SAE Magazine 13-2

98 F ilm-making technology has exploded in recent years and cinematic debate has centered around this topic. Independent filmmakers now have the tools to create their vision without the budgetary limitations that traditional celluloid posed. Amid the excitement, there has been a consider- able amount of production focusing its storytelling on these new technological elements. For a moment it seemed as if the industry had stopped paying attention to the actual content of the production, merely focusing on the technique. I had the chance to discuss this with award-winning filmmaker and producer Bertha Navarro. She candidly discussed the importance of story and narrative elements in film, as well as the necessity for a creative producer in every cinematic pro- duction. Erick Delgado: The last time we spoke we were talk- ing about the advantages and disadvantages that come with the immediacy of cinema today and the way story and narrative can be overlooked. What are your thoughts on this? Bertha Navarro: A assume the technolo our way, and that th and bad side effects. Now, the ease with done in the spur of a digital camera, allow precious moments th achieved. Costs are relatively low, ry making. People are fun and coming up with great On the other hand, peop on content. In some cases, not in all, nate projects with a very too exponential. It would is becoming a style. Storytelling is imperative t tant to understand and a story. For as long as humans ha stories. It is the first thing The way in which people changed and evolved. In backup that is very powe dedicated and disciplined achieve its goal. I am not saying we shoul style people used in the 1 is defined by its narrative must know how to build a You must know how to cr the theme of your movie a of your story. No matter h ject is, it must have all of t People & Business // Producer Bertha NavarroPhoto:IMDB Pan’s Labyrinth (2006), Cronos (1993), The Devil’s Backbone (2001)

SAE Magazine 13-2

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