Berlinale Talent Campus Magazine 2011

magazine

Berlinale TalenT campusHeBBel am ufer 12 – 17 feB 11

350 TalenTs from 88 counTries

We would like to thank our international network for its support

Welcome to the Berlinale Talent Campus!

Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin

Berlinale Talent Campus #9

Focusp.18 Framespotting –Filmmakers positioning themselves

02Chapter

p.22 Score Competitionp.23 Interview Michael Nymanp.24 Script Stationp.25 Doc Stationp.26 Campus Studiop.27 Interview Molly Malene Stensgaardp.28 Talent Project Marketp.29 Talent Pressp.31 Talent Actors Stagep.32 Berlin Today Awardp.35 Meet the Expert

Hands-on training03Chapter

04Chapter programmep.40 Campus programme – Timetablep.46 day 1 – Sat, Feb 12p.47 day 2 – Sun, Feb 13p.50 day 3 – Mon, Feb 14p.55 day 4 – Tue, Feb 15p.58 day 5 – Wed, Feb 16p.63 day 6 – Thu, Feb 17

05Chapter indexp.68 Index of eventsp.69 Index of expertsp.75 Index of participantsp.77 Note of thanksp.78 Team and imprintp.79 Partners

introductionp.07 Editorial Dieter Kosslickp.09 Editorial Matthijs Wouter Knol, Christine Tröstrump.10 Words of welcomep.12 Berlinale Talent Campus websitep.13 Talent Campus Internationalp.14 Campus alumni at the Berlinalep.15 Supporting foundations

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01Chapter

p. 07 Editorial Dieter Kosslick p. 09 Editorial Matthijs Wouter Knol, Christine Tröstrump.10 Words of welcome | p.12 Berlinale Talent Campus website | p.13 Talent Campus International p.14 Campus alumni at the Berlinale p.15 Supporting foundations

introduction

Happy BirtHday, MEdia !to tHE nExt 20 yEars !Thank you for your ongoing support of the Berlinale Talent Campus and the Berlinale Co-Production Market.


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Find your Frame!Editorial

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Nine years old and going strong: The idea of the Berlinale Talent Campus has lost nothing of its freshness and international attraction. On the contrary, this year nearly 4,000 filmmakers from as many as 141 countries sent in their applications to be part of this worldwide film community. 350 of them were chosen to gather at this year’s Campus to attend the exemplary series of workshops and lectures given by a range of top-notch international film experts.

Back home these up-and-coming filmmakers will profit from the global network the Berlinale Talent Campus is able to provide them with. And we definitely know that – because they come back! Many Campus alumni send us their work, they apply with their films to the Berlinale – that's one of our ways of keeping in touch.

And so, every year the Official Selection of the Berlin Inter-national Film Festival is enriched by films made by Campus alumni. In this manner, the spirit of the Campus swirls permanently within the different sections of the festival. This year is not any different: We are proud to present 35 films made with the major involvement of 38 current or former Talents in the Official Berlinale Selection – among them is OUR GRAND DESPAIR by 2005 alumnus Seyfi Teoman in the Berlinale Competition. This displays the immense potential of the Campus and is the best proof of its growing significance.

But besides networking and learning from Berlinale guests, as well as from other renowned professionals, there is another oppor-tunity offered to the participants of the Berlinale Talent Campus: the chance to position oneself, the chance for self-orientation within a world and an industry full of endless possibilities. As this year’s Campus focus “Framespotting – Filmmakers positioning themselves“ stresses: Every filmmaker has the chance to find an individual frame in which she or he wants to work. Like a camera needs a perspective to shoot a scene, a filmmaker needs a vision from which she or he can tell a story. Positioning oneself is not an easy task; it might demand courageous decisions and a good sense of responsibility. Nevertheless, to develop a strong artistic profile, a clear approach and focus are indispensable. The Berlinale Talent Campus offers support by way of unique pos si -bilities to connect and discuss with people of a similar disposition as well as with industry old hands or creative minds of all kinds.

That the Berlinale Talent Campus was able to position itself over the course of the past nine years as a world-spanning community of young filmmakers is due to a group of true partners who have

tirelessly supported it from the very beginning. First and foremost we extend our gratitude to Bernd Neumann, the Federal Government Commissioner for Culture and the Media (BKM) as one of our funders. Together with a congratulation on its 20th anniversary, we also sin - c er ely thank the MEDIA Training Programme of the European Union, as well as our founding partner Medienboard Berlin-Brandenburg. Another founding partner, UK Film Council / Skillset, has unfortunately not been able to join us anymore – nevertheless, thank you for your backing in the past years! With out the support of all our partners and sponsors we would not be able to create this fascinating frame around the world‘s next filmmaking generation.

i wish everybody an exciting campus week – and we all look forward to seeing you again with your films in the next years!

dieter Kosslick Festival DirectorBerlin International Film Festival

“a unique opportunity for networking. in my professional life, there will definitely be a ‘before’ and an ‘after’ the campus.” YvesHeck,participant2010

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SOURCES 2 Script Development WorkshopsThree-month process coached by experienced script advisers for European screenwriters and teams of writers, producers or directors:Seven-day session, coached development period, follow-up session.

Application date: 1st March 2011 for the workshop at the FilmCamp/Norway, 16th – 24th June 2011, with the support of FilmCamp AS.Requested: Feature film projects and creative documentaries

Application date: 1st July 2011 for the workshop in Luleå/Sweden, November 2011, with the support of Filmpool Nord.Requested: Feature film projects and creative documentaries

SOURCES 2 at Berlinale Talent Campus

Consultation – Analysis – Advice for selected projects Louise Gough at the Script Station,Ulla Simonen at the Doc Station.

Please visit the SOURCES 2 stand at HAU 1!

SOURCES 2 • Köthener Straße 44 • D-10963 BerlinTel. + 49(0) 30 - 88 60 211 • [email protected] • www.sources2.de

PROFESSIONAL DEVELOPMENT& TRAINING

Sources-TalentCampus_2011:Layout 1 31.01.11 12:24 Seite 1


Editorial

berlin maKes a diFFerence

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MatthijsWouterKnol Programme ManagerChristineTröstrum Project Manager

which evolves and depends on human relations. Even with an array of different events, the Campus is set up to make people meet people: talented young people eager to learn, talented experienced people willing to share.

The mere fact that this is done during the Berlin International Film Festival, makes a huge difference to the opportunities the Berlinale Talent Campus can effectively offer: the huge amount of different curated programmes and events during the Berlinale makes it the perfect place to meet film-loving audiences on every level.

At the end of the day, making films comes down to building trust. In order to find the people you want to work with intensively on new film projects, people who can support you to find and face your audience – meeting them and looking them in the eye is inevitable and necessary to ensure that they share your passion. Filmmaking requires you to commit yourself, to show who you are, to pay attention to details that might seem trivial, but can change people’s attitude and open doors for the future. To be able to join you, people need to know where you stand.

That‘s insofar as real life meeting go. Beyond that, the Berlinale Talent Campus enables you to stay connected more easily afterwards through our online network of almost 4,000 filmmakers around the world. All of them have been at the Campus, quite a few of them have, in the meantime, found their way into the industry. Having a shared experience in Berlin or anywhere in the world makes it easier to reach out, to build new friendships and start collaborations.

And collaboration is what the Campus stands for: we aim to enhance knowledge. Not only by enabling contact between film-makers but also by bringing together people from various disciplines in order to refresh minds and make sure that you’ll have another perspective on routines and procedures you’ve been taught or ex-perienced until now. Our global dynamic is reinforced by the colla bo-rations we have ourselves with Talent Campus programmes in Central and South America, Africa, and Southeastern Europe.

out of 3,967 filmmakers who applied, you have made it to berlin, europe’s creative capital du jour, which hosts the largest audience film festival in the world. that‘s no reason to lean back and relax, but to make the most of it!

Bringing together 350 up-and-coming filmmakers with around 150 film experts in a Kreuzberg theatre in one of Berlin’s most chilly months is something we do every year for a very specific reason. Even though most of us today connect more easily with the rest of the world than ever before, we strongly believe that offering a real-life platform where each attending filmmaker can meet 499 new people in a short time, also makes sense more than ever before.

You’ll see that the Berlinale Talent Campus is a wide-span n-ing event that sets out firstly to talk about the vibrant issues of today’s cinema – not purely to philosophise about them, but also to set things straight and break the often complex filmmaking reality down to human proportions. For us, the film business is a people’s business

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“i have learned so much, met many people i would have never met otherwise, and now i feel ready for the next stage in my filmmaking career.” KyokoMiyake,participantBerlinTodayAward2011

10 words oF welcomePage Partners

CostasDaskalakisHead of the EU MEDIA Programme at the Education, Audiovisual and Culture Executive Agency

BerndNeumannFederal Government Commissioner for Culture and the Media, Minister of State to the Federal ChancellorPhoto Bundesregierung/Chaperon

“to ensure that creativity of the highest order continues to be available in the future, the berlinale talent campus, brings the most promising up-and-coming filmmakers from all over the world to berlin...“

costas daskalakismedia programme

Continuous training of professionals and talented individuals is essential to reinforce the competitiveness of the European audio-visual industry, a core objective of the MEDIA Programme of the Euro-pean Union. That is why ever since its beginnings in 1991 the MEDIA Programme has devoted a substantial amount of its budget to co-finance training initiatives developed by professionals for pro fess-ionals. More than 1,500 professionals from countries participating in the MEDIA Programme are trained every year through more than 60 MEDIA funded training initiatives where they have the opportunity to acquire new skills, learn from others’ mistakes or successes, fine-tune their projects thanks to experienced tutors, explore new technologies or expand their contact base.

It has therefore been natural for us to be the main financial partner of the Berlinale Talent Campus since the beginning. We strive for the same objectives and values: training professionals, fostering projects, connecting people in Europe and the world.

Apart from training activities, there is a lot more that the MEDIA programme offers to young filmmakers: project development, inter-national distribution, networking and access to key markets and co-production forums in Europe and around the world. This year, the MEDIA programme is celebrating its 20th Birthday so we are especially proud to look back on how much the European film industry has developed over this period, and to stress our continued commitment to supporting the EU film industry in the future. I wish you an exciting Campus week and rich, vibrant coll a borative filmmaking adventures.

bernd neumannFederal government commissioner for culture and the media

The Berlinale, which will take place for the 61st time in 2011, showcases the best of international cinema in Berlin. To ensure that creativity of the highest order continues to be available in the future, the Berlinale Talent Campus, now in its ninth year, brings the most promising up-and-coming filmmakers from all over the world to Berlin to engage them in creative exchange with one another as well as with big names in cinema.

Accordingly, this year’s theme “Framespotting – Filmmakers positioning themselves” is both a challenge and an encourage ment for young filmmakers to find themselves and their place. At the Berlinale Talent Campus, they are incited to examine their approach to personal subjects, interact with new media and cinematic forms, and last but not least, to ask themselves how to create a cinematic future. At the same time, looking beyond national borders broad ens the horizons of the participating young German filmmakers and thus strengthens the German film industry.

As the Federal Government Commissioner for Culture and the Media, I have once again decided to lend financial support to this unique initiative that is dedicated to artistic exchange, creative sus-tainability and cinematic diversity. I wish all the Campus par ti ci pants and visitors exciting en coun ters full of inspiration, creativity and new visions.

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Kirsten niehuus, elmar giglingermedienboard berlin-brandenburg

Dear Talents and mentors from all over the world, chilly win - ter time in Berlin… and therefore an extra warm welcome to the 9th Berlinale Talent Campus on the occasion of this year’s Berlin International Film Festival!

We are delighted to have you here during the most exciting period of the year, when up to 19,000 film pro fessionals gather around Potsdamer Platz to watch, discuss, adore, trade movies, network and reunite.

Berlin is a hot spot for creative talent and an international hub for filmmakers from all continents. Let the city electrify you, share and be a part of the capital vibes! Taking part in the Berlinale Talent Campus lectures, seminars and workshops will be a number one oc ca s ion for learning and improving your skills, for meeting re-nowned film experts and fellow Talents.

Partners Page

Plus, this six-day experience may become vital for your film making future; and if you would like to stay for a while and work in Berlin, why not participate in the Berlin Today Award, our annual short film com-petition open exclusively to Campus participants, past and present. This year’s bunch of films created under the motto “Leaving the Familiar Sector” will premiere at the opening ceremony of the Berlinale Talent Campus on Satur day and the winner will be crowned during the Dine & Shine dinner – we wish all films good luck. And now: Lift the curtains, let the Campus begin!

ElmarGiglingerCEO Medienboard Berlin-Brandenburg,Managing Director Media Development

KirstenNiehuusCEO Medienboard Berlin-Brandenburg,Managing Director Film Funding

“ we are delighted to have you here during the most exciting period of the year, when up to 19.000 film pro fessionals gather around potsdamer platz to watch, discuss, adore, trade movies, network and to reunite.“

“ dear talents and mentors from all over the world, chilly winter time in berlin… and therefore an extra warm welcome to the 9th berlinale talent campus...“

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berlinale talent campus 3.0

www.berlinale-talentcampus.de

Thehomepageof the Campus website

TheCampus-on-Demandsectionoffers videos, transcripts and photos

the worldwide campus network is the central feature of the berlinale talent campus website – our online community.

The Berlinale Talent Campus website is not only a great source of information about the current edition, the next application deadline and ongoing programme elements like the Berlin Today Award, it is also continuously updated with news on Campus events around the globe and the current status of alumni projects. Moreover, for the Campus’ 9th edition, a selection of master classes will be streamed live on the Campus website and accessible thereafter on the Campus-on-Demand section.

Campus-on-Demand offers a variety of videos, scripts, pro-grammes and photos from preceding Campuses. Panels and dis cus-sions with experts such as Isabel Coixet, Stephen Daldry, Claire Denis, Tilda Swinton, Shah Rukh Khan and Wim Wenders can be watched online and are a great way to get information on con tem porary topics, themes or discussions within the industry. As our international net-work is vital to the Campus experience, we introduce this year’s Talents online. Computer stations in HAU 1 and HAU 2 give direct access to this network, where you can browse profiles that show samples of work and filmographies, as well as the opportunity to contact fellow filmmakers directly. The Berlinale Talent Campus community also in-cludes profiles of Campus alumni, including alumni of the Campus International initiatives and a bulletin board where news on festivals, events and calls-for-entry are collected and shared.

