participated.

Of the rites he participated,
of the daily life of the tribe,

and that made "The Argonauts
of the Western Pacific"

so relevant and so deep
by his way of getting involved

The second teacher
that I had in some way

and met in a course
of photojournalism, was Eugene Smith.

was a photographer who invented
modern photojournalism.

He did a rehearsal, at that time
there were essays in magazines.

Look it up, "Country Doctor" is a trial
that is terrific.

They say, they told me, that Smith was going
to the house of this doctor

and at the beginning he was not wearing
the camera.

The second day I was wearing
the camera,

but I was leaving it on a tripod

and chatting with this doctor
he was going to portray.

Maybe the third day,
had the camera hanging,

but he was still talking
and accompanying this person

and surely the doctor
was a bit uneasy

because, What did the photographer
do not take pictures of him?

Smith worked with the trust
and began to approach.

He took some incredible pictures
with a very big intimacy

with this doctor in action,

sewing his forehead to a boy
who had fallen down.

Achieved stunning images
through closeness

and through empathy
with their subject matter.

The other teacher that I recommend
is Loïc Wacquant.

If you can read your book called
"Between the strings:

notebooks of a boxer apprentice".

He is a specialized sociologist
in urban sociology,

poverty and racial inequality
and ethnography.

His studies had to do with boxing
in a very poor and marginal neighborhood.

started to investigate so much
that he became a boxer

and started counting
the life of the boxers

in a very close way.

So, somehow,
these three referents helped me

get involved in a way
closer to the objects of study.

Then, if one at the same time

is reading the content that is hard

and then goes and visits the places
or goes and interviews people

or takes pictures or takes a trip
or whatever it was,

one begins to incorporate that content

and somehow
makes the ideas spark.

I'm going to show you three examples.

This is my first short film
and this is the making of that I had made.

had to make a short film
called "Potrero"

for the Film School.

To write about a paddock

I started visiting paddocks
and came to this.

It's a group of guys who played

in the afternoons after school
in an abandoned court

near the tracks in Valentín Alsina.

so much going on, I started chatting with them

and the truth was
a pretty genuine relationship.

I told them I studied film
and that I would do a short

and the truth is that they all
ended up acting

in the movie.

Not only that,
but the short has a lot of truth.

That also somehow
made the work social

because this boy, somehow,
changed his life

and ended up linking
a bit more with the father

and saw what movie work was.

had contact with a reality

that otherwise
not have had contact.

I still had contact
with a reality

with which I would not have had it.

Another example is
my thesis short film.

The following year
had to do a thesis

and I opted for synchronized swimming.

I do not know why I chose it.

I liked the idea of triplets

that from the mother's belly
were in a liquid sphere

and that when they left
were synchronized swimming champions

because nobody could synchronize
like them

because from their origin
had shared that area.

The point is that they are orphans

and a village colonel
uses them as political propaganda.

When one of them falls in love,
stops synchronizing with her sisters.

For that I traveled many provinces
and synchronized swimming championships

looking for sisters
or looking for experiences.

I knew twins
who were doing synchronized swimming.

I became very involved in that activity

and the truth is that
ends up being seen in the short film.

Also the firemen of Luján,
who appear there back,

are a group of firemen
who play music

and made the music of the short film.

So, somehow one

changes the reality of certain people

and those people
change the reality of one.

That's the richness
in this type of project

that uses ethnography
as a system.

Finally, this is a project
that is "Pakapaka".

It was my first professional job,
in some way.

sent me from El Perro en la Luna

to record in different schools
from all over the country.

There I had a lot of contact with childhood,
contact with schooling.

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This helped me a lot
so I could later understand "Zamba".

Somehow, I was doing

some kind of unconscious research
that would later be very useful to me.

It was amazing
because this

participant observation
technique from Malinowski helped me

and I also passed something similar
to Eugene Smith's

in the compromised and respectful way

I had to address
photoreports.

Instead of football in "Potrero"
or instead of synchronized swimming,

this time it was my turn
be observing school grades.

I worked with boys and girls
with the patience

that I supposed I had had

Eugene Smith
or Malinowski or Wacquant.

Somewhere I tried to have
some scientific rigor,

but on the other I related
in a sincere and honest way

with the boys and girls.

This experience was formative
because there I learned

to treat boys and girls
with great respect,

to not convey my anxieties
behind camera,

I tried to put the camera
at eye level,

can see what they see.

And I learned to count
more empathically and more symmetrically,

trying to create a link

with my object of study
in some way,

in this case and with the spectators

because the spectators saw
the same thing that I saw

and they related directly
with the boys of all the schools.

The truth, the dynamics
is that we came to a school,

usually against the clock,
and we did a lot of material.

But I had the time
to connect with the interviewees,

to make them feel comfortable,
not to press them,

to create some dialogue with them.

For them it was weird
because a bearded man

with a camera and they came to change
their daily routine.

One must put himself in the place of the other
when working in audiovisual.

The truth is that we had a
link of quite parity.

I learned that if we treat
boys and girls like fools,

they think we're dumb
because we talk to them that way.

We would have to treat them
as we would like to be treated.

I do not like
to underestimate me,

I think nobody likes
to underestimate it.

Although in childhood we are sweet,
sincere, tender, superintelligent,

we are also cruel and wild.

The boys invented bullying.

Do not underestimate them,
're similar to us, they're even.

When we think of contents
for children's audiences,

it's not bad to go to schools,

talk to them, listen to them,

instead of telling them stories
from our idea

of what childhood was.

Childhood is a place

rather darker,
rather more human

than we idealized
after the big ones.

After adulthood is so difficult
that we believe that childhood is better.

We saw then,
how to approach the content.

We saw how to approach the investigation
of our project.

At this point
something has already happened to us.

So, let's see a little

what form we can give
to that idea that started to come out

and how we can start
to present it to others.