Interview with Inês Lemos - Planner of TIMELESS LOVE
To mark the start of the new SP Televisão production, FLOR SEM TEMPO, we will introduce you, throughout the month of February, some of the faces that work daily for the final result, from the authors, to the producers and directors, to the actors and technical crew.
This time, we introduce you to Inês Lemos. Inês is the planner of the project TIMELESS LOVE. Being a planner is undoubtedly a complex role, which aims to optimize as much as possible the weeks and days of work of the teams, who work every day to produce and realize a telenovela.
Tell us more about your professional career.
I graduated in Cinema and Multimedia Communication at Universidade Lusófona. In 2006, when I finished my degree, I won a scholarship from the University that allowed me to do an internship in Barcelona, for Fausto Producciones, where I worked for another year after finishing my internship. Later I returned to Lisbon and had the chance to do some film projects as an assistant director.
Planning in fiction is a fundamental activity, not well known to the general public. What exactly does it consist of?
Planning is one of the stages of production, which is based on thinking about the project and carrying it out within a previously stipulated period. This process consists of scheduling the recordings, in order to make the most of all the resources, teams, sets, and people. Every week, a recording plan is drawn up for two teams working simultaneously. This schedule is based on numerous conditions and assumptions to be respected, such as the availability of actors, weather conditions, limitations of recording locations, and broadcast timings. Despite being a process that aims to anticipate the unexpected, during the recording process some constraints arise that force us to rethink and reformulate the direction and strategy.
How has your experience been in the new telenovela TIMELESS LOVE?
It is being a different project with some special peculiarities, in terms of narrative. There is the aquatic component, which takes place on the high seas and with sailboats, requiring us to think the scenes with another method of anticipation, and since the project started recording in the winter, we are always dependent on the weather conditions, demanding many changes sometimes without the ideal anticipation. However, not everything is difficulty, since the pandemic aspect is under control, it is possible to "live" this project in a more thoughtful and calm way.