You can stay updated all year round with the Campus news-letter. Featuring not only news from Berlin, it also reports on all Campus ventures around the world, on the programmes in Guada-lajara, Durban, Buenos Aires and Sarajevo. The latest newsletter can be read online or you can register to receive it via email on the Berlinale Talent Campus homepage. Of course you can browse former Campus editions too and find information about Campus locations and the team.

With www.talentpress.org, young and up-coming film critics have found their platform. Read articles, reportages, interviews and features on films, filmmakers and festivals from Talents and Campus alumni. Our virtual Campus is there for you to interact, collaborate, inform yourself about fellow filmmakers and present yourself actively: the place for all daily Campus needs and beyond.

Findusat:www.berlinale-talentcampus.dewww.talentpress.org

“i met great collaborators and was given a huge leg-up to grander production values; from here-on there's no turning back.” BrynChainey,BerlinTodayAwardwinner2010


rolling stones 13PageTalentCampusInternational

TalentCampusGuadalajara supported by the Goethe-Institut Mexico and the University of Guadalajara

TalentCampusBuenosAires supported by the Goethe-Institut Buenos Aires, Buenos Aires International Independent Film Festival and the Buenos Aires Lab

TalentCampusDurban supported by the German Embassy South Africa, the Goethe-Institut Johannesburg and the KwaZulu-Natal Department of Economic Development

TalentCampusSarajevo supported by the Robert Bosch Stiftung and partners(fromabove)

3rd talent campus guadalajara (march 24-28, 2011)ana de la rosa Zamboni and lorena rossette riestra, talent campus guadalajara

“The Talent Campus Guadalajara has created and consolidated a place where emerging filmmakers and worldwide experts can come together: a forum that encourages and reinforces future film productions allowing us to reflect our features; a place of creative exchange and cinematographic collaboration. A country confesses itself through its filmography: if it does not see its culture recreated in the audiovisual media, it loses the possibility of developing and transforming its identity. It is important to establish venues that promote the creative exchange between different cinematographic narratives, focused on highlighting the values and cultural identity of each country, as well as the intercultural relationship among them.“

6th talent campus buenos aires (april 6-9, 2011)maría marta antin, talent campus buenos aires

“Bringing together young professionals and experts around the same topic is our main goal, with the aim of creating a space for exchange both intellectually and professionally. The topic for the Campus 2011, ‘Cinematic forms‘, has been chosen to inspire discussions on how the forms of cinema have changed or resisted throughout its history. The Talent Campus Buenos Aires has become a main event for South American young filmmakers and professionals, providing Talents the opportunity to profit from networking while developing a platform for their own projects. For the second year we motivate them to join the hands-on programmes: the result is an intense and rich debate around the fact of sharing a continent, South America.“

4th talent campus durban (July 22-26, 2011)peter rorvik, durban international Film Festival

“The first three editions facilitated meaningful exchange between African filmmaking Talents, generating inspiration and opportunities for participants. A powerful affirmation of the contribution of this project in empowering a new generation of filmmakers in Africa is the fact that the 31st Durban International Film Festival in 2010 programmed an unprecedented 13 films from Campus alumni. Problems of access are a big issue in Africa – access to resources, infrastructure, funding and networks. Talent Campus Durban provides a highly valued net-working and skills training opportunity, bringing together about 40 young filmmakers from nearly 20 different countries in Africa, in programmes that address these challenges.“

5th talent campus sarajevo (July 22-28, 2011)mirsad purivatra, talent campus sarajevo

“Our first five-year plan was directed towards creating a proper community out of the new generation of talent in Southeast Europe, introducing the standards it should operate on, raising the bar for the achievements they aim for and finally building a brand out of Talent Campus Sarajevo that can rightfully represent them. The main achievement of Talent Campus Sarajevo must be the annual impact it has on rejuvenating the film industry in our region. An annual, targeted injection of a critical mass of emerging talent into the system helps the in dus-try make its goals and approaches more youth-oriented. The industry now understands this and trusts the Talent Campus Sarajevo to highlight the most promising talent.“

Four international editions of the campus, modelled along the lines of the berlin-based archetype, have taken off abroad:in guadalajara, buenos aires, durban and sarajevo.

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returning to Home base

FilmsintheOfficialProgrammewithalumniparticipation:Rosario García-Montero‘s THE BAD INTENTIONS | Berlinale Generation.

ATalent‘scomebackintheBerlinaleCompetition:Seyfi Teoman‘s OUR GRAND DESPAIR

an impressive number of campus alumni will feature in the various sections of the 61st berlin international Film Festival.

“ a roller coaster for filmmakers.” TalGranit&SharonMaymon,participant2010

The Berlinale 2011 welcomes back 38 Campus alumni who re-turn with major roles in 35 film projects, spanning different sections of this year’s Berlinale. The Berlinale Talent Campus celebrates not only the return of former participants to Berlin, but also the projects that feat ure collaboration between filmmakers forged at the Campus.

Competing for the Golden Bear this year is Seyfi Teoman’s OUR

GRAND DESPAIR. The Turkish director (Campus 2005) also pre sents his new project “Saints“ at the Co-Production Market. Having found a co-producer at the Talent Project Market in 2007 and support from the World Cinema Fund, Peruvian director and alumna Rosario García-Montero’s THE BAD INTENTIONS will celebrate its prem iere in Berlinale Generation – and so does Israeli director Guy Nattiv (Campus 2003) with his debut feature film THE FLOOD.

Two editors return to the Berlinale this year – Szilvia Ruszev (Campus 2008) with HARvEST and Lee Chatametikool (Campus 2006) with HI-SO. Dani Rosenberg and Melissa Dullius, both Campus 2006 participants, have had films at the Berlinale before. This year Rosenberg’s co-directed short film SUSYA and Dullius‘ directed THE

RESIDENTS will be shown in Berlinale Shorts and Berlinale Forum re-spectively. Twenty-year old Campus alumnus from 2009, Romualdas Za ba rauskas is the Lithuanian director and screenwriter of PORNO

MELO DRAMA, which will be shown in the Berlinale Panorama.

sun 13 | 19:00 ewerkDine & Shine (p.49).

tue 15 | 17:00 Hau 2Plugging People: European Producers Positioning Themselves (p.57).

wed 16 | 14:00 Hau 1The Internationals: How Small Stories Become Big (p.60).

wed 16 | 17:00 Hau 3, top FloorHappy Returns: The Future after the Campus (p.62).

Two alumni joined forces for the film SILENT RIvER: Romanian director Anca Miruna Lăzărescu (Campus 2004) and German producer David Lindner (Campus 2010); the film will be shown in the Berlinale Shorts this year. The Danish animation film, THE GREAT BEAR was directed by Esben Toft Jacobsen (Campus 2008) with a score by Nicklas Schmidt (Campus 2010).

Alumni projects will also be presented at the Berlinale Co-Production Market: Javier Fuentes-León’s “The Woman Who Feared the Sun“, Kornél Mundruczó’s “The Flying Man“, Orsolya Nagypal’s “Balaton Submarine“, Jean des Forêts and Tobias Nölle’s “We Are Dead“.

other campus alumni at the berlinale in 2011 Ana Lily Amirpour (HAIRY), Rodrigo Bellott (BLOKES), Nicolás

Carreras (THE WAYS OF WINE), Carl Clifton (TOAST), Ron Dyens (PLANET Z), Kaspars Goba (HOMO@Lv), Oliver Kaempfer (THOMAS), David Lowery (SILvER BULLETS), Luna Mijović (BEATS BEING DEAD), Rick Minnich (FORGETTING DAD), Orsolya Nagpal (project “Balaton Submarine“ in the Berlinale Co-Production Market), Dorothea See ger (UNDER CONTROL), David Sieveking, Rouven Rech and Jochen Laube (LIFE ISN‘T A HOME

GAME), Aylin Tezel (ALMANYA), Pimpaka To wi ra (TERRIBLY HAPPY), Sandra Trostel (UTOPIA LTD.), Andi Wecker (LOLLIPOP MONSTER) and Ralf Westhoff (THE LAST NICE DAY OF AUTUMN).

FormoreinformationonsubmissionstotheBerlinInternationalFilmFestival,visitwww.berlinale.de.

15Supportingfoundations Page


Funding matters!

the robert bosch stiftung and the manfred durniok Foundation have been supporting the berlinale talent campus over the past years. their contribution, both financial and conceptual, are invaluable to its success.

WontheCo-ProductionPrizein2010:Katya Suvorova‘s and Stephan Grobe‘s SEATOMORROW

It is not only the Berlinale Talent Campus’ decisive inter - nat i onal perspective and interest in a dialogue that goes beyond poli tical and cultural borders that makes this cooperation a fruitful one. Intercultural awareness is a recurrent theme in the films that Dur niok made and produced; it is that spirit that the foundation hopes to continue.

The Manfred Durniok Foundation once again supports Talents from South East Asia attending the 9th edition of the Berlinale Talent Campus by covering the costs of their travel, as they have since 2007. Meet fellow East Asian Talents at the Manfred Durniok Foundation‘s reception on Feb 13 from 12:30-13:45 in the Kaiser saal (byinvitationonly).

manfred durniok Foundation German producer, filmmaker, photographer and writer

Man fred Durniok was always drawn to distant places. Although a visi tor of many continents, it was Asia that captured his imagination. Con si dered a pioneer who brought Asian cinema to the attention of Western audiences, he promoted and encouraged multicultural encounters and exchanges through film co-productions. The Man-fred Durniok Foundation, founded by the late filmmaker’s daughter, Ayano Teramoto, is a non-profit organisation established in 2006 to support and promote cultural exchanges between Germany and Asia, to grant scholarships, award prizes and to give financial support to intercultural gatherings.

the co-production prize of the robert bosch stiftung Especially interested in Eastern Europe? The core ambition of

the Co-Production Prize of the Robert Bosch Stiftung is to encourage collaboration and foster mutual development between producers and filmmakers in Germany and Eastern Europe. Supporting filmmakers and producers has had a profound impact over the past years: films have been screened all over the world and won awards or were Oscar-nominated. Take German producer Stephan Grobe: he joined the Talent Campus Sarajevo as a guest in 2009 upon learning about the Co-Production Prize. Having applied with Kazakh filmmaker Katya Suvorova, their documentary film project SEATOMORROW won the Co-Production Prize in 2010, and the film THE HOUSEMAID (directed by Anna Hoffmann), which he produced, was screened at the Berlinale Perspektive Deutsches Kino in 2010.

Ideally, film projects supported by the Robert Bosch Stiftung are only the first of many projects between up-and-coming filmmakers from Eastern Europe and Germany. One example is the collaboration between German producer Henning Kamm and Hungarian director Lili Horváth, whose film SUNSTROKE won the Co-Production Prize in 2008 and premiered at the Sarajevo Film Festival; Horváth and Kamm have joined forces again for a feature-length film.

Nominated for the European Film Award was Paul Negoescu’s RENOvATION (produced by 2010 alumnus David Lindner), also a winner in 2008, which premiered at the Berlinale Shorts in 2009 and was shown at numerous festivals in Europe and beyond.

The Robert Bosch Stiftung’s Co-Production Prize competition is open to young filmmakers between 18 and 35 and graduates from film and media academies from Germany and East and South East Europe. Joint production teams with a producer, director, camera op-er ator (not for animated films) and a screenwriter in a balanced mix from both regions are allowed to submit projects. The categories qualifying for three co-production prizes for joint short film pro duc-tions are animated film, documentary and short film, and each win-ning production can receive up to 70 000 euros in funding.

Formoreinformationpleasecontact:

RobertBoschStiftung,FrankW.Albersfrank.albers@bosch-stiftung.deCoordinationoftheCo-ProductionPrize,[email protected]

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p.18 Focus:Framespotting – Filmmakers positioning themselves

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Positioning oneself: the balancing act between one‘s aims and expectations and the demands of the industry


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which world do you want to live in?

Every year, the Berlinale Talent Campus centres attention on the most promising filmmakers from all over the world. It means 350 people from different backgrounds with their own reasons to be work ing in film, their dreams and the differing options open to them. Their passion for film and their willingness to travel and widen their experience by learning from others is what unites them. Nevertheless, each one of us brings another story to Berlin. Each story shows a new undiscovered piece of our world, it tells us something about what the world around us means.

This Campus edition focuses on the awareness of that world and one’s active position in it. Which world do you want to live in? A world that presents itself to you in a way others have decided it should be, a world in which you follow the rules and the regulations and do things like they’ve been done for decades? Or a world in which you try to change things? A world in which you are allowed to redefine, adjust, question or oppose things because you feel the urge to do so.

These are big questions. We think that for every single filmmaker, these are issues that matter, that one should think about and be aware of, issues that coincide with the film you work on, that shape your personality and influence the circumstances in which you find yourself at the moment.

The Berlinale Talent Campus #9 aims to frame these issues and to focus on a new generation that firstly positions itself in modern society: speaks out, dares to question things that make you think, that make you doubt, that enrage you or that you’re passionate about. In 2011, the Campus focuses on how emerging filmmakers can poli ti cal ly or socially engage themselves and take a stand in today’s world. Filmmakers like Kerry Fox, John Greyson, Barbara Hammer, Claudia Llosa, Sepideh Farsi, Samuel Maoz, Janus Metz, Rafi Pitts, Isabella Ros sellini, Abder rah mane Sis sako, Danis Tanović and Christine Vachon will address this in a variety of sessions – talking not only about what they think it should be, but also about how they engage with contemporary society and how they use their work to make a difference.

An increasingly demanding film in du s try often requires clear po sitioning in yet an other way. What are the new trends and in which direction are technology, financing mo d els and production work flows devel op ing? Pioneers and grand masters will un veil their se crets and share their insights with a selected group of Campus film makers, among them Shekhar Ka pur, Edward Lach man, Alex Mc Do well, Mi ch el Reilhac, Philippe Ros, Wim Wenders and Jasmila Žbanić.

In a world dominated by social net work ing and nonstop stimuli, focusing has be come an art in itself. Following your in stincts might not be enough – focusing asks for daring and decisiveness, for choices and thorough concentration.

This year’s pro gramme includes an array of workshops by experts who help you train yourself to deal with these vital issues: not postponing de cis ions, having an aim and becoming aware of what you can com mu ni cate nonverbally. It‘ll help you realise that you're part of a com mu nity of promis ing film makers and not fighting alone against dead lines, industry pressure or disappearing funds.

