Thursday, October 31, 2013

Nobody is analphabet in cinema

Written by Allal El Alaoui

There is no such word called ignorance in the world of cinema .I tell you why .Everybody from any rank of society can go to cinema theatres  and watch and understand the story of the film without difficulty he or she is watching . when getting  out from cinema theatres , people start to convey their thoughts and their citeria and this is excatly what great criticism do . Everybody becomes a critic from that simple peasant to witty aristocrats .Is not that wonderful ?

Analysing or expressing one’s point of view of a film after having watched it with sure thought ,wit and intelligence,  is a great sign of lecture. Literature people read words as for cinema-goers read visuals. This is the magic of movies  because cinema has never produced analphates and i think it never will , but istead it leads  its public  to good thinking ,great anticipation and exquisite taste.Cinema is linked to life and the will of living .Is not that great ? instead,i am not with the lazy people who believe that life is made to live easily without taking the risk to do any afforts.

In my country ,Morocco especially in Rabat people read 2 minutes per year.That is bad but bad for what ? the majority of  residents  do not read nor look for cultural books but they prefer to go out , make love and eat . There is no flaw in it because apparently the whole world wants to live this way of life and i think it is all about choice to make in one’s life .

Of course people misunderstand other people’s taste but who cares as long as one lives according to what  he or she chooses. From this context,i am sending a small message to Rabat; already becoming a cosmopolitan city , I suggest to my city to put small screens on Tramways from Rabat to Salé and vice -versa  in order to allow clients to see documentary films whose duration from 26 to 52 minutes and this is exactly the journey from Hay Karima to Al Irfane which is supposed to be the place of science and culture .

Wednesday, October 30, 2013

Structure in movies

Plot Structure

The plot structure involves the events of the story and the layout,
which determines if structure is exciting. It consists of specific
events in a movie and their position relative to one another. Good
structure means the right thing is happening at the right time. If
events lack interest, excitement, humor, logic, or relevance, or if
they occur in an order without creating suspense, surprise,
anticipation, curiosity, or a clear resolution, then structure is weak.
Structuring your story involves breaking plot up into three acts and
make use of specific structural devices.

The Three Acts

Act 1: To establish the setting, characters, situation and outer
motivation for hero (exposition)

Act 2: To Build the hurdles, obstacles, conflicts, suspense, pace,
humor, character development, and character revelations (peak)

Act 3: To Resolve everything, particularly the outer motivation and
conflict for the hero (resolution)

The three stages to the heroes outer motivation determine the three
acts of your screenplay.

The acts should conform to this formula: the ¼ - ½ - ¼ rule, that is to
say 50% of the pages in your screenplay should evenly divide between
act 1 and 3, while the other 50% for act 2. In episodic and TV movies,
leave the audience with a feeling of anticipation so they won’t change
channels during commercials rather than getting the commercial break to
correspond to the three acts. These are not actually labeled in your
screenplay as they serve only as theoretical brainstorming model only.
character must be introduced sometime early.
The protagonist is the good guy or hero, while the antagonist is the
bad guy or villain. Usually the protagonist is the central character,
but can go to antagonist
To make drama, create a strong central character with a powerful goal,
and then provide a strong opposition character who tries to stop the

central character from achieving the goal (conflict).

El Mostapha Toubati acteur Marocain

CV artistique

Etat civil

Nom                                       : TOUBATI  
Prénom                                   : ELMOSTAPHA
Date de Naissance                   : 06 / 02 / 1980  à Ben Slimane
Taille                                       :1.80 m
Poids                                       : 68 Kg
Yeux                                       : Noir
Cheuveux                                : Noir
Situation familiale                     : Célibataire  
Niveau d'étude             : 1ère année universitaire  option " Droit arabe"
Adresse                                   : Dar Lamane  Bloc  (D)   Imm 108  N° 3 Hay Mohammadi    Casablanca     
GSM                                       :  06 - 64 - 68 -14 -74
Email                                      :

