Script Files
Miranda
Sosím is detoxifies and begins to leave a life of constant effervescence, alcohol and pleasures. In his inner quest to solve the lack of a true love that wounds him permanently while he bleeds nonstop as if a stigma opened his chest, it is wrapped in a recap of his past. After one year he will see that the cure to his pain falls into a monstrous dependence that must annihilate because Miranda offers him the perfect evasion while feeding of his wound. She, a vampire who plays with his mind and manipulates his visions, offers him the perfect illusion. Sosim, unable to distinguish the dream of imagination and madness, decides to tell Dr. Magnesia, his psychologist, a fact that changes the roles and that gives rise to a hunt for vampires.
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Martín Fadol BoutonWriter
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Project Title (Original Language):Miranda
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Project Type:Treatment, Other
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Number of Pages:20
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Country of Origin:Mexico
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Language:Other, Spanish
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First-time Screenwriter:Yes
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Student Project:No
Mexican uruguayan, Martin Fadol was born in april 5 of 1981.
After completing a Bachellor's Degree in Communication, I took courses such as “Artistic Vanguard” and “Postmodern Science Fiction,” a Diploma in Lighting, and another in Digital Video Camera.
In Mexico there is little support for students and I had to work to pay my way. Additionally, my main interest was not in advertising nor doing work for commercial projects in radio, television and other mass media but in auter cinema, in witing scripts, poetry, philosophy, essays, semiotic.
After finishing University, I took a path that I later left due a lack of funds (independent short film production), and because I was never interested in advertising, multimedia design, radio, television and such areas related to my career. However, I did manage to make some short films, which I do not regret, although I do not consider them “professional works”, given their austere production characteristics.
Professionalism contradicts the idea of art. Professional art should be a verb, the adjective of which corrupts the executor, the artist, who is to be confused or a follower of the lines of postmodernism. I do not share the idea of “professional art”. From my point of view, an artist that creates what he/she will give to others thanks to the recognition of a language and through an aesthetic experience, the possibility of signing something on something that is no the idea of what is cool, or nice, or beautiful, does not think in becoming a professional, since it conditions the needs and creative impulses, the pragmatic, social and cultural conditions of the artist.
Speaking about my professional background makes me upset, because I believe that it is through art that we escape through its own formalism, from the narrow thought that regulates the professionalised system of the productive people and their world, within a diegetic universe, of the lyrical universe, which would be the standard of an emotion expressed professionally? Is my poetry or this or that painting professional? If so, we aren't talking about works of art, but rather of works for consumption, where there is no pubic hair, or armpit hair, there is no shit or pee, toothaches, adolescence, dysfunctional families, evasive vices or philosophical reflections, also escapist, the pulse that distinguishes the narration of anecdotes with literary construction. All that intends to be professional is an attempt to satisfy a dogma, a demand, or a market. Postmodernism and capitalism have institutionalised, in its foundations, values and equations such as professionalism = success = money = happiness. Even the equation itself can be, and is, used by artists with a social commitment as a basis to uncover lies. The market does not demand, in societies like Latin America, University students that think differently, because the market would not support itself, and thinkers, philosophers, writers, painters, filmmakers and others, do not find in that context a form of adaptation nor the formation of communities with an identity of their own. It is a delicate topic; the formation of personality and fear of not belonging to society does not allow artists to survive, unless he/she has decided to withhold an unmoveable tenacity and purpose to continue growing, which does not mean development and progress, since only few possibilities exist, such as this letter trough which I am trying to sale my scripts for a film production as an independent artists.
I had a couple stumbles, and I worked for a television production company. It was the worst experience I have had in my life, and it was professional.
Since December 2010 I walk the streets selling my fanzines. I write and publish as a collaborator whenever I get the chance to do so in electronic media, and I live off the sales of my fanzine “Indiloka,” of which I have released approximately fiveteen thousand copies between volume 1 and volume 6.
As a writer of short films, I had to limit my anxiety of seeing stories made shown on the screen and limit myself to see them printed in a publication titled “Indiloka”. The ambition with which I write is a result of a constant and daily exercise. Every day is a mixture between creating stories, poetry, essays, thoughts, readings and a University environment, or one of work, mingling, in the cafe, the library or the convenience store, where environment, cultural and social diversity meet.
This is how it happened. After collaborating in at least four electronic media with essays, reviews, interpretations of films, film analysis and a story, I became convinced that if I send it all, I may be able to sell on my own what I write and I decided to edit my material to create what I later knew to be a fanzine, in bond paper, black ink, in a half-page format, stapled and cut, all on my own. The success in the sales of the fanzine completely exceeded my expectations, since I had planned to make this activity a complement of my handicrafts. I have been making my fanzine for eight years now. It is my source of income and I no longer make handicrafts. So far, I have created six volumes, of which the first three an the last one contain essays, stories, aphorisms, and poetry, the fourth volume is a 34-page story and the fifth is a stories antology. Each with its own cover and presentation.