We believe that a new generation of filmmakers does care about the world they live in – and the Campus challenges you to de fine your own way of expressing this in your work.

the 9th Berlinale talent campus encourages a new generation of filmmakers to position themselves and to tackle contemporary issues head-on in films that are stamped with their distinctive styles and artistic visions.

tue 15 | 10:30 hau 3, top FloorWhere I Am and Where I Want to Go (p.55).

tue 15 | 11:00 hau 1Too Good to Be True: Directing Reality (p.55).

tue 15 | 17:00 hau 2Plugging People: European Producers Positioning Themselves (p.57).

wed 16 | 11:00 hau 1As Queer As It Gets (p.59).

wed 16 | 14:00 hau 1The Internationals: How Small Stories Become Big (p.60).

thu 17 | 14:00 hau 1Censored Cinema (p.64).

sun 13 | 11:00 hau 1The Rules of Engagement (p.47).

sun 13 | 14:00 hau 1Filming War (p.47).

sun 13 | 17:00 hau 3, top FloorYour Body Speaks (p.47).

mon 14 | 14:00 hau 2tue 15 | 14:00 hau 3, top Floorwed 16 | 11:00 hau 3, top FloorThe Indie Filmmakers Guide to Cross Media IIII (p.52,57,59).

mon 14 | 18:00 cuBix 8New Horizons in 3D: Storytelling and Producing Redefined (p.54).

“ the past was neither as good nor as bad as we suppose: it was just different. if we tell ourselves nostalgic stories, we shall never engage the problems that face us in the present – and the same is true if we fondly suppose that our own world is better in every way.“ Tony Judt, “Ill Fares the Land“

10–11/09/2011SAVE THE DATE WWW.BERLIN-MUSIC-WEEK.DE

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p. 22 Score Competition | p. 23 Interview Michael Nymanp. 24 Script Station | p. 25 Doc Station | p. 26 Campus Studio p. 27 Interview Molly Malene Stensgaard | p. 28 Talent Project Market | p. 29 Talent Press | p. 31 Talent Actors Stage p. 32 Berlin Today Award | p. 35 Meet the Expert

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The Campus‘ Score Competition from above to below: Last year's three finalists in the studio | Michael Nyman working on an orchestration | German Film Orchestra Babelsberg

three composers get ready to scoreto the moving image.

“ it was amazing to be involved in every aspect of the composition and production process from the sketches to the final mix.” Camilo Sanabria, Score Competition winner 2010

If music communicates anything at all, it communicates emotions. Think about your favourite film and it’s a good bet that you’ll find a powerful score inextricably linked to the experience. Some great scores have imprinted key cinematic moments in the minds of the audience; sometimes they assist in raising their status to classic film. At the nerve centre of theory and practice, the Score Competition offers composers and sound designers handson experience in composition for film. They have the opportunity to draw on the extensive skills of established professionals and experiment with the highend equipment of the German Film Orchestra Babelsberg and the Film and Television University (HFF) “Konrad Wolf“.

Composing a new score for selected film material is what it’s all about. The three finalists of the Score Competition – Ehud Freedman (Israel), Roger Goula (Spain/UK) and Felix Rösch (Germany) – will each compose a score for the short film LITTLE REd by Romanian director Eva Pervolovici. LITTLE REd is one of the five short films pro duced for the Berlin Today Award 2011 (see page 33).

Priceless insights from their mentor, renowned composer Michael Nyman will guide their nineday musical journey in Berlin. The unique chance to record their compositions with the German Film Orchestra Babelsberg will be followed by the final mixing at the Film and Television University (HFF) “Konrad Wolf“ and editing at the postproduction company Waveline. All three finalists will receive direct individual feedback not just from their mentor Michael Nyman, but also from the various experts involved in all stages of postproduction – from preparing scores, using studio resources and re cor d ing with an orchestra to the final editing and mixing.

Since 2004, the Score Competition has been training composers in the art of film scoring and many of them have gone on to score a variety of both short and featurelength films, documentaries, commercials, television programmes and other productions that require original music composition. The intense and enriching sound journey of the three finalists reaches its climax at the Score Competition Presentation on Feb 17, where the winning contestant will be awarded a trip to Los Angeles with an exclusive guided tour to the best sound studios in the city, sponsored by dolby Laboratories.


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you began as a musical theorist – how did that influence you as a composer?

Yes, I started as a wouldbe musicologist in the 1960s. I edited early music and was a music critic for ten years. So even before I became a composer there was already a career I left behind. I have a sort of awareness that comes from all those diverse elements that made up my career before I was 25 that stays with me. And I have a knowledge of European musical tradition and how to find source material which is, I guess, why it sometimes appears in my original work. So my whole history moved into the direction of what I do now. Although it is sometimes added – maybe confused – by also being a photo grapher and a filmmaker…

Have there been moments in your career where you thought you would need to position yourself more clearly?

The market place for young composers today is very different from how it was when I started composing and also from the position which I was in when I started composing. At that time, 1976, writing music was kind of simultaneously with me writing soundtracks. It’s not that I was in the film or soundtrack business as a young composer has to be now, but I’ve worked with a very specific director, Peter Greenaway who had the most specific ideas and very specific needs for a composer. He made films which were not generic films, which from an aesthetic point of view, from a structural, conceptional, ironic point of view happened to be close to the kind of music I was writing anyway. So, the collaboration with Peter Greenaway was, in the first place, a way of me exploring my new found creativity as a composer.

this way you were able to develop a certain personal style – would you consider this an important qualification for a young film composer?

Well, on the one hand I say: Find your own voice, be an individual. Try not to be part of a generalised music direction where your music could be mistaken with the music of a hundred others. But on the other hand, from the economic point of view that position of the soundtrack composer as an original artist is also very dangerous because if your particular brand, your particular sound of music is not liked by the people who have the power to make de ci sions then you never get any work. So you do have to be a generalist too, you do have to be able to write for a full orchestra, street music, rap music and so on. But I obviously prefer far more to be in the position I am. I create my world and that’s my life, to be Michael Nyman, to sound like Michael Nyman.

Michael Nyman Film composer

British film composer, pianist, librettist and musicologist. Nyman became widely known as a film score composer for his work in many of Peter Greenaway’s films (A ZEd & TWO NOUGHTS, THE COOK THE THIEF HIS WIFE & HER LOV ER, PROSPERO’S BOOKS), and his scores for WONdERLANd and GATTACA. His soundtrack for THE PIANO sold more than three million copies. He has written numerous orchestral and ensemble pieces and tours as a performing pianist with the Michael Nyman Band. His credits as filmmaker include the 2010 documentary NYMAN WITH A MOVIE CAMERA.

score competition mentor michael nyman about his work with Peter greenaway and the specific needs of young film composers.

wed 16 | 17:00 Hau 1The Great World of Sound (p.62).

tHu 17 | 17:30 Hau 1Say It with a Score: Score Competition Presentation and Award Ceremony (p.65).

Selected filmography1978 VERTICAL FEATURE REMAKE | Peter Greenaway1980 THE FALLS | Peter Greenaway1982 THE dRAUGHTSMAN'S CONTRACT Peter Greenaway1986 A ZEd & TWO NOUGHTS | Peter Greenaway1987 LE MIRACULé | JeanPierre Mocky1988 dROWNING BY NUMBERS | Peter Greenaway1989 MONSIEUR HIRE | Patrice Leconte1989 THE COOK THE THIEF HIS WIFE & HER LOVER Peter Greenaway1990 LE MARI dE LA COIFFEUSE | Patrice Leconte1991 PROSPERO'S BOOKS | Peter Greenaway1993 THE PIANO | Jane Campion1994 MESMER | Roger Spottiswoode1995 CARRINGTON | Christopher Hampton1996 THE OGRE | Volker Schlöndorff1997 GATTACA | Andrew Niccol1999 WONdERLANd | Michael Winterbottom1999 THE ENd OF THE AFFAIR | Neil Jordan2003 THE ACTORS | Conor McPherson2003 NATHALIE… | Anne Fontaine2004 THE LIBERTINE | Laurence dunmore2008 MAN ON WIRE | James Marsh2010 TWO GRAVES | Yvonne Mcdevitt2010 KROKOdYLE | Stefano Bessoni2010 NYMAN WITH A MOVIE CAMERA | Michael Nyman

Find the longer version of the interview with Michael Nyman atwww.berlinale-talentcampus.de

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script consultants work with talents for greater depth in their storytelling.

“stories may belong to individuals but storytelling is universal. i look forward to returning with a feature.”

Faisal Qureshi, participant 2010

It doesn’t matter how good your idea is if you can’t find a way to tell the story. A fantastic narrative and intriguing charac ters can convert an idea into a captivating script, but this is no mean feat. Helping scriptwriting Talents to find creative solutions to their speci fic script problems, develop characters and dialogues to their fullest and finetune their script is what’s on hand at the Script Station. It connects scriptwriters and leading script consultants from around the globe to discuss and develop the yet unpolished scripts.

The Script Station commences with an intensive Project devel opment day that prepares the ground for subsequent coaching and feedback sessions with men tors Gyula Gazdag, Louise Gough (SOURCES 2), Lucile Hadžihalilović, Marten Rabarts, Franz Rodenkirchen and Selina Ukwuoma. This note worthy lineup of mentors will work with writers and directors on the indepth development and enhan cement of their projects at this very critical phase in the filmmaking process.

tue 15 | 14:00 Hau 3, black stageRehearsed Reading I: Actors Reading Scripts(p.56).

wed 16 | 14:00 Hau 3, wHite stagedial F for Fiction: Script Station Presentation(p.60).

wed 16 | 14:00 Hau 3, black stageRehearsed Reading II: Actors Reading Scripts(p.56).

in early december 2010, twelve pro jects were selected by an international jury for this year’s script station:

Stasha Bajac Serbia

Juan Manuel Biain United Kingdom

Hisham Bizri USA

Fadi Haddad Jordan | Nadira Ilana Malaysia

Agnes Ka m ya Uganda

Mirjam Anne Ku be scha Germany

Micah Magee USA

Bikas Ranjan Mishra India

Monica Stan Romania

Micaela Tis mi netzky Argentina

Elena Antigoni Zogka Greece.

Over the years, the Script Station has received considerable support from its partners: the Ger man Federal Film Board (FFA) and SOURCES 2, the European Script Writers’ Training Pro gramme, which lends its support by way of experts from its teaching staff.

The Script Station: working on the indepth development of the Talents‘ projects

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The Doc Station: a week of undivided attention, insights and advice by experts

As creative projects that put real life struggles and aspirations into cinematic stories, documentaries provoke thought and reflec tion, and sometimes even action. At the Campus doc Station, it is the authors of these stories who reflect on their concept and treatments and work at developing the quality, range and ambition of their projects, as well as their own creative skills.

This handson training, which owes its existence to the support of the German Federal Film Board (FFA), assists twelve determined documentary filmmakers at a time when the pressures and challen ges of structuring their treatments are mounting. A week of undivid ed attention, insights and advice by highprofile industry experts will take them a long way in strengthening and improving the narra tive structure of their treatments. doc Station mentors include Kathrin Brink mann, dick Fontaine, Jakob Kirstein Høgel, Ulla Simonen (SOUR CES 2), Fleur Knopperts, and Meike Martens. Mentoring ses s ions running parallel over the week will be preceded by an intensive Project development day.

industry professionals assist documentary directorsto refine their film projects.

wed 16 | 14:00 Hau 3, toP floorWelcome to Reality: doc Station Presentation (p.61).

twelve documentary film projects were selected in early december for the doc station 2011:

Neus Ballús Spain | Angela Bravo Sweden Lieven Corthouts Belgium, Ethiopia Augusto Cesar diaz Guate mala, Belgium Alyx duncan Australia, New Zealand Alexandra Ger baulet Germany

Zipporah Nyaruri Kenya | Katia Paradis Belize

Otilia Portillo Mexico | Julian Reich Germany Juan Sarmiento Colombia, Germany

Zuolong Shan China

The doc Station has enjoyed tre m en

d ous sup port over the years, by way of mentoring and designing of the Project de vel opment day, from ZdF/ARTE – a pre dominant Ger man television channel, and from SOURCES

2, the European Script Writers’ Training Programme, which lends its support by way of ex perts from its teaching staff.

“the berlinale talent campus shifts you from a talent that makes films to a talented filmmaker.” Arne Kohlweyer, participant 2009

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the campus studio is a bustling post-production hub where aspiring filmmakers give films their final touches for the big screen.

Good films – those that tell a compelling story and effectively deliver the filmmaker’s vision – are the result of a magical blend of ideas, aesthetics and the mechanics of filmmaking. A good understanding of filmmaking tools and techniques is a prerequisite to translating these ideas into cinematic language. designed to assist Talents in finding the right artistic expression for their films, the PostProduction Studio is an intensive handson educational experience that gives them a thorough understanding of the integral steps in the postprocess and focuses on improving films in the final stages of production. Professionalising work processes is the keyword which Talents learn by way of technological knowhow and the expertise pro vided to them: The latest technology for ingest and transfer, editing, grading and mastering digital material are made available to Talents in the PostProduction Studio. The Editing Studio, for its part, allows selected Talents to fine tune their roughcuts and strengthen the narrative structure of their stories on the advice and expert guidance of worldclass editors. The Campus Studio has been made possible through the support and cooperation of Camelot Broadcast Services and the German Film and Television Academy Berlin (dffb).

Post-Production studio The PostProduction Studio places the reputed cine mato

grapher and postproduction expert Philippe Ros and postproduction supervisor Ugur Yildrim at the disposal of Talents, who direct them on using stateoftheart digital workflow equipment and offer a comprehensive survey of the practical filmmaking techniques – from shooting with digital cameras like Sony F3 and ARRI Alexa to digital postproduction processes including editing, grading, mast ering and data management.

editing studioEditing can be an exacting process. And yet, often after weeks

of being closeted in the editing studio, you’ve made little progress. Noted editors Andrew Bird, Katja dringenberg, Susan Korda, Gesa Marten and Molly Malene Stensgaard work with around nine Talents in the editing room, giving them valuable insight and tips to improve and strengthen the narrative structure of their projects. Talent editors and directors will have an entire day with a renowned editor to polish the roughcuts of their fiction or documentary short films or excerpts of their featurelength film. As Astrid Rondero, participant in 2010, explains, “I had been working on the editing process for a year afraid of loosing the important part of my short film. The Editing Studio was a great journey of rediscovery, everything finally found its place”.

“ the editing studio gave me the rare chance to see editing in a new light from an experienced editor.”Leong Huat Michael Kam, participant 2009

The bustling Campus Studio: stateoftheart digital workflow equipment from editing suites (above) to digital cameras (below)


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tHe editor as transformerCampus Studio

film editing is referred to as the “invisible art form“: the less you notice the editing the better it is. do you agree?