Connaissances linguistique  :Arabe ; Français; Anglais: Moyen

Etude Formation

4ème   année  au Conservatoire Communautaire de musique, le chant, danse et d'art dramatique de la part l'art dramatique

Experiences  en théatre

1998 Une pièce de  théâtre: SIRAA avec le   groupe de théâtre "ALKHARIF" Ben Slimane.
 Je fais partie du groupe  " ROWAD EL MASRAH" sous la direction   DAR EL CHABAB Hay ADIL
1999  Une pièce de  théâtre " SASYDALIQ" avec  l'association "CHOAALA BEN SLIMANE"
1999  Une pièce de  théâtre  "ALBARDA  OU CHWARI) avec l'association « CHOAALA BEN
2000  une pièce de théâtre « KHOKHOU BLAA3 avec l'association « Achbal Ain Sebaa
2001 : une pièce de théâtre « ZWAGE LMZOUMEK  avec L'association « Achbal Ain Sebaa

Experiences  en TV

2002 : Sitcom  DAR MI HNIA  réaliser par Ali Tahiri /  production: SPECTOP et  RTM
2007 : série «Saraf Lyia"   Production: MATV SA et RTM
2007 :série «rhimoou»  réalisé par ismail saidi / Production: big shot sarl et 2M
2010 :série «hdidane»  réalisé par fatima boubakdi / Production : warda prod et 2M



Experiences  en Cinéma national

2007    : Film  Casanegra  réalisé  par noureddine Lakhmari  /  Production : Sigma technologie

Experiences  en Cinéma international

2006 : Le rôle de " Le pompiste  dans un  film  "les jihadistes de paris "Mise en Scéne  Houssein Sadre, Production  Way Press   international

Sunday, October 27, 2013

Motivation in screenwriting

What the character hopes to achieve by end of movie; Specific way any
character, mostly hero, determines plot – the one-line sentence from
Story Concept. What hero desires determines what story is about:
Ghostbusters – story about a former university teacher who wants to
earn money by getting rid of ghosts.

Two levels: Outer and inner

Outer: What the character visibly hopes to accomplish by the end of the
movie; drives plot of story and determines basic story concept

Inner: The reason (why?) for the outer motivation, which the character
thinks will lead to self-worth (optional)
Outer Inner

Visible Invisible
Desire for outward Desire for self worth
Revealed through action Revealed through dialogue
Answers question: What Answers question, Why does he want to do
Is this movie about?
Related to plot Related to character growth and theme
Reasons for accomplishing a task (work, school, etc) differs per person
as in real life. Paths of self-worth: revenge, greed, power

The Screenwriting Bible™

Sir William K. Coe

Saturday, October 26, 2013

Lahoucine El Hail's Book on screenwriting

El Hail is a creenwriter and has written a lot of scripts either for cinema,television and Radio.Lahoucine has collaborated with many tv and cinema film makers and now he has finished his second book on creenwriting.

His book is called writing cinematic scripts’containing exceptional technical words as to how to begin your first draft as a screennwriter .The book of El Hail contains handsome explanations to start your first draft .However some screenwriters have already delivered criteria about his book the fact that it lacks tutorilas of three-act structure,develpment characters or as John Truby states’Characters Bank’ and what is more writing cinematic scripts does not expalin the fundamentals of screenwriting forexample 3 D character,structure,pacing and plot.

Still Lahoucine EL Hail  is known in the Moroccan Cinema as good screenwriter just like Youssef Fadel, Noureddine Sail, Farida Bel Yazine and others .His book is already appreciated among cinema-goers in Morocco and already facebook –goers are asking the timing of publication because apparently screenwriting in Morocco is demanded  fervently in the business of film making .

Tuesday, October 22, 2013

Eyes on contemporary spanish cinema in Rabat today

The selection of contemporary cinema "Spain,", organized by the Spanish Embassy to the Kingdom of Morocco and the Cervantes Institute in Rabat, from 23 October to 1 November, in collaboration with the MCC (CCM), presents new tasty movies in the capital of Morocco.

