sexta-feira, 11 de março de 2016

Doc Comparato "I have a chronic regret: having quit medicine to become an author."

TV on Board




He's a doctor, playwright,

screenwriter and writer.

Author of the classic book:


(From the creation to the script),

edited in seven countries and four languages.

Won 9 international awards.

He founded the Creation House

TV Globo.

The TV on Board is honored to receive for


one of the most acclaimed writers in the world:

Doc Comparato

Warlen Pontes


WP - Of all the awards you received, totaling nine, including: Japan Award for Television, o DAAD-Deuchst Academic Art Development, Anna Magnani, Italy (source: Wikipedia) and Gold Medal of the New York Film and Television Festival, which one you highlight and why?

DC - Gold Medal of the New York Film and Television Festival, the short Lampião and Maria Bonita. At that time there was no EMMY and it was all together, Americans and foreigners.

Vinicius Luiz


 VL - Doc, how are you? Immense pleasure. First of all, I would like to congratulate you for 'Lampião and Maria Bonita', in partnership with Aguinaldo Silva, a classic of Brazilian theater and, for me, one of the greatest miniseries of all time. Fromm all of your works, what would you rate as the most important in your career?  Would you like to produce something for TV again? If so, what prevents you? Big hug.

DC- My work with Gabriel Garcia Marquez in the miniseries "Me alquilo para soñar", broadcasted in Europe, which changed my life path. I was living outside Brazil for almost twenty years. Now I'm back and I have projects for the Brazilian television that are under negotiation.

Michel Castellar


 MC - I read your book FROM THE CREATION TO THE SCRIPT that is practically the bible for Film and TV script and, first of all, I want to congratulate you for this work. What do you think of the future of television drama? Does the soap operas will end, will dry, turn into miniseries or television in general will be swallowed up by the internet and the soap opera genre will lose the place for the so called web series?

DC - I talk about these issues in my book. However, I believe that each new mass communication product that enters the market transforms previous products, takes a step back and adapt to the market. For example, the influence of television on the cinema, which began to impact scenes at the beginning and even suspense scenes so that the film can be broadcast on television with commercial breaks. Another technical aspect is that longshots (picture) are increasingly economic in any film as televisions require close ups and travellings. The television screen minimizes image while the film maximizes. Another issue is that television is more radiophonic than the cinema. Therefore, it is the radio that contaminated the TV.

Adelmo Lessa


 AL - Doc, you were the pioneer in Brazil when launched the book 'From the Creation to the Script', which is a reference when it comes to the subject television and script writing, at what point in your career you thought that there was a need to have a book or literature that would address this issue? What about advertising in the soap operas, when they are part of the scene, how far can it go and does it hinders the development of the story?

DC - As there were no books on dramaturgy and script, I studied and wrote the book for me. For my own self- knowledge. Currently it is published in seven countries and in four languages. As for merchandising I am not against, after all there is only the capitalist system in the world. When it is in good taste and discreet, it does not hurt anything. By the way, I never used merchandising in my works.

Warlen Pontes


WP - A famous novelist is preparing a workshop for writers (new and veteran) to design and develop series projects for television, and suggests creating a Brazilian language, flee ing from established American models globally. Do you think it is possible to find a genuinely national language? What do you think about this?

DC - Sorry again, but the structure of the Brazilian series and Brazilian miniseries were designed by me in the Creation House and are in my book "From the creation to the script."

Doc Comparato with the writer

Gabriel Garcia Marquez (Gabo).

Daniel Pilotto

Arts Education teacher

 DP - Doc, many authors in recent interviews often emphasize that the soap opera model as we know it is already worn out, and to contribute to this, the new generation of authors who comes to TV also seems to want to distance themselves from this established format by introducing to the TV dramas a rhythm that resembles more the American sitcoms than our traditional soap opera. Do you think the soap operas are going through a crisis?  Do you think we should lose this feature so ours, genuine and authentic to tell a story?

DC - First the telenovela is not a Brazilian property. It is of French, and then Cuban and then American origin. I only know of two TV stations in Brazil that make soap operas. The others show Mexican, Persian, Turkish, etc. soap operas. The new generations are more focused and Brazilian soap opera tends to have a diluted and repetitive dramaturgy. It is extremely restrictive and poor that the Brazilian culture has soap operas as support.

Carla Giffoni


 CG - How do you analyze the current situation of the Brazilian broadcast television, especially the soap operas? How to compete with different platforms and have loyal followers as it used to?

DC - As the question suggests, the audience is old. Currently there are numerous means of communication and such loyalty, I think it was more for lack of choices than by choice.

Antônio Costa


 AC - Today, which created the idea that everything has to be fast on TV, there is still room for miniseries type PRIEST CÍCERO or TIME AND WIND (foto)?

DC - The faster you are referring, probably means short scenes interspersed, typical telenovela. It's called false pace. I am the author of the miniseries that you quoted and they had excellent audiences. What is important both in theater and in film and television is the dramatic time, which is independent of the size of the scene.

Warlen Pontes


WP - Do you follow soap operas? Which one did you follow from start to finish?