Well, I think it’s somehow right that editing is an invisible art form. But I don’t think in general that it is not good when you notice it. Editing is very often an art form that is blended into the film, it’s built in and that is quite beautiful. So if people experience the film well, then I feel happy because then I know I have done my job well.

so then, should the material influence the style of editing?Yes, the material and the vision for the film. I don’t believe in

editors having their own way of editing or having a personal style and applying it to any film. That doesn’t make sense to me.

How do you put the first cut together – do you follow the script exactly or do you just try to read the film by watching the material?

A kind of mixture, I think. In the beginning I use the script as a reference, as guidance to orientate myself in the story. For the first cut, I don’t take out many lines out of respect for the efforts that went into the script. I think, at this early stage, it is too soon for me to be that “wise“ on the story. So normally, I do the first cut pretty much according to the script. But after that it is very much the editor’s task to work at the transformation from written language to film language. And that also means taking a distance from the script and cutting out dialogue, if reasonable. Being exactly at the point of this transformation: That’s one of the beauties of the editor‘s work.

what is your way then of finding the ideal rhythm for a film? Oh, that’s actually the easy part. It results very much from

working with the material. I think, basically, that is the talent you need as an editor from the beginning: You can learn a lot about story telling, structure and stuff like that, but a sense for rhythm, music and movements you have or you don’t have.

you just finished your 7th film with lars von trier – what is it you both share that you can work together so well?

Humour is a very important part of being together for such a long time in the editing room. Then, we use very little energy on power struggle issues, which is whose territory and so on. The important thing is to create a room of trust and respect for each other. Our working relationship is also based on the fact that I am always allowed and expected to do experiments. Lars von Trier and I never say to each other: “What a bad idea!”, and then discuss it for ten minutes. We just try it out.

Molly Malene Stensgaard Film editor

danish film editor who has edited most of Lars von Trier’s films including THE KINGdOM, THE IdIOTS, dANCER IN THE dARK, dOGVILLE, MANdERLAY, THE BOSS OF IT ALL and the forthcoming MELANCHOLIA. From 2006 –2010, she was com missioning editor for feature films at the danish Film Institute. She is a lecturer at the Binger Filmlab in Amsterdam, and in 2007, she was a member of the Berlinale Jury.

campus editing studio expert, the danish film editor molly malene stensgaard on her collaborative work with lars von trier, useful skills and the nature of editing.

sun 13 | 14:00 Hau 2Kill Your darlings (p.47).

tHu 17 | 14:00 cinemaxx 17Cutting on the Edge: Campus Editing Studio Presentation (p.65).

tHu 17 | 14:00 Hau 3, toP floorWhere Things Come Together: Campus PostProduction Studio Presentation (p.65).

Selected filmography1994 RIGET, THE KINGdOM, TVseries | Lars von Trier1996 BELLA, MIN BELLA | Astrid HenningJensen1998 THE IdIOTS | Lars von Trier1999 FALKEHJERTE | Lars Hesselholdt2000 dANCER IN THE dARK | Lars von Trier2001 PORTRAIT OF GOd | Jon BangCarlsen2002 I AM dINA | Ole Bornedal2002 KALd MIG BARE AKSEL | Pia Bovin2003 dOGVILLE | Lars von Trier2004 IN YOUR HANdS | Annette K. Olesen2005 MANdERLAY | Lars von Trier2005 dOMMEREN | Gert Fredholm2006 1:1 | Annette K. Olesen2006 THE BOSS OF IT ALL | Lars von Trier2007 HVORdAN VI SLIPPER AF MEd dE ANdRE Anders Rønnow Klarlund2011 MELANCHOLIA | Lars von Trier

“Have you ever been on a scholar- ship programme, where every sample of work from a fellow participant you see makes you go: ‘wow!‘?” Philipp Alfons Heitmann, participant 2010

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tHu 17 | 12:15 Hau 3, toP floorOn Track with Market Trends: Berlinale CoProduction Market and Talent Project Market (p.64).

“ it was an incredible, invaluable experience, which really boosted my project specifically and my professional skills in general.” Basile Doganis, participant 2010

talent Project market assists fresh ideas and exciting stories to reach the screen.

The more experimental part of the Berlinale CoProduction Market and a prac tical training programme of the Campus, the Talent Project Market “invites directors and pro ducers with fresh ideas, exciting and orig inal stories”, explains its coordinator Kathi Bildhauer.

Selected by an international jury, twelve young producers and directors have the chance to present their film projects to ex perienc ed coproducers and financiers atten ding the Berlinale CoProduction Market in prearranged oneonone meetings.

Chosen from over 270 projects, the eleven projects mapping the wide world of cinema will find their place in the CoPro duction Market’s catalogue:

CHALLATT OF TUNIS | produced by Habib Attia Tunisia

PRESERVATION | directed by Nicole Brending USA

THE BABAdOOK | produced by Kristina Ceyton Australia, Germany

YOUTH | produced by Gal Greenspan Israel

BRIAN | directed by Angela How USA, Singapore

THE FINd | produced by dimitri Klepatski Russian Federation GREICEKELLY | directed by Rafael Lessa Brazil

THE SOUTH IS NOTHING | directed by Fabio Mollo Italy

WOMAN OF THE FATHER | produced by Aletéia Selonk Brazil

BAd STOCK | directed by Rachel Tillotson UK

THE HERE AFTER | produced by Mariusz Wlodarski Poland

and directed by Magnus von Horn Sweden

Projects selected for the Talent Project Market compete for four prizes: three preselected projects will be pitched publicly to producers and potential financiers of the CoProduction Market and receive the three VFF Highlight Pitch Awards of Euros 3,000 each. One project, to be selected on the spot, will receive the International Relations ARTE Prize of Euros 2,500. The “Talent Project Highlights“ event is sponsored by VFF (German Collecting Society for Inhouse and Commissioned Production of Film and TV Programmes).

Not only do Talent directors and producers have the unique opportunity to present their projects to coproducers and fin an ciers, the fourday programme of the Talent Project Market also allows them to prepare for their meetings and learn about the international business and market. In du stry experts and experien ced pitching trainers offer valuable insights and guide participating directors and producers on presenting and marketing their projects and the technicalities of international copro duc tion, financing and markets. These initial training elements serve to prepare Talents for their oncoming oneonone meetings with potential partners in ter estedin getting on board projects while they are yet in an early stage of development.

Over and above, Talents can avail of a multitude of informal networking possibilities including fruitful exchanges and sharing of projects with coparticipants.

The Talent Project Market: the unique opportunity to present projects to potential coproducers and financiers

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notHing if not critical

Talent Press


“ Participating in talent Press was not only a great experience as a young film critic and as a film lover, but also a unique occasion to dive into a thrilling universe.” Loïc Valceschini, Talent Press 2010

Writing about films just before they open in cinema halls, the “job“ part of being a film critic for a daily or weekly publication, is often far more challenging and stressful than writing film essays for a monthly magazine or film blog. Talent Press, a collaborative venture of the Berlinale Talent Campus, the GoetheInstitut and FIPRESCI, has participating press Talents experience the pressures of working in an editorial room situation with its very tight deadlines, preparing them for the real life challenges of the “job“.

In its eighth edition, eight film critics and journalists at different stages in their careers and from different corners of the world come together in Berlin: Josefina Maria Garcia Pullés (Argentina), Francis Joseph Cruz (Philippines), Conall Cash (Australia), diego Faraone (Uruguay), Eren Odabasi (Turkey), Nicholas deigman (UK), Bethsheba Achitsa (Kenya) and Pamela Pianezza (France).

For many of them, Talent Press facilitates their very first ex po sure to an international film festival, where they gain the opportunity to explore the inner working of the Berlin International Film Festival and sharpen their knowledge and views on independent and experimental, as well as mainstream cinema. Exchanging views and receiving feedback and guidance from prominent film critics as they review films, write about Campus events and conduct highprofile interviews makes it an invaluable experience. Talent Press, as an estab lished forum for eclectic film criticism, also provides a space

Passionate and informed criticism is the buzzword as upcoming film critics and journalists plunge into the world of cinema.

for participants to exchange ideas and learn from one another as well as build networks for the development of their writing careers. Mentor Chris Fujiwara stated in an interview: “At Talent Press, you have the chance to talk and work with people who are motivated by the same thing as you: the desire to see and understand cinema.” Joining him as mentors of Talent Press 2011 are dana Linssen, derek Malcolm and Stephanie Zacharek. Their articles will be published daily from Feb 1317, 2011 on www.talentpress.org, the website of Talent Press – which features articles of press Talents and alumni throughout the year – and on those of the GoetheInstitut and FIPRESCI “Best of Talent Press”, a print publication comprising a selection of articles written during the Campus week, will be released on the last Campus day.

Talent Press begins with an “Introduction day“; mentors and press Talents come together and get to know one another before they commence their fervent writing and reviewing of films and events. They also gain a more indepth understanding of the Campus and its vast range of events and activities, as well as an overview of the current state of film criticism worldwide. the first talent Press international took place in march 2010 at the talent campus guadalajara.

tHu 17 | 14:00 Hau 2Covering Cinema: Critics Meet Filmmakers(p.64).

For further information on the Talent Press website see page 12 or visit www.talentpress.org.

The participants of Talent Press 2010:Established forum for eclectic film criticism

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develoPing tHe actor in you

Talent Actors Stage

in its second year, the talent actors stage assists actors to enhance their technique and develop their craft.

sun 13 | 14:00 Hau 3, toP floordirecting Actors (p.48).

mon 14 | 11:00tue 15 | 11:00 Hau 3, black stageOn the Path with Jasmila Žbanić (p.50).

mon 14 | 14:00 Hau 3, toP floorEmbodying the Character(p.52).

tue 15 | 14:00wed 16 | 14:00 Hau 3, black stageRehearsed Reading: Actors Reading Scripts (p.56).

It’s rigorous, but exhilarating! The Talent Actors Stage offers a challenging opportunity to explore acting techniques, dialogue delivery, casting, improvisation and more. In its second year and going full throttle, this handson training programme is not just for actors, but focuses on interdisciplinary collaboration with directors, producers, scriptwriters and cinematographers to foster exchange, dialogue and effective cooperation among practitioners of the different fields of filmmaking. As such, the Talent Actors Stage facilitates the improvement of actors’ per formances by bringing them together with professionals from other film disciplines. In addi t ion to networking possibilities with other film practitioners and coTalents, the Talent Actors Stage endeavours to give more prominence to acting Talents within the Campus.

directing actorsProminent actress and filmmaker Kerry Fox, who was awarded the Silver Bear in 2001 for her outstanding performance in INTIMACY, will draw on her vast experience as an actress and share her perspective as a director to explain how she prefers to work with actors to assist them in delivering compelling per formances.

on the Path with Jasmila ŽbanićFor GRBAVICA, Jasmila Žbanić won the 2006 Golden Bear; her subsequent film ON THE PATH feat ured in the 2010 Berlinale Competition. Using these two films as a starting point, but also working with new scenes and through im provisations, actors participating in this work shop will audi tion for Jasmila Žbanić and re cei ve valuable feedback on their per for mances.

embodying the characterThis intensive, interactive acting workshop,led by renowned acting coach, movement spe c ia list and choreographer JeanLouis Ro dri gue, focuses on recognising the power of mo vement and physicality in creating a cha rac ter in film.

rehearsed readingdramaturge Alby James will work with actors and screenwriters on building characters and bringing scripts to life through smooth and

effective delivery of dialogue, as they read vi tal scenes from a selection of Script Station projects.

meet the expertTwo established casting directors, Ulrike Mül ler and Beatrice Kruger, meet actors in two se p a rate “Meet the Expert“ sessions. Ulrike Mül ler, who casts predominan tly Germanspeaking films, will talk about possibilities for foreign actors to work in Germany. Beatrice Kruger, on the other hand, also does casting for major Hollywood pro duc tions and will give insight into casting for inter national film productions.

the talent actors stage offers actors five special events:

Page Berlin Today Award 2012

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five directing talents will have the special opportunity to make a short film based on the theme “every step you take” in collaboration with a production company from berlin / brandenburg. the berlin today award, the annual short film competition of the berlinale talent campus, is within reach.

The Berlin Today Award 2010 (from above to below) director Bryn Chainey won the Berlin Today Award 2010 for JONAH ANd THE VICARIOUS NATURE OF HOMESICKNESS | Berlin Today Award 2010 jury members Stephen daldry (left) and actress Heike Makatsch (2nd from right) with the managing director of the Medienboard BerlinBrandenburg, Kirsten Niehuus, the Federal Government Commissioner for Culture and the Media Bernd Neumann (right) and Berlinale festival director dieter Kosslick

“ i met great collaborators and was given a huge leg-up to grander production values; from here-on there's no turning back.” Bryn Chainey, Berlin Today Award winner 2010

The short film competition of the Berlinale Talent Campus invited directors from all over the world to submit ideas inspired by the motto “Every Step You Take”. does the flap of a butterfly's wings in Thailand set off a tornado in Texas? Small decisions we take in everyday life intrinsically influence our near future. What is a harmless accessory in one part of the world might be a major statement in another that leads to a chain of reactions. Whether political or private, it is these moments of taking a step and being aware of it, that are at the core of the Berlin Today Award 2012.

Fifteen Talents selected prior to the Campus will be able to present their film ideas to selected producers during the Producers’ Meeting at the Berlinale Talent Campus 2011. The top five projects will be produced by five production companies from Berlin and Bran denburg – with funding from the Medienboard BerlinBran den burg and inkind contributions from the film industry.

The short films will celebrate their world premiere at the Opening of the Berlinale Talent Campus 2012 as part of the 62nd Berlin International Film Festival.

current and former participants of the berlinale talent campus are invited to apply for the annual berlin today award.

For detailed information on the competition please visit: www.berlinale-talentcampus.de/berlin-today-award

The Berlin Today Award has been funded by the Medienboard Berlin-Brandenburg since 2003.

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five sHorts are “leaving tHe familiar sector”

Berlin Today Award 2011

sat 12 | 17:00 Hau 1Opening Ceremony & World Premiere of the Berlin Today Award Films 2011 by invitation only(p.46).

sun 13 | 19:30 ewerkdine & Shine – Talents Rendezvous and Award Ceremony of the Berlin Today Award 2011 by invitation only(p.49).

wed 16 | 20:00 cinestar 5Screening at the European Film Market see Berlinale programme

sun 20 | 17:30 colosseumPublic screening at the Berlinale Kinotagsee Berlinale programme

sharing the limelight, the five short films competing for the berlin today award 2011 celebrate their world premiereat the opening ceremony of the berlinale talent campus.