  • we are going to plunge from  picture to another revealing teenagers dramas, generational conflict, action and criminal intrigues of terror, traditional stories with unexpected endings and comedies with a Spanish flavor .7 ème Art cinema  will be glittering during one week with Spanish movies starting with an Oscar nominated Spanish  film called 15 años y un día, de Gracia Querejeta (2013).

Programme des projections à la Salle 7ème Art, à 18h30  (sauf le 23 à 19h00):

23  octobre. 15 años y un día, de Gracia Querejeta (2013). 
24 octobre. Grupo 7, de Alberto Rodríguez (2012).

25 octobre. Blancanieves, de Pablo Berger (2012).

26 octobre. Verbo, de Eduardo Chapero-Jackson (2011). Cette séssion sera à 11h00

27 octobre. El artista y la modelo, de Fernando Trueba (2012).

28 octobre. No tengas miedo, de Montxo Armendáriz (2011).     

29 octobre. Mientras duermes, de Jaume Balagueró (2011).

30 octobre. No habrá paz para los malvados, de Enrique Urbizu (2011).

Programme des projections à l’Instituto Cervantes de Rabat, à  18h30:

31  octobre. Arriya, de Alberto Gorritiberea (2011).

1 novembre. Primos, de Daniel Sánchez Arévalo (2011).*

Le film sélectionné pour représenter l’Espagne aux Oscars
 15 ans et un jour
fera l’ouverture du festival

La sélection de cinéma contemporain «l'Espagne, au cinéma», organisé par l'Ambassade de l'Espagne au  Royaume de Maroc et l'Institut  Cervantes de Rabat,  du 23 octobre au 1 novembre, en collaboration avec le Centre Cinématographique Marocain (CCM), nous plonge, photogramme après photogramme, vers des drames d’adolescents, des conflits générationnels, d´action et des intrigues criminelles, du terreur, des histoires traditionnels avec des dénouements inattendues, ainsi que des comédies avec un goût espagnol et clins d’œil historiques.

« l'Espagne, au cinéma» se nourrit du cinéma espagnol le plus récent, représenté ici par dix films espagnols les plus applaudis par la critique dans leurs différentes modalités et qui feront passer des très bon moments aux cinéphiles dans la salle Le 7ème Art. L'inauguration aura lieu le 23 octobre, à 19heures. Les autres projections seront portées à l´ecran du 24 au 30 octobre, à 18h30, sauf le samedi 26 dont la projection est prévue à 11 heures du matin.  Les deux dernières projections,  Arriya et Cousins, auront lieu le 31 octobre et le 1 novembre, à la salle de cinéma de l'Institut Cervantes de Rabat, à 18h.30.

Le film 15 ans et un jour, la belle du cinéma espagnol en ce momentet le porte-drapeau de ces projections, a été dirigé par Gracia Querejeta et comte dans les rôles principaux sur Maribel Verdú et Tito Valverde. Ce filma déjà obtenu quatre prix au Festival de Málaga, et a été sélectionné pour représenter l'Espagne dans la course aux Oscars 2014.

Dans cet sélection seront projetés également d’autres travaux cinématographiques de grande qualité artistique que racontent des histoires d'action trépidante, comme Grupo7  ou No habrá paz para los malvados, récits intimes et déchirants comme No tengas miedo ou El Artista y la Modelo, des paris  personnalisés comme Blancanieves ou Arriya et des histoires comme Verbo, dans lesquelles les super-héros et la science-fiction nous font voyager vers d’autres espaces. 

Sunday, October 20, 2013

No work only a wink for SNRT film directors

written by Siham alaoui

SNRT filmmakers and technicians will not forget 2012 and 2013 because simply there is no work in these years and 2014 is coming holding no sign at all  for work.It is dilemma not only for technicians but  also for media responsable s * 
 especially for those who work inside television as we say. Yes, course,other 
   film makers from production companies have all right to work .
Yet, no magic bullet either for this side or the other only emptiness and pain
.  filmmakers  are with lucidity and transparency but how long does it take to be so ? governement of Benkirane has changed but media remains as it is .