As a constant activity, need, commitment and writing are worked into my lifestyle and I can produce, yearly, a certain amount of stories, scripts, essays and poems, without the eagerness to complete a specific amount. Being awarded form any script festival or producer, it would be a boost for a rhythm which is currently interrupted, or, I must say, that coexists with activities that lead me to producing an income, because I must walk 4 or 5 hours selling my fanzines every day. It would be a very stimulating experiment, since being in new places always nourishes the creative spirit. My creative spirit is a healthy stimulus, which I constantly look for. I have travelled through more than half of Mexico's 31 states, I have travelled and been inspired by places in Montevideo and other cities in Uruguay, as well as Buenos Aires, Argentina, in search of new landscapes, people, traditions, foods, shocks, empathies, encounters, trains, subways, monuments, parks, cafés, bars and nightclubs, travel by plane, by sea, horse-drawn carriages, slums, scoundrels and wealthy people, vintage cars and culture fairs and music fests, and Berlin would be another place where I could begin to approach independent Stukist art groups formed by painters, writers and filmmakers from around the world to develop a serious claim project, both of the spiritual trait of art, as well as the expressive, subjective, ideological features of art, which could be published; it will, in fact, be published anyway, because I am doing it, although I am not sure when it will be finished.
To go into detail regarding my vision and values, I can mention a pair of projects: an investigation on Stuckism and Remodernism to complement earlier anthropological and philosophical debates on the error of the postmodern definition of pop art and consumerist culture, which elevated what is cool to manipulate and to take all talents and creative aptitudes to the realms of media languages, which the intention of the contemporary premise of culture cofounds the meaning of art aberrantly, since along with art comes graphic design, comfort, sophistication, object art, spectacular natures, consumption, and in the altar, Andy Warhol. In this race to emancipate the art of stupidity without a trace of thought, art is seen as entertainment to pass time, yet it represents nothing and nobody, or if it does, we are in the era of the representation of total emptiness; emptiness is its symptom, not its object.
After years of not sharing the ideas of postmodernism, I find the Stukist movement, self-claimed as the first Remodernist movement by Billy Childish and Charles Thomson in 1999 and more recently I knew Avelina´s Lesper vison and speeches (is a Mexican critic of art exponent of this thougts) and I can quote the film “ The Cube”m to make emphasis in what I am taking about. Once I deliver myself to this task to complement my earlier ideas, I can now retake a theoretic and philosophical intention that will have exponents and representatives, which means a celebration to me, as well as a joy and the finding of a shared philosophical, ideological and intellectual identity, because for a long time I spoke only of one subject, which nobody else seemed committed to; doing away with postmodernism and its wrong definitions.
Post-modernity exists as a phenomenon in the industry and the market, globalisation and mass media, yet the function of the Church that now has the power over the mass media (to manipulate, without further detail) will not distort or impose disposable values on art; post-modern art does not exist. If it is postmodern, it is not art.
It is then appropriate to review contemporary works; the characteristics defined as the post-modern types of narration and that still belong to the modern spirit, and those characteristics or tendencies that have merged and mixed for the creation of “new languages” or “post-modern art” and which are by no means symbolic-formal representations, but as Jameson says, they are “pastiches” and “generic hybrids” without rhyme nor reason, without content nor intention, not subjectively nor as a defence to a tradition or fidelity to an artistic movement. Rather, they are specifically the result of creative aptitudes lured in by the mercantile spirit of consumption and spectacular images or the recurring Rhizomic trend that has become the commercial standard, and therefore, in a pop style, the creators of which have set aside in order to avoid abusing the resource; the Remodernist manifesto and the age of Modernism to sustain according to the manifesto, that Modernism never ended because it was never anything in itself or defined to exclude “modernist art” from “non-modernist” in a moment in which subjectivity was expressed in art like never before. An in each moment, quoting authors and philosophers such as Slavoj Zizek and others, to sign postmodernism from a political posture, as another modern characteristic in modern times, as a reaction to “the fatherly authority crisis” proposed by Lacan as the main reason psychoanalysis exists and is necessary in modern times, since according to him, it is only from psychoanalysis that we can understand the universal law underlying the subjective story rather than “the big stories” (although I would add, and you may agree, that the great story of our times is that of the economically productive individual in a constantly modernised context).
On the other hand, I wrote a narrative essay in which I intent to expose “the feeling of our time”. In this journey I will find that, from the Romans until nowadays, the feeling of a time is found in the specific ways which are legitimate for each time to break free from unpleasantness, the taedium, melancholy and depression, whether through myths and deities, traditions, rituals, sexuality, art, stories and telos of the positivist scientific world, rationalism, atheism, up to the present of synthetic products ranging from foods to narcotics, power, ignorance and mediatic identities. Throughout the changes in political and social organisation, the Catholic, Christian and Renaissance worlds, the modern era and the current moment of mass media and digital technologies bring a state of dependence, fear and control, and at the same time, the feeling that happiness is in the construction of the future, like the religious idea of heaven and paradise after life.
This is how I see the feeling of our time to be constructed, or underlying in our behaviour, both in faith and the modern belief of well being, of comfort. In another time, the phallic fascination, succumbing to the genital service and the obscene verbal execution as a liberator of any shyness led to the recognition of erotic anguish after that fascination, and in the glorification of the obscene act of language as in enjoyment. The stimulation and the later Christian prohibition, through the use of new meanings to earlier concepts led to the construction of societies around the idea of sin, and the feeling of guilt spouted, due to the fact that, seen in that way, the individual leans constantly towards a relationship of dependence on acts of degradation. Nowadays, it is a reward for those who accumulate and obtain the condition of parents, since they cause the fascination of the golden phallus. The contemporary feeling could be described as the fascination and anguish of the golden phallus.