The Berlin Today Award 2011

HACKNEY LULLABIES Kyoko Miyake

LITTLE REd Eva Pervolovici

MUMMY‘S LITTLE HELPER Michael Lavelle

SPOILT BROTH Toby Roberts

THE dAY WE dANCEd ON THE MOON Tristan daws

Since its invention, cinema has helped us to imagine what our lives could be like and how the world could look. Film offers an extraordinary glimpse into a world you've never seen, never dreamt of or dared to enter. How do you imagine a world beyond what you've known, and what do you see when you leave the place you know best? The motto of this year’s competition encouraged film makers to envision a world beyond the familiar.

A jury comprising actress dorka Gryllus, director Hannes Stöhr and producer Peter Rommel selects the winner of the Berlin Today Award 2011 from:

Hackney lullabies by kyoko miyake | JapanListen to the gentle lullabies sung by the mothers of Hackney, transforming London into a different place for each child. Produced by Filmkantine.

little red by eva Pervolovici | romaniaLittle Red, don’t dawdle along the way. The woods are dark and dangerous. Produced by Beleza Film.

mummy’s little HelPer by michael lavelle | irelandA mother discovers an illegal way to lose weight, with frightening consequences … especially for her daughter. Produced by Macchiato Pictures Filmproduktion.

sPoilt brotH by toby roberts | ukA naïve, desperate man’s attempt to rob a post office sets him on a collision course with a tough, armed and ruthless criminal. Produced by heimatmedien.

tHe day we danced on tHe moon by tristan daws | ukWe might all have our day on the moon, but sooner or later we will all come crashing down to earth… Produced by Kloos & Co. Medien.

the berlin today award 2011 is supported by the medienboard berlin-brandenburg and the film industry.

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IDFAcademy Summer School

June 2011IDFAcademy is an international training

program for young up-and-coming talent eager to learn about the documentary

industry and develop documentary projects.

Would you like to meet and work with highly esteemed filmmakers and film professionals?

Would you like to strengthen the narrative structure of your documentary project (script or editing), over

a period of one week? Would you like to be part of individual coaching with

group sessions and an inspiring cultural program?

All in a relaxed atmosphere in the historical heart of Amsterdam. Then come to the IDFAcademy Summer School.

We look forward to meeting you!

IDFAcademy Summer SchoolSubmissions accompanied by a project are now being accepted, until the deadline of April 1, 2011. More information on www.idfa.nl.

InternatIonal Documentary FIlm FestIval amsterDam

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Meet the Expert

exPerts at your bidding

3435

monday, feb 14

michel reilhac Hau 1, fox bar | 11:00-12:00

Michel Reilhac, executive director of ARTE France Cinema and director of Film Acquisitions for ARTE France, will throw light on develop ing film concepts for broadcasters, be they analogue or cross media pro jects.

isabel arrate fernández Hau 1, fox bar | 12:30-13:30

Running the Jan Vrijman Fund of the International docu men tary Film Festival Amsterdam. The fund aims to generate more attention for documentaries and filmmakers from developing coun tries. Her session will focus on the work and possibilities for funding offered by the Jan Vrijman Fund with special attention on preparing an application and project proposal.

Peter belsito Hau 3, black stage | 12:45-13:30

Peter Belsito, USAmerican producer, cinematographer, publisher and executive vice president of FilmFinders, will talk about the inter national independent marketplace and world festival circuit. He will explain the dynamics of bigger and smaller markets at different festi vals, how they function, the mandates of the festivals and markets, and how to navigate and operate at these markets.

sandra beerends Hau 1, fox bar | 16:00-16:50

Script editor Sandra Beerends has worked with an array of screenwriters and directors strengthening the narrative structure of their scripts. She will join you to discuss the creative and strategic choices you have to make during the writing process, the shooting and the editing of the film.

ulrich kodjo wendt Hau 3, black stage | 16:00-16:50

German composer for film and theatre, Wendt has composed music for feature films such as Fatih Akin’s IN JULY, as well as documentaries like Jens Huckeriede’s SCORING BLUE and AB NACH RIO. He will focus on score, sound and silence: The correlation of music and silence in a film and how to use original sound in a score.

sunday, feb 13

bettina allamodaHau 1, fox bar | 12:30-13:30

A Berlinbased artist focusing on the concealed politics of visibility inscribed in history, documentation, fashion, art and architecture, Bettina Allamoda will introduce you to the visual art projects within the Forum Expanded programme and beyond. She will also discuss practices, spaces and production in the city and everything happening around this year’s Berlinale related to visual arts.

christian goldbeckHau 3, black stage | 12:30-13:30

German production designer and art director, he has worked on films such as THE REAdER, KRABAT, REqUIEM and GO FOR ZUCKER!, receiving German Film Award nominations for the latter three films. He is also production designer of this year‘s Competition film IF NOT

US, WHO?. Goldbeck will talk about the job of production de signers – to match their visual decisions perfectly with the themes and tone of each film they work on.

mathias schwerbrock & Joachim knaf lineProducer – the art of budgetingHau 3, top floor | 12:45-13:30 In cooperation with the Film and Television University (HFF) “Konrad Wolf“ and Erich Pommer Institut.

dr. Joachim Knaf, tutor at the Film and Television University (HFF) “Konrad Wolf“, and Mathias Schwerbrock, German producer, will focus on three essential questions: How do you get hold of new financial sources for your project? What is the best way to compute an international coproduction? And how can you increase your profit from a production? They will demonstrate answers to these questions through “LineProducer“, a software designed to link the sectors of bud geting, financing and cash flow. It incorporates factors such as currency, countrystocks and coproductions, enabling you to effi ci e n tly plan your film production.

sydney levine Hau 3, black stage | 16:00-16:50

Sydney Levine, founder of FilmFinders with over 25 years experience in the entertainment industry will talk about how you can enter the market as a producer, and how to find the right market for your film project.

Join different experts for focused discussions at Hau 1 and Hau 3.

Anzg.Nipkow TalentCampus 2011 12.01.2011 14:12 Uhr Seite 1

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Scholarships for EuropeanAudiovisual Media

Professionals in Berlin

WITH THE SUPPORT OF

NIPKOW

PROGRAMM

Further studies for qualified applicants in the fields of� Film, television and video financing, production, marketing

and distribution� New technologies (multimedia, interactivity)� TV computer design and computer graphics

Contact

Kurfürstendamm 225D - 10719 Berlinphone: +49 30 614 28 38fax: +49 30 614 28 26e-mail: [email protected]: www.nipkow.de

37Page


Meet the Expert

wednesday, feb 16

wendy bernfeldHau 1, fox bar | 12:30-13:30

Wendy Bernfeld, founder and M.d. of Rights Stuff, is a pas sionate film buff specialising in hard core film acquisition and distribution, licensing negotiations, and related strategy and rights advice, for both traditional media and digital new media platforms. She assists pro ducers / distributors with their international digital strategy to maximise revenues across multiple windows and platforms.

Peter rorvikHau 3, black stage | 12:30-13:30

Peter Rorvik will talk about the durban International Film Fest ival‘s activities for African filmmakers and the existing network that has been built and supported over the past years.

kanako Hayashi Hau 3, black stage | 16:00-16:50

Kanako Hayashi, festival director of the TOKYO FILMeX Inter national Film Festival, which showcases the best contemporary independent cinema from Asia, will talk about the Japanese film industry at present times.

frédérique westhoff Hau 1, fox bar | 16:15-17:00

Head of team at ACPFILMS, with the overall objective to con tri bute to the development and structuring of the cinema and audiovisual industries in the African, Caribbean, Pacific states so that they can create and disseminate their own works more effectively. Frédérique Westhoff will talk about their projects, programmes and corresponding new guidelines. In cooperation with ACPFILMS.

tHursday, feb 17

ulrike müller Hau 1, fox bar | 12:30-13:30 Berlinbased German casting director, Ulrike Müller will talk about how to establish international connections between casting directors and actors, and how they can get more freedom to ac co mmodate actors and actresses of different nationalities in one film.

nikolaj nikitinHau 3, black stage | 12:30-13:30 The Berlinale delegate for EasternEurope and cofounder of the film magazine “Schnitt“, curates film festivals across Europe, and heads the European festival dedicated to editing, “Film+“ in Cologne.

tuesday, feb 15

erwin m. schmidt Hau 1, fox bar | 12:30-13:30

German producer, who has worked on a number of art house films such as YOU THE LIVING, dERNEL and ORLY. A 3d producer for Neue Road Movies, he coproduced Wim Wender‘s 3d film PINA which premieres in this year’s Berlinale. 3d goes indie with 3 independent films in the Official Selection of this year's Berlinale. Schmidt will divulge the secret to achieving the added value of 3d without coll apsing under increased costs, technical difficulties and sleepless nights.

beatrice krugerHau 1, attic room | 12:30-13:30

A casting director based in Rome, Beatrice Kruger has always been involved in the discovery and promotion of new acting talent and recently developed the idea and concept for an interactive web portal (www.etalenta.eu). She was responsible for the European and /or Italian casting of films such as SILK, THE INTERNATIONAL, CASINO

ROYALE, OCEAN’S TWELVE and many more. She will give acting Talents insight into casting for international film productions.

iwana chronisHau 3, black stage | 12:45-13:30

Manager of the Hubert Bals Fund of the International Film Festival Rotterdam, she will inform you about the work of the fund and the funding schemes for filmmakers coming from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe.

Hanne skjødtHau 1, fox bar | 16:00-16:50

This is the opportunity for you to ask questions and learn more about Hanne Skjødt’s work as a network manager at the European documentary Network (EdN) in Copenhagen, which supports documentary filmmakers. Since 2000, she has been with the danish Film Institute as a distribution and promotion consultant and head of unit, and in charge of the promotion and distribution of shorts and documentaries.

Jean-louis rodrigueHau 3, black stage | 16:15-17:00

JeanLouis Rodrigue, acting coach and movement director, will talk to you about his acting coaching and movement training as well as on how to present your film project. He will explain the fundamental tools needed to improve your levels of performance in film and to present your script to potential producers and studios.

www.pardo.ch


Chapter

p. 40 Timetable | p. 46 Day 1 – Sat, Feb 12p. 47 Day 2 – Sun, Feb 13 | p. 50 Day 3 – Mon, Feb 14p. 55 Day 4 – Tue, Feb 15 | p. 58 Day 5 – Wed, Feb 16 p. 63 Day 6 – Thu, Feb 17

Programme04

12:45 Doc Station Welcome At Attic Room.In cooperation with FFA and SOURCES 2 (p.25).

Opening Ceremony & World Premiere of the Berlin Today Award Films 2011Dieter Kosslick, Kirsten Niehuus. Moderated by Matthijs Wouter Knol and Christine Tröstrum. Supported by Medienboard Berlin-Brandenburg (p.46).

8:30Ticketing and Talent Registration (p.46).

9:30Rise and Shine Breakfast Presented by Berlinale Talent Campus (p.46).

11:30 – 12:30Taking Off Essential briefing on services, programme and hands-on-trainings (p.46).

Fast Forward GermanyChristine Berg, Mariette Rissenbeek, Daniel Saltzwedel. Moderated by Roman Paul. In cooperation with Medienboard Berlin-Brandenburg, FFA and German Films (p.46).

Global Speed Matching Meet and greet session. Moderated by Matthijs Wouter Knol (p.46).

9:30 Script Station: Project Development DayIn cooperation with FFA and SOURCES 2 (p.24).

The Rules of Engagement Kerry Fox, Henning Mankell and José Padilha. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama (p.47).

Lunch Break

Filming War Samuel Maoz, Janus Metz, Danis Tanović. Moderated by Ben Gibson. In cooperation with Robert Bosch Stiftung (p.47).

In the Limelight: Isabella Rossellini Moderated by Peter Cowie (p.49).

8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by Deutsche Welle DW-TV (p.47).

Speed Matching Directors meet writers and cinematographers (p.46).

Kill Your Darlings Master class with Susan Korda (p.47).

Two Producers Sharing Their Secrets Carole Scotta and Paul Trijbits (p.49).

9:30 Doc & Script Station In cooperation with FFA and SOURCES 2 (p.24-25).

Meet the ExpertBettina Alamoda (p.35).

9:00

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19:30

HAU 1 Fox Bar

HAU 2 HAU 3 White Stage

HAU 1

Page Campus programme

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9:15Berlin Today Award 2012 Coaching. Supported by Medienboard Berlin-Brandenburg (p.32).

9:30 Campus Post-Production Studio In cooperation with Camelot Broadcast Services (p.26).

10:00 Score Competition Editing at Wave-line / Feedback session with Michael Nyman (p.22).

Talent Project Market (p.28).

15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29).

Diving Into Post-Production Philippe Ros. In cooperation with Camelot Broadcast Services (p.47).

12:45 Meet the Expert Joachim Knaf, Mathias Schwerbrock. In cooperation with HFF “Konrad Wolf“ and Erich Pommer Institut (p.35).

Directing Actors Master class with Kerry Fox. Moderated by Marten Rabarts (p.48).

Your Body Speaks: The Art of Presenting Your Film Jean-Louis Rodrigue (p.49).

10:00 Campus Editing Studio In cooperation with dffb (p.26).Score Competition Editing at Wave-line (p.22).

10:30 Talent Project Market (p.28).

12:30 Reception Manfred Durniok Foundationfor East Asian Talents. Supported by Manfred Durniok Foundation (p.15).

13:00 Campus Post-Production Studio In cooperation with Camelot Broadcast Services (p.26).


Dine & Shine – Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2011 Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick, Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr. Moderated by Adrian Kennedy. Supported by Medienboard Berlin-Brandenburg and Robert Bosch Stiftung (p.49).

sat, FEB 12

9:00Campus Editing Studio: Introduction DayAndrew Bird, Katja Dringenberg, Susan Korda, Gesa Marten, Molly Malene Stensgaard. In cooperation with German Film and Television Academy Berlin (dffb) (p.26).

Meet the ExpertChristian Goldbeck (p.35).

16:00Meet the Expert Sydney Levine (p.35).