The 26 band of the 2011 constitution is clear as to urge media responsibles to open gates and support artists to realize their projects . The spirit of 2011 constitution clearly states ‘ local authorities must help artists to produce their artistic works .So, how can we solve this problem knowing that there are obstacles to get along to productions?

SNRT technicians  have this formula of 2011 constitution in their  side and yet there is no sign of work and everything seems to be flat . By the way national  film directors  have proven great skill and experience in producing handsome shortfilms and telefilms because apparently they have been appreciated nationally and internationally stating forexample people like Allal El Alaoui, Raouf Essabahi, Khalid Ibrahimi, Aziz Hayzoun ,Faker Mustapha, Mjahed Abdelwahed ,Hakim Bidaoui, and Driss Drissi.

Conclusions and recommendations of the communicative  meetings organized by SNRT on the occasion of the international market for the film underneath within the activities of the World Summit for local authorities and regional Rabat : 1 to October 4, 2013 in furtherance of its new communication and in the context of openness to its technical , media and cultural surroundings and  development, and under the slogan " SNRT : permanent Partner to Moroccan cinema " , organized by the Company itself
Four communication meetings with a group of actors in film and television drama , journalists and audiovisual critics.

 These meetings fall within the framework of a participatory approach applied by the company with internal and external partners , which led to open and frank dialogues between various participants in the four demonstrations .

These meetings also marked the presence of the elite of the national art filmmkers and producers , as well as Moroccans critics and journalists who unanimously agreed on the importance of uniting the efforts of all stakeholders in order to improve the productions of  Moroccan drama  in television .

The following are the main conclusions and recommendations of these meetings : script writing in television : focused discussions on Wednesday, 2 of October , which contributed to the union Moroccan scriptwriters , on three key areas associated with first draw features the current status of the screenwriter , and secondly propose solutions to overcome the current problems, and thirdly to provide roundtable summaries which includes the following points :

• valuation profession screenwriters .

 • the importance of training and continuous training for authors.

• develop mechanism to ensure copyright

 • develop a model contract for the scriptwriter.

 • strengthen relations between screenwriters  and channel product for better products.

 • clarify the relationship between screenwriters  and antenna .

 dialogue generations and guests had a gallery of National Radio and Television , on Thursday, October 3, 2013 dialogue appointment with the directors belong to different generations

 ( the pioneer generation and the younger generation ) . Having reviewed the pioneering director Mohamed Abderrahman Tazi his artistic vision stemming from his veteran experience , the young director Rauf Essabahi  has also been there to listen to his piont of view  .