DC - I'm not a “noveleiro” (person addicted to soap operas). However, I admire and I follow Gilberto Braga soap operas.  Also Brazil Avenue of João Emanuel Carneiro. In addition Tiago Santigo’s Os Mutantes, from which I was part of the creative core. I loved Braulio Pedroso’s soap operas. I cannot fail to mention Gloria Perez’s and Silvio de Abreu’s for having their own styles.

Tom Dutra


TD - In the last soap operas of the Globo TV, characters from the early twentieth century treat parents or older people very informally and women demand rights that only began to be conquered after the year 1960. As the author of the classics of one  era of Brazilian television as TIME AND WIND and A, E, I, O URCA, where we saw a great research work into the mannerisms,  costumes and dialogue, how do you evaluate the modernization of themes and language of the current productions?

DC - I always study linguistic, geographical, political and reserve words for the selection vocabulary that I use. After speckle these words in the text and remove pronouns and gerunds. To some extent you are right. The other day, in soap opera showing the ancient Egypt, a soldier said to the other: "I'm taking that slave." Unfortunately our cultural level is low.

Warlen Pontes


WP – Do you keep still write in pencil or surrendered to the desktops and laptops of the modern era?

DC - I have four documents written in pencil stored as memory. Currently I work with assistants and dictate. I'm slightly dyslexic and I almost flunked Portuguese twice. My thought is faster than the keyboard and I lose the train of thought.

WP - What was the most expensive script that you sold and for how much.

DC - I will take advantage of the Fifth Amendment of the US Constitution that says that I have the right to remain silent. I quote the US Constitution because it has only 22 amendments, like the Ten Commandments. The Brazilian Constitution is like a Swiss cheese full of holes, there is a law and then a counter-law against itself.  Our justice is not civilized. It has deteriorated.

Michel Castellar


 MC - Unlike TV stations in Brazil, Portugal stations via independent producers - such as Plural Entertainment, accept original (arguments and scripts of soap operas and TV movies) from non-hired writers, including Brazilian works. I wonder why that Brazilian broadcasters are so closed for those who want to write novels or other television drama products, and if you know if any Brazilian succeeded in sending works to the Portugal market or Latin countries, such as Colombia, which also receives original from non-contracted writers. If so, does this scheme enters COPYRIGHT or intellectual property rights? In short, is there sale of arguments, where later on the screenwriter will receive royalties from his work that was produced?

DC - The copyright mechanism in Brazil is a reflection of Brazil, monopolist that does not respect the Geneva Convention on copyright that was signed by Brazil. I receive copyrights of my works in Spain, Portugal, Argentina, Mexico ... In Brazil, nothing. Even having the site, my Brazilian works are pirated. Foreign work are not. This reflects the corrupt system that shelters us, both the copyright and the intellectual property. Brazil does not have a public TV that matters, as in all civilized countries. Also the open signal stations, truth be told, with the exception of Rede Globo, sell their time for religious services, which is absurd. For the TV's are state awards on behalf of the people, to reflect our reality and at the same time be the window to the world. It is always good to remember that the Brazilian state is secular and these religious programs are questionable. For this there are cable TV.

Warlen Pontes


WP – For what Brazilian and international actor or actress would you create a character?

DC - I think this is an unfair question. But I can say that my characters in my imagination are alive, dead and foreigners. I have a whole world cast in my head, including actors from the silent film.

WP - What is needed to be a good writer?

DC - I talk about it in my book "From the creation to the script" and highlight the four qualities of the creative process: concentration, confidence, talent and your memory readings and finally, the inspiration: the mystery to be captured by a story.


Next, read Fast Game with Doc Comparato:

 Luiz Felipe Loureiro Comparato

Doc Comparato

3 de novembro de 1952

Rio de Janeiro

Fast game


Tarcisio Meira was brilliant in "The weather and the wind."


Sisters Comparato: Bianca and Lorraine. I do not want to cause domestic problems.


Frank Sinatra


Elis Regina and Maria Rita


'The Tacky', Bráulio Pedroso


'Lampião and Maria Bonita'


'Plantão de Polícia' (Duty Police)


'Citizen Kane'


Miscellaneous: Garcia Marquez, Leonardo Padura, Jorge Luis Borges,

Machado de Assis, Rubens Fonseca and the Veríssimos.


Fernando Pessoa and Carlos Drummond de Andrade

Bedside book

Always have a bedside book. The current is 'Zero', Umberto Eco.

 Music of your life

'Águas de Março', Tom Jobim

 Memorable television scene

The man stepping on the moon

 Social media

I hate! They are not part of my generation,

but I use them daily out of necessity.


There are so many that I'd rather not name any.


Not splitting myself in positive or negative.

I am what I am.


I have a chronic regret: having quit medicine to become an author.

 If you could go back in time, where you would go and why?

70 in London. For the youth and youthfulness.

 Saying, phrase or verse

"Everything cracks, breaks and passes", a French saying.

 Doc by Doc

I'm a mystery. Some days I'm Luiz Felipe (my real name),

others I am Doc (stage name).

 Message to the fans

Believe in your dreams. But I warn you that there is a high risk of regret.

Special Thanks 

Jo Rodrigues

Interviews in portuguese
blog TV on Board





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