HAU 3 Black Stage

HAU 3 Top Floor

Other Venues

sun, FEB 13 Berlinale Talent Campus #9

More information: Colour code Page

41Events open to the public

Hands-on training events

Workshops


Too Good to Be True: Directing Reality Heddy Honigmann and Andres Veiel. Moderated by Matthijs Wouter Knol (p.55).

Lunch BreakMeet the Expert at Attic Room: Beatrice Kruger (p.37).

Cinematography: The Establishing Shot Master class with Edward Lachman. Moderated by Ben Gibson (p.55).

In the Limelight: István Szabó and Ralph Fiennes Moderated by Mike Goodridge. In cooperation with FERA and Robert Bosch Stiftung (p.57).

Lunch Break

In the Limelight: Harry BelafonteModerated by Rajendra Roy. In cooperation with Berlinale Special (p.51).

20:00 Short and ScaryShort film screenings. Evert de Beijer, Peter Larsson, Hugo Lilja, Jerome Sable, Yang Hyo-joo. Moderated by Juliette Veber. In cooperation with Berlinale Shorts and Berlinale Generation (p.54).

8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by Robert Bosch Stiftung and Sarajevo Film Festival (p.50).

Speed Matching Directors meet sound designers and editors (p.46).

The Indie Filmmakers Guide to Cross Media I Martin Ericsson, Bruno Felix, Michel Reilhac. Moderated by Liz Rosenthal (p.52).

The Shortest Track to Cinema Catherine Colas, Alexander Stein, Rudolf Worschech. Moderated by Maike Mia Höhne. In cooperation with Berlinale Shorts (p.53).

Followed by: Short Encounters | 18:30-19:30 Talents meet short film industry. In cooperation with Berlinale Shorts (p.53).


8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by Berlinale Talent Campus (p.55).

Speed Matching Directors meet producers (p.46).

Play as Process: Worldbuilding and New Ways to Imagine Shekhar Kapur, Tali Krakowsky, Saku Lehtinen, Alex McDowell and Andrew Shoben. In cooperation with 5D Conference, L.A. (p.56).

Plugging People: European Producers Positioning Themselves Jean des Forêts, Nicole Gerhards, Peter de Maegd, Soon-Mi Peten. Moderated by Fleur Knopperts. In cooperation with MEDIA (p.57).


Meet the ExpertErwin M. Schmidt (p.37).

Meet the ExpertHanne Skjødt (p.37).

Meet the Expert Michel Reilhac (p.35).

Meet the Expert Isabel Arrate Fernández (p.35).

Meet the ExpertSandra Beerends (p.35).

9:00

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HAU 1 Fox Bar


HAU 1


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10:30 Where I Am and Where I Want to Go Thomas Biniasz (p.55).

The Indie Filmmakers Guide to Cross Media II Wendy Bernfeld, Ben Grass, Inga von Staden. Moderated by Liz Rosenthal (p.57).

Building Digital Worlds for the Screen Shekhar Kapur, Alex McDowell (p.57).

9:30 Campus Post-Production Studio In cooperation with Camelot Broadcast Services (p.26).10:00 Campus Editing Studio In cooperation with dffb (p.26).10 :00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).

10:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market (p.53).

10:00 Camera Workshop at Camelot In cooperation with Camelot Broadcast Services (p.51).


Let's Make It LegalMareile Büscher, Michael C. Donaldson. In cooperation with Raue LLP (p.51).

Embodying the CharacterJean-Louis Rodrigue (p.52).

The Legal Sound of MusicMareile Büscher, Milena Fessmann. In cooperation with Raue LLP (p.53).

On the Path with Jasmila Žbanić In cooperation with Robert Bosch Stiftung (p.50).

12:45 Meet the Expert Peter Belsito (p.35).

Meet the Expert Ulrich Kodjo Wendt (p.35).

On the Path with Jasmila Žbanić In cooperation with Robert Bosch Stiftung (p.50).

10:00 Campus Editing Studio In cooperation with dffb (p.26).10:00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).

10:30 Talent Project Market (p.28).

13:00 Camera Workshop at Camelot In cooperation with Camelot Broadcast Services (p.51).13:00 Campus Post-Production Studio In cooperation with Camelot Broadcast Services (p.26).13:15 Excursion to the Costume House Theaterkunst In cooperation with Theaterkunst (p.51).

15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29). Excursion to “Meet the Docs“ at European Film Market Sydney Levine. In cooperation with European Film Market (p.53).

New Horizons in 3D: Storytelling and Producing Redefinedat Cubix 8. Alain Derobe, Gian-Piero Ringel, Erwin M. Schmidt, Wim Wenders. Moderated by Patrick Palmer, joined by Julian Pinn. In cooperation with Dolby Laboratories (p.54).

Mon, FEB 14

HAU 3 Black Stage

HAU 3 Top Floor

Other Venues





Workshops


12:45 Meet the Expert Iwana Chronis (p.37).

Rehearsed Reading I: Actors Reading Scripts Alby James (p.56).

16:15 Meet the Expert Jean-Louis Rodrigue (p.37).

Tue, FeB 15

The Schrader Way to Start a Film Paul Schrader. Moderated by Peter Cowie. In cooperation with Berlinale Special (p.64).

Lunch Break

Censored Cinema Sepideh Farsi, Mehrangiz Kar, Rafi Pitts, Ali Sa ma di Ahadi. Moderated by Vincenzo Bugno. In cooperation with World Cinema Fund (p.64).

17:30 Say It with a Score: Score Competition Presentation and Award Ceremony Ehud Freedman, Roger Goula, Hubert Henle, Michael Nyman, Felix Rösch. Moderated by Milena Fessmann. In cooperation with Dolby Laboratories (p.65).

As Queer As It Gets John Greyson, Thunska Pansittivorakul, Wieland Speck, Monika Treut, Christine Vachon. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama, Berlinale Forum and TEDDY AWARD (p.59).

Lunch Break

The Internationals: How Small Stories Become Big Claudia Llosa, Kornél Mundruczó, Abderrahmane Sissako. Moderated by Dorothee Wenner. In cooperation with ACPFILMS and Robert Bosch Stiftung (p.60).

The Great World of SoundMaster class with Michael Nyman. Moderated by Peter Cowie (p.62).

Christoph Schlingensief: Five FavoritesAnselm Franke, Carl Hegemann, Francis Kéré, Matthias Lilienthal, Georg Seeßlen. Moderated by Dorothee Wenner. In cooperation with Theater Hebbel am Ufer (HAU), Berlinale Forum Expanded, Goethe-Institut South Africa (p.62).

8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by ACPFILMS (p.58).

Speed Matching Directors meet actors (p.46).

Barbara Hammer: Making Movies Out of Sex and Life Barbara Hammer. Moderated by Stefanie Schulte Strathaus. In cooperation with Berlinale Forum Expanded (p.60).

Why Poverty? Hans Robert Eisenhauer and Don Edkins (p.62).

Dial F for Fiction: Script Station PresentationModerated by Merle Kröger. In cooperation with FFA and SOURCES 2 (p.60).

Talent Project Market Wrap-up session (p.28).

8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by Institut français (p.63).

Speed Matching Last call for everyone (p.47).

Covering Cinema: Critics Meet Filmmakers Alma Har'el, Gerhard Midding, Jay Weissberg, Przemyslaw Wojcieszek. Moderated by Dana Linssen. In cooperation with Robert Bosch Stiftung, Berlinale Forum and Panorama (p.64).

16:00 Things to Take HomeMarjorie Bendeck, Kathi Bildhauer, Christine Tröstrum. Moderated by Matthijs Wouter Knol (p.65).

Closing Party (p.65)


10:30Talent Actors StageWrap-up session (p.31).

Meet the ExpertUlrike Müller (p.37).

Meet the Expert Wendy Bernfeld (p.37).

16:15 Meet the ExpertFrédérique Westhoff. In cooper ation with ACPFILMS (p.37).

9:00

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10:30 Disclosing the World Cinema FundVincenzo Bugno, Sonja Heinen. In cooperation with World Cinema Fund (p.63).

12:15 On Track with Market Trends: Berlinale Co-Production Market and Talent Project Market Kathi Bildhauer, Martina Bleis, Sonja Heinen. In cooperation with Berlinale Co-Production Market (p.64).

Where Things Come Together: Campus Post-Production Studio Presentation Philippe Ros. Moderated by Christine Tröstrum.In cooperation with Camelot Broadcast Services (p.65).

Meet the Expert Nikolaj Nikitin (p.37).

The Indie Filmmakers Guide to Cross-Media IIIMartin Ericsson, Ben Grass, Lena Thiele. Moderated by Liz Rosenthal (p.59).

Welcome to Reality: Doc Station PresentationHeino Deckert. Moderated by Sirkka Möller. In cooperation with FFA and SOURCES 2 (p.61).

17:00 Happy Returns: The Future After the CampusRosario García-Montero, Kaspars Goba, Javier Fuentes- León. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Generation / Panorama / Co-Production Market, World Cinema Fund (p.62).

Meet the Expert Peter Rorvik (p.37).

Rehearsed Reading II: Actors Reading Scripts Alby James (p.56).

Meet the Expert Kanako Hayashi (p.37).

10:00 Dress to Impress – Master Class at Costume House Theaterkunst In cooperation with Theaterkunst (p.63).

Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29).

Cutting on the Edge: Campus Editing Studio Presentationat CinemaxX 17. Susan Korda, Paz Lázaro and Florian Weghorn. Moderated by Kevin Murphy. In cooperation with dffb (p.65).

10:00 Berlin Today Award 2012 Producers' Meeting Supported by Medienboard Berlin-Brandenburg (p.59).

10:00 Excursion to the European Film Market Sydney Levine. In cooperation with European Film Market (p.53).

10:00-15:30Absolute Hearing I-IV For composers and sound designers only. In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film Orchestra Babelsberg and the Film and Television University (HFF) “Konrad Wolf“ (p.58-59).

Excursion to the European Film Market Sydney Levine. In cooperation with European Film Market (p.53).

13:00 Screening the Future: Excursion to the Heinrich Hertz InstitutIn cooperation with Fraunhofer/ Heinrich Hertz Institut (p.60).


HAU 3 Black Stage

HAU 3 Top Floor

Other Venues





Workshops


wed, FeB 16

Thu, FEB 17

46Page Campus programme

Saturday, feb 12

ticketing and talent registration8:30 | Hau 2

Find out what matters most! Stop by the Talent counter to pick up your accreditation, and learn about the multitude of events and activities offered at the Campus and in the Berlinale film programme. Our staff members will be happy to answer all your questions related to logistical issues, ticketing and travel reimbursement. Besides, here’s where you can meet up with fellow Talents.

rise and Shine breakfast Presented by Berlinale Talent Campus.9:30 | Hau 2

Variety is the spice of life. And not just on the breakfast menu. A host of filmmakers from around the world are just as eager for conversation as you. A têteàtête with fellow Talents or members of the Campus team over hot coffee and croissants is the right start for you. This breakfast is presented by the Berlinale Talent Campus.

taking Off 11:30 | Hau 2

This very first and essential briefing will provide allimpor tant information about the coming Campus week. Meaning that you will be introduced not just to Campus team members, but also provided information about internet usage and accessing the Campus database. Moreover, the overall Campus programme and its wide palette of events will be presented alongside an overview of the Berlinale film screenings. Last but not least, you will get an idea of what the various handson trainings of the Campus offer. They are the Score Competition, Campus Studio, Doc and Script Station, Talent Press, Talent Project Market, the Talent Actors and the Berlin Today Award.

fast forward Germany Christine berg, Mariette rissenbeek and daniel Saltzwedel. Moderated by roman Paul.In cooperation with Medienboard Berlin-Brandenburg, FFA and German Films.13:00 | Hau 2

Interested in making films with German partners? Film funding organisations from Germany present their respective initiatives and objectives in promoting German cinema and the prerequisites for funding. This event invites both German and nonGerman Talents to acquaint themselves with what these organisations have to offer. Representatives of Medienboard BerlinBrandenburg, German Federal Film Board (FFA) and German Films will interact with Talents providing them relevant details.

Global Speed MatchingMeet and greet session.Moderated by Matthijs Wouter Knol.15:00 | Hau 2

Think on your feet! Think fun! Speed matching provides a stimulating way to connect and network with peers and perhaps find the perfect match for your film team from this global filmmakers‘ village. The Berlinale Talent Campus, which serves as a networking platform, invites all Talents for a rapid, efficient and interactive round to meet future partners and possibly kickstart projects. A good icebreaker for effective networking in the days to come, this is where you will meet fellow Talents – actors, directors, screenwriters, directors of photography, producers, editors, music composers – you name it. We promise you a personally and professionally enriching worldwide tour. Focused speed matching sessions for directors to meet producers or editors or writers, etc. will take place daily at 12:30.

this year’s speed matching sessions are as follows: feb 13 – directors meet writers and cinematographersfeb 14 – directors meet sound designers and editorsfeb 15 – directors meet producersfeb 16 – directors meet actorsfeb 17 – last call for everyone

Opening Ceremony and World Premiere of the berlin today award films 2011dieter Kosslick, Kirsten Niehuus. Moderated by Matthijs Wouter Knol and Christine tröstrum.Supported by Medienboard Berlin-Brandenburg.17:00 | Hau 1

We welcome all Talents, mentors and experts to the inaugural ceremony of the Berlinale Talent Campus 2011! The masters of ceremo ny, Matthijs Wouter Knol and Christine Tröstrum, will greet Talents and invited guests and present the focus of this year’s Cam pus. Dieter Kosslick, Berlinale festival director, will step into the limelight to address the audience and officially declare open the #9 Berlinale Talent Campus. The screening of the five Berlin Today Award films, which celebrate their world premiere, will bring the event to a close. For details on the Berlin Today Award see p.32-33.