Other interventions focused attendees to the need to establish bridges between different generations of filmmakers and the search for the most effective ways to exchange experiences among them , as well as organizing meetings testimonial embody recognition younger generation Balmkhrgen the pioneers who founded the business Moroccan television and film . The meeting closing : Show films Allvzionean " last romantics " and " Last Cry " in order to monitor the dynamic evolutionary taking place in the production sector company has been , in the meeting 's final these days communicative and organized on the evening of Friday, October 4, 2013 , the two films تلفزيونيين of the company's production the National Radio and Television . The first film is titled "the last romantics ," an internal creative director ( Khaled Ibrahimi ) , and has already won three awards at the Festival of Meknes for the television movie . The second is titled " Last Cry " to an external outlet is Muhammad Nusrat . After the debate , which opened after the submission of the film to attend, participants recommended that : • the need to double the company's National Radio and Television of efforts to invest in the creative energies that abound in order to enrich the product television Moroccan , so by giving creators more opportunities and enable them to mechanisms to Balachtgal with a the necessary confidence in their creative abilities , to contribute to the advancement of the sector . • intensify efforts audio - visual media and television production sector in order to achieve the quality of work that satisfies Moroccan viewers and raise rates seen , especially after exceeding the quantitative accumulation of work by the efforts of television , thanks to its existing strategy and download content - based book Althmlat . • Certainly the fact that the national and international recognition of the Moroccan television work in the national and international forums is not just a celebration of creativity Moroccan television but recognition of high professionalism and experience of a number of large Moroccan TV frames . • work to develop a comprehensive vision based on a participatory and integrated approach between the National Radio and Television and its partners to overcome the obstacles of television production , and the advancement of an incident that needs more support and rethink the programming mode enables a wider spread of television product . • the need to intensify the National Company for Radio and Television for its efforts so you can echo the success and reflect who you know evolution of television productions by supporting the participation of some creative works in television festivals and national and international . • the need to increase the budget allocated for the completion of selected television business in order to achieve high quality with the need to expedite the signing of the terms of the program is to create dynamic productivity to ensure availability of the product , as well as work together with all partners. • strengthening partnership with the clubs to mainstream cinema benefit citizens in remote villages across the organizing convoys cinematic , in addition to promoting the TV movie cinema halls to overcome the reluctance of citizens to frequenting cinema halls and dissemination of audio-visual culture more broadly. • an integrated organization of seminars involving both professionals and stakeholders in order to activate the recommendations and develop a road map for television production , with an emphasis on specialization in the field of audio - visual grant , inevitably, added value to television productions . On the sidelines of these forums, hugged porch National Company for Radio and Television , on the morning of Friday, October 4, 2013 , an international symposium on "ways of marketing Cinema South market Bank" participated in its activities a group of producers , directors and distributors of Morocco and some African and Arab countries and the West. Participants may exchange in this symposium and views on the best ways to achieve cooperation , " North / South " and " South / South " for the advancement of Moroccan cinema , African and Arab . As an appropriate form of this meeting to discuss the obstacles that prevent the intrusion of Cinema countries of the South to northern markets , and to propose the most effective solutions to overcome these obstacles , especially the development of an integrated approach to the sale and marketing strategy for films , African and Moroccan Arabic.

Do film festivals help films achieve success?

Any filmmaer would love to submit his or her film in a festival in the world .This fact motivates him or her not only to think of another film to make ,but rather to be there in a festival getting full bliss and appreciation from juries and world press.From this ; we would like to reblog again this article appeared in Dear Cinema ,an indian magazine dealing with cinema in the world .

An increasing number of Indian filmmakers are turning towards film festivals of late. Film festivals across the globe not only provide exposure to their films but also offer opportunities to help the film get theatrical release. But is it true for all films that have been festival hits? There are films that travel to festivals all around the world, compete and win but they don’t manage to find a footing in theaters.
The 15th edition of the Mumbai Film Festival hosted a panel discussion on whether film festivals help films achieve success. On the panel were French co-producer of TheLunchbox Marc Baschet (ASAP Films), Filmmakers Umesh Kulkarni (Valu, Vihir, Deool) and Anand Gandhi (Ship of Theseus); and Peter Van Hoof, programmer of the International Film Festival of Rotterdam. The panel was moderated by Liz Shackleton, Asia chief, Screen International.
Marc Baschet who has also produced Oscar wining films No Man’s Land and An episode in the Life of an Iron Picker pointed out the importance of choosing the right festival depending on the needs of a film. He stressed that it is important for filmmakers to ensure that their film gets the right positioning at a festival. Citing the example of The Lunchbox at Cannes Film Festival this year, Baschet explained that getting to the biggest film festival is not enough. The film will go unnoticed if placed among others that are far more superior in content and making. He said that thoughThe Lunchbox stood a chance to be included in Un Certain Regard in the official competition, the producers thought that the best visibility the film could get at Cannes was in the International Critics’ Week. The film was an instant hit and was sold to 37 territories.
One of the festival favourites of the year Ship of Theseus by Anand Gandhi saw a successful theatrical release in several cities in India. It was a different picture for Gandhi when he started out with his film. He didn’t have the necessary backing to chart out a strategy for film festivals. It was only after sales agent Fortissimo came on board that he got an insight into it. He said that the Indian scenario is now changing with a growing understanding of the concept of getting international co-producers on board. With the joining of international players, the budget of the film shoots up four – five times of the earlier estimate. “But even if the budget goes up, the producers see to it that the cost is recovered. Since there are more hands on board, there are more territories to showcase your film,” he said.
Umesh Kulkarni, whose films have traveled to major film festivals, said that he doesn’t believe in making films for a ‘global audience’ and is content catering to the Marathi-speaking audience. He isn’t too fond of the ‘market culture’ at festivals and would rather screen his films at quieter festivals like Rotterdam where one can engage with the audiences constructively. He said that he believes in making earthy films derived from his own life experiences instead of tailoring it for an international audience.
For Peter Van Hoof, programmer of the International Film Festival of Rotterdam, “The festival world is a jungle”. According to him, a film has a lifespan of  little more than one year and filmmakers should choose their premieres (world, international, etc.) wisely.

