ALL FOR NEW LIFE | Cinematographic Plot | Carlos Eduardo Thompson

 Cinematographic Plot

Carlos Eduardo Thompson

In the mold of the medium-length film "All For New Life", the cinematic writing of the script has several dramatic curves with climaxes and attacks through the Art of the Scene. I am aware of this argument, I have seen it in practice. He concludes, by writing in the classical form, that these two situations are necessarily created since they are intricate in the division into three acts. The existence of high points of dramatic tension that he entitles "All For New Life" deviates from the classic scheme in which the climax is the "crowning of the whole story". Synopsis is confused with argument, and the strategy was to avoid inventing a whole new nomenclature to designate the aspects inherent to the construction of a plot. I considered only the main ones as a guiding tool for the execution of the process. If we try to respond to all these moments of narrative tension calculatedly, to result in a precise chain to match the structure, then the movement of the character Lucy in this universe would be very much too conditioned. The script is instinctively a model of interference, adopting some points of freedom of self-direction for the actress invited to play this role in English with subtitles in Portuguese. The "crises" are points to be located at the end of the completed work and are not, in my opinion, relevant in the act of creation. Anyone who understands Film Directing knows this. These are structural particularities that should only be gleaned from the analysis and not imposed on the creative process. A poet does not define what stylistic devices they will use in their text. Only after it has been completed can they point out the use of metaphors, alliterations or rhythmic issues resulting only from an impetus not previously studied. It is true that he will write within a formula, with a certain number of verses, in quatrains, stanzas, or couplets, but he cannot predict in advance what orientations his words will take. A high point of tension in a narrative, a crisis, should only correspond to an action that the character Emily, represented by the actress, performs for some other justification, for a need for plot, and not to respond to a structural obligation. Therefore, they were not taken for the script, a rigid construction of my narratives, and there is no need in the contemporary world for an actress to have to follow the director's idea. Only in those of "crises" or turns resulting from the natural dramatic path of the actress.