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rise and Shine breakfast Presented by Deutsche Welle DW-TV. 9:30 | Hau 2

The Deutsche Welle DW-TV, whose crew members are busy cap turing the highspirited action at the Campus, present this mor ning’s breakfast. Start your day with a good, healthy breakfast as you get to know the Deutsche Welle representatives and catch up with fellow Talents.

the rules of engagementKerry fox, Henning Mankell and José Padilha.Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama.11:00 | Hau 1

Whether mainstream blockbuster or lowbudget documen tary, films are capable of engaging the realm of politics, society and culture. But tackling contemporary issues or working within a very specific niche is by no means easy. How could a new generation of filmmakers position themselves in such a climate? Brazilian director José Padilha won the 2009 Golden Bear for ELITE SquAD, and his latest ELITE SquAD 2 – THE EnEMy WITHIn features in this year’s Berlinale Panorama. Padilha explores in his films the problems of crime in Rio, particularly in relation to police corruption and middleclass in difference. Joining him on stage is new Zealand actress and director Kerry Fox who won the 2001 Silver Bear for Best Actress for her role in InTIMACy, and Swedish author, screenwriter, dramatist and activist Henning Mankell, who is best known for the “Kurt Wallander Mysteries”. Mankell was on the “Ship to Gaza“ in 2010, which tried to break the Israeli embargo of the Gaza strip. The three panellists will talk about how it all began for them – the initial impetus that led them down their individual paths, how it impacted their lives, shaped subsequent projects, and how this engagement further developed taking on a life of its own.

diving into Post-ProductionCase Study with Philippe ros.In cooperation with Camelot Broadcast Services.11:00 | Hau 3, top floor

Reputed director of photography and digital imaging supervisor from France, Philippe Ros will conduct a case study on OCEAnS, a film directed by Jacques Perrin and Jacques Cluzaud, which was in production for over six years. As digital imaging director, technical supervisor of the image and one of 17 DOPs on OCEAnS, Ros will divulge “secrets“ to dealing with the challenges that arise when matching film and digital formats, in particular when numerous shots are taken under totally different conditions, at differing depths and with varied lighting, as was the case for OCEAnS. He will explain how

the combination of old lighting tricks, new contrast curves and colourist skills allowed him to achieve his goals quite successfully. Plac ing emphasis on the relationship between the chief digital imaging technician and the colourist, Ros will show how the directors of OCEAnS succeeded in creating a strong team and involving the DoPs in extensive research at various levels.

filming WarJanus Metz, Samuel Maoz and danis tanović.Moderated by ben Gibson.In cooperation with Robert Bosch Stiftung.14:00 | Hau 1

Portraying high pressure and liferisking situations is inherent to film making processes that depict war and crisis situations, whether fiction or documentary. The very notion of crisis implies that filmmakers have to deal with specific issues: decide what to show and how to deal with the (fictitious) reality of war and extremity. Reflecting on such issues are three reputed filmmakers – Danis Tanović bagged an Oscar in 2001 for nO MAn’S LAnD, Janus Metz won the 2010 Grand Prize at the International Critics' Week of the Cannes Film Festival for his documentary ARMADILLO, and Samuel Maoz won the 2009 Golden Lion at the Venice International Film Festival and two European Film Awards for LEBAnOn. All three critically acclaimed films depict war and portray people under tremendous pressure. Janus Metz and his cinema to grapher had to expose themselves to the same risks as the soldiers. They filmed with two cameras the entire time and even had some soldiers wear helmet cameras. The absence of dialogue in Maoz’ film script for LEBAnOn meant that rehearsing seemed pointless: “I took each of the actors and, separately, locked them in a very small, dark and hot container. After about two hours, when I knew their bodies would have shut down, as if hypnotised, I knocked on the iron walls with a bar, something that sounded very like an attach on a tank […] When they came out and I looked in their eyes, I could see that I didn’t have to explain anything else.” In nO MAn’S LAnD, Tanović relies heavily on humour to defuse the tension and highlight the ironies of the situation. The three filmmakers will discuss their distinctive approaches to depicting tense, lifethreatening situations, as well as the creative and political decisions they took while making their films.

Kill your darlings Master class with Susan Korda.14:00 | Hau 2

The editing process which sounds simple enough – you select shots and you arrange and modify them to clarify and refine their form and content – is actually a rather complex and dynamic process. It is a question of technique and art. Film editing isn’t just about how the stories you choose to tell in your films can be enhanced, it sometimes


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comes down to rescuing an entire film project. Films often find their true form in the editing room. This master class by Susan Korda will take you on an inspiring and educational journey that lays bare the lessons learnt by previous film teams and editors. you will learn how to craft a film’s structure and perfect its look such that it grabs an audience and keeps it there.

Susan Korda, editor, director, writer and lecturer at Columbia university, and longtime Campus expert, will provide an insider view of the dynamics of the craft of editing showing clips from a selection of films such as BOnnIE AnD CLyDE to draw attention to a multitude of details from the sound and edit to the background of a film. She will discuss different approaches to the work of an editor and elaborate on the importance of experimentation, for example, by illustrating how a film can function quite well despite flaws in the wardrobe or the angle of the camera. She will guide you on how to “kill your darlings“ in the editing process without losing your collaborators in the montage stage of filmmaking, and explain how an editor can work with an overwhelming amount of excess footage, and yet succeed in extracting the best material which is carefully woven into the film, every decision shaping the tone and pace of the film.

directing actorsMaster class with Kerry fox. Moderated by Marten rabarts.14:00 | Hau 3, top floor

Acting is first and foremost a craft. And although honing one’s acting skills is crucial, it doesn’t come with certified roles or with the experience of dealing with the demands of each role. Prominent ac tress and filmmaker, winner of the 2001 Silver Bear for Best Actress for her outstanding performance in InTIMACy, Kerry Fox will reflect on what it means to dive head and heart into a role and how directors can assist actors in delivering compelling performances. Drawing on her vast and versatile acting career and sharing her per spective as a director, she will give insight into her own style of working with actors and her personal experiences with the various directors in whose films she has starred. Kerry Fox stepped into the limelight with her role in Jane Campion’s An AnGEL AT My TABLE and went on to establish herself in ter nationally, working in independent films and television. Amongst numerous others, she has starred in Gillian Armstrong’s THE

LAST DAyS OF CHEZ nOuS, Danny Boyle’s SHALLOW GRAVE, Thom Fitzgerald’s THE HAnGInG GARDEn, Michael Winterbottom’s WELCOME TO

SARAJEVO and HansChristian Schmid’s STORM.

Isabella Rossellini with William Hurt in the Berlinale Special‘s film LATE BLOOMERS. (insert)TOAST by SJ Clarkson and produced by Paul Trijbits runs in the Berlinale Special and at the Culinary Cinema. (left)

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In the Limelight: Isabella rosselliniWith Isabella rossellini. Moderated by Peter Cowie.17:00 | Hau 1

As the daughter of Ingrid Bergman and Roberto Rossellini, Isabella Rossellini has been in the limelight her entire life. An actress, writer and director, it was her gutwrenching performance in David Lynch’s BLuE VELVET which shot her to fame, and subsequently her prominent roles, among others, in DEATH BECOMES HER, IMMORTAL

BELOVED and WyATT EARP. She also delivered an unforgettable per formance in Canadian avantgarde filmmaker Guy Maddin’s THE SADDEST

MuSIC In THE WORLD and narrated his film BRAnD uPOn THE BRAIn! at the 2007 Berlinale. The famed actress then turned her hand to writing – collaborating with Maddin on My DAD IS 100 yEARS OLD, a film about her father – and directing. She wrote, directed and starred in the delightfully surreal short film series GREEn PORnO about animal sex. Isabella Rossellini, Jury President of the 61st Berlin International Film Festival, will talk about the various transitions in her professional life, her recent foray into writing and directing and her spirited engagement in human rights advocacy. The session will commence with the screening of My WILD LIFE, a documentary film that portrays her life and work by German director Gero von Boehm.

two Producers Sharing their Secrets Carole Scotta and Paul trijbits. 17:00 | Hau 2

Many jobs in the film industry are welldefined, for example, that of the director, scriptwriter or director of photography. Any de fi nition of the role of the film producer is imprecise at best! Film pro duction requires someone who has the expertise and vision to take decisions through all four stages of filmmaking. uSAmerican film producer Richard Zanuck once said: “The producer is like the con duc tor of an orchestra. Maybe he can't play every in stru ment, but he knows what every instrument should sound like.” Pro duction neces si t ates a command of hundreds of details while keeping the broad objective of the film firmly in view. This simultaneously implies providing in sights and feedback on the creative aspects of filmmaking. Two veteran film producers, Carole Scotta (THE CLASS and BLACK

HEAVEn) and Paul Trijbits (TAMARA DREWE and TOAST – which features in this year’s Berlinale), who between them have been involved in the production of up to a hundred films and received numerous awards and nomi nations, go behind the scenes to explain not just their role visàvis finance, marketing and distribution, but also the creative elements to being a producer. Giving examples of some of their past projects, they will focus on the role of producers as sparring partners, working closely with directors right from the start, connecting content with the harsh but creative reality of producing films.

your body Speaks: the art of Presenting your filmJean-Louis rodrigue. 17:00 | Hau 3, top floor

How the director and producer present their project to potential studio executives and investors often determines if the film will be made. Effective presentation requires clarity of expression, confident body language, accessing the imagination and engaging the audience’s attention by connecting to their emotions. This involves under standing how to use “watcher identification“ and empathy as a way to connect and “seduce” your audience, using mind mapping to plan a presentation that communicates effectively, developing physical and mental coordination in order to act out the story dynamically in time and space, using heroism as a way of making your presentation un for gettable, and connecting to your senses to create the “dream world” of your story so they “hear and see it”. This is an interactive, handson workshop led by acting coach, movement trainer, choreographer and senior teacher of the Alexander Technique JeanLouis Rodrigue. Some Talents will have the opportunity to present their projects to Rodrigue in front of an audience as practical application. This workshop is open primarily to directors, writers, and producers.

dine & Shine – talents rendezvous with berlinale Guests and award Ceremony of the berlin today award 2011dr. Ingeborg berggreen-Merkel, dorka Gryllus, dieter Kosslick, Kirsten Niehuus, Peter rommel, aviva Silver and Hannes Stöhr. Moderated by adrian Kennedy.Supported by Medienboard Berlin-Brandenburg and Robert Bosch Stiftung.19:30 | ewerk

A dinner event where you might find yourself seated beside a renowned film personality as you feast on mouthwatering delicacies – that is “Dine & Shine – Talents Rendezvous“. you never know who you might get seated next to; with every course you switch tables so that you can converse with different Campus experts. Delicious food, delectable company and, if you’re lucky, some much needed advice for your current or next film project. Dine & Shine is traditionally also the celebration for the winner of the Berlin Today Award; jury members will announce the contestant who takes home the 2011 award.


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Sing your Song: Susanne Rostock‘s portrait of Harry Belafonteon the Path with Jasmila Žbanić: critical feedback for actorsrise & Shine Breakfast: make your first contacts in the morning

rise and Shine breakfast Presented by Robert Bosch Stiftung and Sarajevo Film Festival. 9:30 | Hau 2

Hosting this morning’s breakfast of sweet and savoury delights are the Robert Bosch Stiftung and the Sarajevo Film Festival. Meet re pre sentatives of both institutions and learn more about the CoProduction Prize (see p.15) and the Sarajevo City of Film initiative.

On the Path with Jasmila Žbanić actors Workshop with Jasmila Žbanić. In cooperation with Robert Bosch Stiftung.feb 14 + 15 | 11:00 | Hau 3, black Stage

Auditioning for a role is very different from actually acting in a film. For many, this is a daunting prospect. Practice and experience is the only way to overcome the fear and to show your talent in the most convincing way. This intensive casting workshop is led by director Jasmila Žbanić, who won the 2006 Golden Bear for GRBAVICA. Her subsequent film On THE PATH featured in the 2010 Berlinale Com petition. using these two films as a starting point, but also working with new scenes and through improvisations, actors will have the benefit of Jasmila Žbanić‘s insight as director and will experience her style of casting. The workshop will allow actors to try and test their form and


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style which will prepare them for their auditioning ex per i ences in the professional world. Scenes enacted by acting Talents will be recorded on camera, which will allow them to reflect on and discuss their own performances as well as those of others based on the critical feedback they receive from Žbanić.

Let’s Make It LegalMareile büscher and Michael C. donaldson.In cooperation with Raue LLP.11:00 | Hau 3, top floor

One of the major worries of a filmmaker is the threat of a lawsuit, and consequently the fear of the completed film languishing in legal limbo for an indefinite period of time. Indeed, filmmaking is and should be a creative endeavour, but in order that this creativity is recognised and appreciated, it is vital to invest attention and resources to the legal aspects of filmmaking. In fact, taking care of these rather unglamorous issues in a timely manner can be just as important to the ultimate success of the film as having a great script, an outstanding cast, spectacular cinematography or stunning special effects.

This session focuses on the legal issues likely to be encountered during film production. Michael C. Donaldson has represented writ ers, directors, producers and artists for over 30 years; his book “Clear ance and Copyright: Everything the Independent Filmmaker needs to Know” is used as a textbook in over 40 colleges and uni versities. Join ing him onstage is Mareile Büscher, legal counsel at Raue LLP, who specialises in intellectual property matters, media and entertainment law and copyright litigation and negotiation; she is also a lecturer on art and copyright law at various institutions. The two legal counsels will advise, using examples from the productions they have dealt with – Donaldson in north American and Büscher in Europe – on what to beware of when making films.

Camera Workshop at CamelotIn cooperation with Camelot Broadcast Services.feb 14, 13:00 | Shuttle leaves at 12:30 from Hau 2 feb 15, 10:00 | Shuttle leaves at 9:30 from Hau 2

Camelot‘s camera workshop during the Campus offers participants the possibility to see firsthand and ask questions about a variety of cameras. They will be demonstrated and guided through the cameras’ many functions and possibilities. Of particular interest will be Sony‘s F35, the Arri Alexa, the Red One with MX sensor, the PMW F3, the Pro35 adaptor and the Canon 7D with PL mount. Par ticipants will be able to learn about the cameras‘ many different properties and recording possibilities, and will also be warned of potential pitfalls in addition to receiving tips on the best ways to avoid them. This will place them in a better position to shoot material in a way that best suits whatever production or postproduction work flow they

might find themselves in, in the future. Moreover, this practical workshop allows participants to gain real handson experience with the cameras in question and to try them out for themselves. This way, they can perform their own tests, whether shoulderheld or tripodbased.

excursion to the Costume House theaterkunst In cooperation with Theaterkunst.13:15 | Meeting point 13:00 at the entrance to Hau 1

Whether it is a dark thriller, a heartwarming comedy, an opulent period drama or a racy science fiction film – they are all fitted with costumes and accessories at the Costume House Theaterkunst. The largest and oldest costume house for film, television, theatre and advertising in Germany, the institution celebrated its hundredth anniversary in 2007. With branches in Hamburg, Munich and Cologne, and headquarters in Berlin, the costume house offers about 10 million pieces from all styles, epochs and trends, making it possible to trace the past decades of film history and costume equipment. They have fitted such films as VARIETé, BEn HuR, METROPOLIS, and more recently, the likes of InGLOuRIOuS BASTERDS, THE READER and THE WHITE RIB-

BOn. Innumerable rows of clothes and accessories, the latter in clu des scarves, gloves, glasses, jewellery, hats and umbrellas, from every era imaginable adorn the racks of the Theaterkunst, making one wonder about the extent of creative expression and extreme attention to contextual and historical accuracy that go into putting together each costume and film. This general tour is open to ten Talents.

