Abstract

This communication investigates the strategies of making the film Antônio um two three exist itself, with a focus on screenwriting practices, in a perspective of the screenplay inseparable from production and direction. For that, some dimensions of the screenplay, written and shot in three different moments, and the Leonardo Mouramateus’s practices dialogue with the choreographer João Fiadeiro’s improvisation tool of the Composition in Real Time, determinants for the way of working the screenwriting in the creative process of the film. For this research, we studied the written screenplay, the film and the interviews with Leonardo Mouramateus. The critical theory of creative processes as proposed by Cecília Salles is our theoretical and methodological support to read these materials in a relational perspective.