TV on Board
a doctor, playwright,
of the classic book:
CRIAÇÃO AO ROTEIRO’
the creation to the script),
in seven countries and four languages.
9 international awards.
founded the Creation House
TV on Board is honored to receive for
the PANEL INTERVIEW
of the most acclaimed writers in the world:
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.
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
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.
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
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.
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).
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
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.
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.
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.
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.
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
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
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
www.doccomparato.com, 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.
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
3 de novembro de 1952
Rio de Janeiro
Tarcisio Meira was brilliant in “The weather
and the wind.”
Sisters Comparato: Bianca and Lorraine. I do not
want to cause domestic problems.
Elis Regina and Maria Rita
‘The Tacky’, Bráulio Pedroso
‘Lampião and Maria Bonita’
‘Plantão de Polícia’ (Duty Police)
Miscellaneous: Garcia Marquez, Leonardo Padura,
Jorge Luis Borges,
Machado de Assis, Rubens Fonseca and the
Fernando Pessoa and Carlos Drummond de Andrade
Always have a bedside book. The current is ‘Zero’,
Music of your life
‘Águas de Março’, Tom Jobim
Memorable television scene
The man stepping on the moon
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
Doc by Doc
I’m a mystery. Some days I’m Luiz Felipe (my real
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.
Interviews in portuguese
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