Friday, October 18, 2013

Keys to Great Scenes

Each scene should move the story forward in terms of both plot and

character. The scene you are now writing should be motivated by a

previous scene, and should motivate the next. One creates anticipation

for another in cause and effect. If the central character gets involved

your scene is probably moving the story forward. All scenes should

direct us to the Showdown at the end, which is the biggest scene, or

sequence of scenes, in the movie. What is the payoff for this scene?

Who do I need this scene? What is my purpose for this scene? Does the

scene reveal something new about a character and/or story? At the end,

does the audience want to know what happens next?

Never tell what you can show. Be as visual as possible. Rather than

someone talking about someone doing something, show us that person

showing us that thing.

Avoid talking heads. Add events behind just two people talking.

Every dramatic unit has a beginning, middle, and end.

Thursday, October 17, 2013

Learn the craft and get better and better

Yes , learn the craft of filmaking anf get better and better.Now,youth have all intelligent mobiles that have high resolution image , They may work on them and produce nice cinema.I quite agree with Robert Rodriguez when he states  « I tell people making DV movies at home, use it for practice. Don’t even try to get it distributed unless it’s fucking fantastic. If not, just keep cranking them out. Get better; get better at storytelling. It allows you to do what I did when I started out, which is make a ton of movies for nothing. And you get so much better at it after a while — you can write them and direct them and you know the structure. You just need to learn how to do it and you learn by doing ».

Wednesday, October 02, 2013

THE FIRST DRAFT by Dominic Carver

Wednesday, October 02, 2013


Work began last week on the first draft of a new commissioned feature.

I love first drafts, the freedom to explore plot and character, seeing what works, what doesn't, and experiencing those moments of pure joy when the screenplay almost writes itself. Oh yeah, and it's hard work. How do I currently write a first draft? Like this...

The way I work can change from script to script, although there is usually a familiar structure in there somewhere.

First of all comes the treatment. I use this to make sure the producer and I are on the same wavelength. There's nothing more embarrassing than to finish a first draft and find out I've gone off on a tangent, away from what was originally discussed. This has happened to me once before, a basic error, one I'm determined to never repeat. The treatment is really a rough outline, 6-12 pages in length, to make sure the inciting incident and the turning points are all there and the story,  characters and their arcs work. The treatment is a guideline, my version of what I'm going to write, and it will change, sometimes drastically, with each draft. But at least looking at the treatment the producer knows where I want to go with the idea. I'll usually get a few notes and have to change some parts, but once the producer's happy then it's on to the next stage.

Characters. I spend as much time on my characters as I can, because if I don't get these right then the screenplay won't work. So I work on their background, their personality, how they talk, what influences them, what drives them and more importantly what their major flaw is. I know I'm happy with my characters when they become as familiar to me as my real life friends.

Index cards. Forty of them to be precise. I love index cards. I use them to scribble the major points, or incidents of my plot on and then play around with them until I'm happy with their order. They don't have to be detailed, they are just a guide to make sure I'm hitting every turning point, etc.

First draft time. I'll work from the index cards, crossing them off as I go and use the treatment if I need more detail. I try and aim for 5 pages a day, although I've done 30 in a day once, aiming to have the first draft completed in around 21 days. This then usually gives me a week or two to play around with the draft, check the character arcs, the dialogue and give the screenplay a quick spruce up.

Then I send it off, get my notes and a whole new level of writing begins...the rewrite!