In the Limelight: Harry belafonteHarry belafonte. Moderated by rajendra roy.In cooperation with Berlinale Special.14:00 | Hau 1

Legendary singer actor and human rights activist, Harry Belafonte is one of the most successful uSAmerican musicians known worldwide for bringing the Jamaican calypso beat to mainstream audiences. As an actor, he made his debut in 1953 with BRIGHT STAR and went on to work on such great cinematic works as Otto Preminger's hit musical CARMEn JOnES (1954), Robert Wise’s 1959 film noir ODDS

AGAInST TOMORROW and Robert Altman’s jazz age drama KAnSAS CITy (1996). Alongside his recording and cinematic work, he has hosted and ap pea red as guest on innumerable TV shows, remaining at the same time, steadfastly committed to humanitarian issues. A close confidant of Dr. Martin Luther King, he was appointed unICEF Goodwill Am bassador in 1987 and has garnered numerous awards and honours from the Peace Corps and unICEF. In conversation with chief curator of film at MOMA Rajendra Roy, Belafonte will talk about his life, his longspanning and versatile career and his active involvement in human


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and expectations – they want immersion and interaction. As audiences move from one platform to another, how does one develop stories and characters that can travel across screens and devices?

In the first of a series of three sessions on crossmedia storytelling, experts and pioneers will describe how to build story worlds that can span across multiple platforms and engage audiences in power ful new ways.

embodying the Character: acting on Screen with your body acting workshop with Jean-Louis rodrigue.14:00 | Hau 3, top floor

If you did not have words, could you still tell the story? This workshop focuses on recognising the power of movement and phy sicality in creating a character in film. JeanLouis Rodrigue, a renown ed movement and acting coach and a senior teacher of the Alexander Technique as applied to performance in film, helps actors and actresses find the fluidity of ease, power, precision and passion in their performance. The Alexander Technique is a meth od that explores the basic impulses of human movement – how we interfere

rights advocacy. Encouraging a younger generation of filmmakers, he will explain how he went about using his popularity to reach out to people in his fight against racial and social inequality.

the Indie filmmakers Guide to Cross-Media Iextending the Story: an Introduction to Cross-Media Storytelling Martin ericsson, bruno felix and Michel reilhac.Moderated by Liz rosenthal.14:00 | Hau 2

Before the Internet, the way that stories were told, delivered and shared were restricted by running times, distribution formats and platforms. The impact of new technologies coupled with an audience that has way more control over their media than ever before is impact ing on the art and craft of storytelling. Just as sound changed the lands cape of filmmaking, technology is changing audience be haviour

your Body Speaks: movement trainer JeanLouis Rodrigue working with actors (insert) | Dancing in 3D: Wim Wenders‘ PInA premieres in the Berlinale 2011

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with our own coordination and how we can change it. Rodrigue’s teachings emphasise the awareness of the body and the physicality of performance.

Every gesture has enormous implications in telling the story and revealing the character. The workshop will explore the elements that make an actor charismatic, emotionally authentic and clearly expres sive by developing kinesthetic awareness of your body, ex plo r ing the basic principles of the Alexander Technique, connecting to breath coordination and voice to text, being in space and entering the world of the story, understanding how to bring ritual, myth and primal ances tors into your performance, and using animal movement as a way to find the spine of the character and connecting to your em otions. Participants are required to have a monologue ready for this intensive handson workshop and interactive experience.

excursion to the european film Market With Sydney Levine.In cooperation with European Film Market.Meeting point | entrance to Hau 1 always 15 minutes prior to the start.“Meet the docs” Mon 14, 16:00 | tue 15, 10:00 Wed 16, 10:00 + 12:30

The European Film Market (EFM), a film trade fair, is a major industry meeting for the international film circuit. For nine days during the Berlinale, film professionals have the opportunity to find out about the latest productions and developments in the global film scene. The annual EFM acts as a vital barometer for the upcoming film year, attracting distributors, film buyers, producers, financiers and coproduction agents, as it assists their positioning in the market and offers op portunities to develop and cultivate business contacts. This year, over 400 exhibitors from 54 countries and over 650 films will be presented to industry visitors. The historical location of the EFM, which is housed in the renaissancestyle exhibition hall of the MartinGropiusBau, lends the vibrantly active event lasting nine days, a certain gla mour and charm.

Excursions guided by Sydney Levine, who will also conduct a “Meet the Expert“ session (see page 35), will enable Talents to acquaint themselves with the structure and workings of the EFM. Talents spe cia lising in documentary filmmaking can also join the special tour to “Meet the Docs”, a joint initiative with the European Documentary network (EDn) and specifically dedicated to the documentary industry. “Meet the Docs” aims to promote networking and exchange among buyers, sellers, directors, producers as well as distributors of docu mentaries.

the Shortest track to CinemaCatherine Colas, alexander Stein and rudolf Worschech.Moderated by Maike Mia Höhne.In cooperation with Berlinale Shorts.17:00 | Hau 2

Short films that find their way into regular cinema programmes remain few and far between. And although some dismiss short films as a medium for filmmakers just starting out, this underappreciated genre is thriving, innovative and extremely active. What chances do short films have these days to be screened in regular cinemas? new strategies are being developed by proponents of the short film; one such example is an initiative launched in Germany, which will be presented by Catherine Colas (ZDF/ARTE). Berlinale Shorts curator Maike Mia Höhne will discuss, the various ways, means and actions undertaken to ensure that shorts get to the big screen, with Catherline Colas, Alexander Stein, Interfilm Festival producer, and Rudolf Worschech, chief editor of the German film magazine EPD Film. Addit i onally, some of the shorts which have managed to reach cine mas and audiences will be screened during this session.

Short encountersIn cooperation with Berlinale Shorts.18:30 | Hau 2

A singular opportunity for Talents and experts of the short film genre to network and explore possibilities of producing, distributing and showcasing short films follows the panel. This mini “marketplace“ will comprise short film industry professionals from within Germany and abroad – broadcasters, distributors, sales agents, producers, festi val programmers and short film marketing institutions. The infor mal event is meant to assist Talents in making contacts for screening and distributing their short films, enquiring about oppor tunities, potential partners and funders, and familiarising themselves with the market of alternative venues.

the Legal Sound of MusicMareile büscher and Milena fessmann.In cooperation with Raue LLP.17:00 | Hau 3, top floor

The legal ramifications inherent to the filmmaking process influence not just the creative but also the practical aspects of making films and film music. Simply contemplating the myriad copyrights and clear ances one needs is a scary prospect. But protecting your film from lawsuits makes these legal issues integral to filmmaking itself. Milena Fessmann and Mareile Büscher will elaborate on the im portance of obtaining music rights and the ins and outs of the process. Milena Fessmann is a music supervisor and the founder of Cinesong; the company offers a range of services related to music and films. One


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Short and Scary: BROKEn nIGHT by yang Hyojoo (above) GET REAL! by Evert de Beijer (bottom left)

of their latest film projects is Wim Wender’s 3D film PInA which premieres at this year’s Berlinale. Mareile Büscher is a legal counsel for Raue LLP on press, media and copyright law. The two ex perts discuss various aspects related to rights to music in film: how and when you should go about obtaining these rights, the process involved in clearing rights to sound and music and what a proper request for licensing music should look like.

New Horizons in 3d: Storytelling and Producing redefinedalain derobe, Gian-Piero ringel, erwin M. Schmidt, Wim Wenders. Moderated by Patrick Palmer, joined by Julian Pinn.In cooperation with Dolby Laboratories.18:00 | Cubix 8 a shuttle bus starts at 17:30 from meeting point in Hau 1 Films using 3D technologies have gained immense populari ty with audiences and filmmakers in recent years. The 3D experience provides audiences with a new immersive experience while it gives film makers the opportunity to narrate stories in ways that are more ela bo rate, more lifelike than ever before and to push the boundaries of filmmaking to the limits of their imagination.

Internationally renowned filmmaker Wim Wenders, who has made masterpieces such as WInGS OF DESIRE, the Cuban music documentary BuEnA VISTA SOCIAL CLuB and PARIS, TEXAS, presents his latest documentary PInA, a 3D dance film that is a tribute to the late German contemporary dancer and choreographer Pina Bausch, at this year’s Berlinale. As Wenders explains, “The twodimensional cinema screen is just not capable of capturing Pina Bausch’s work, either emotionally or aesthetically. When I watched her dance for the first time twentyfive years ago, I was captivated and deeply moved. I was able to understand human movement, gestures and feelings in a whole new way. And this magic is what I would like to translate to the screen […] 3D gives us the possibility of taking the audience directly onto the stage, into the middle of the event”.

Showing excerpts from the film, Wenders, together with stereo grapher Alain Derobe and producers GianPiero Ringel and Erwin M. Schmidt, presents a case study on PInA and discusses the cre a tive possibilities that 3D technologies open up for filmmakers, and the role of the producer in developing such highly artistic films that create a truly immersive experience for audiences.

Short and ScaryShort film screenings. evert de beijer, Peter Larsson, Hugo Lilja, Jerome Sable and yang Hyo-joo. Moderated by Juliette Veber.In cooperation with Berlinale Shorts and Berlinale Generation.20:00 | Hau 1

you would think that you’ve seen it all already, the chills and thrills that delight twisted minds. What we offer those in the mood for a little spinechilling fear is an exceptional selection of five short scary films from this year’s programmes of the Berlinale Shorts and Berlinale Generation. We take you through dark worlds and the many faces of horror with a couple who struggle with catching and taming zombies, bloody lobotomy experiments and a relationship on the verge of falling apart in Hugo Lijla’s THE unLIVInG, with the atmospheric photography of yang Hyojoo’s BROKEn nIGHT, which depicts harsh reality when one is ensnared by one’s own tricks, with the woods, the soil and the darkness – damp, raw and stone agelike in Peter Larsson’s animated experimental SEVEn DAyS In THE WOODS, with Jerome Sable and Eli Batalion’s horror rock musical THE LEGEnD OF BEAVER DAM which has kids, an evil monster and a gory fight to death in the woods, and last but not least, with a high school student lost in the world of computer games, protecting a sexy female mega singer from all kinds of attacks in Evert de Beijer’s GET REAL!. Present at the screenings will be the five filmmakers who discuss their short and scary works with new Zealand director and producer Juliette Veber.

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rise and Shine breakfast Presented by the Berlinale Talent Campus. 9:30 | Hau 2

This morning’s Rise and Shine Breakfast offers the early birds a tasty start to a promising new Campus day. Enjoy a selection of sweet and savoury delights as you catch up with Talents and Campus team members.

Where I am and Where I Want to Go:Choosing Personal Strategies in daily LifeWorkshop by thomas biniasz.10:30 | Hau 3, top floor

Any kind of creative work requires the ability to grasp something that exists purely in the imagination and shape it into something tangible and successful. Translating innovative ideas into reality requires a creative strategy. This handson workshop, led by psy chologist, executive coach and management consultant Thomas Biniasz, focuses on learning to define yourself and your projects in the present, visualising possible options for the future and developing and improving decisionmaking in order to synchronise the present and the future.

Biniasz, whose core competencies comprise executive coaching, developing and implementing leadership programmes and facilitating change processes in large organisations, will take you through the threephased “Walt Disney Strategy“ which divides the world into dreamers, realists and critics. This workshop, designed for up to 20 participants, will help you learn about your personal goals and your professional positioning to enhance your individual impact.

too Good to be true: directing realityHeddy Honigmann and andres Veiel. Moderated by Matthijs Wouter Knol.11:00 | Hau 1

Incorporating fictionalstyle elements in documentary films have enriched the genre tremendously and resulted in compelling storytelling taken from reality. yet, critics question reenactments, stag ing of interviews or even the adding of music in documentary films. On this panel are two outstanding filmmakers who have creat ed their own unique filmic language in both their documentary and fictional work: Andres Veiel is considered one of Germany’s leading documentary filmmakers; his latest feature IF nOT uS, WHO? features in this year’s Berlinale Competition. Veiel’s social and political viewpoint is strongly reflected in the choice of themes of his re mark able productions, for example, the documentary BLACK BOX BRD and the feature THE KICK. Another preeminent filmmaker, Heddy Honigmann is noted for her ability to make an emotional connection with people she films; her subjects have included cab drivers in Peru, immigrant musicians on the Parisian metro and Cuban exiles in new Jersey. Winner of major awards at festivals around the world, her artistic œuvre has been honoured with retrospectives, for example, at the MOMA in new york and Arsenal Cinema in Berlin. Through examples from their respective filmographies, the experts will discuss the extent to which directors can create their own filmic reality when making docu mentaries or use documentary elements when making fiction films.

Cinematography: the establishing Shotedward Lachman. Moderated by ben Gibson.14:00 | Hau 1

One of the most significant cinematographers of independent and Hollywood cinema, Ed Lachman has worked with directors such as Werner Herzog, Wim Wenders, Todd Haynes, Todd Solondz, Steven Soderbergh and ulrich Seidl, and is reputed to successful switch bet ween documentary and fictional forms. “It’s not a cameraman’s job to make nice pictures,” says Lachman, “but to bring out the truth.” His guiding principle can be seen in the multitude of films he has shot, such as THE VIRGIn SuICIDES, FAR FROM HEAVEn – which earned him an Academy Award nomination, ERIn BROCKOVICH, DESPERATELy SEEKInG

SuSAn and the documentaries LIGHTnInG OVER WATER and LA SOu-

FRIèRE. This highly acclaimed director of photography, who is also a filmmaker – he directed the controversial KEn PARK together with Larry Clark in 1995, will show excerpts from some of his independent and Hollywood film projects and elaborate on his style of working and his artistic influences, as well as on how one can create a particular look and atmosphere of a film from the start, one that penetrates with insight and accuracy and pervades until the end.

rehearsed reading: an acting and scriptwriting workshop with independent producer and script consultant Alby James


tueSday, feb 15

Play as Process: Worldbuilding and New Ways to ImagineShekhar Kapur, tali Krakowsky, Saku Lehtinen, alex Mcdowell and andrew Shoben.In cooperation with 5D Conference, L.A.14:00 | Hau 2

Our lives are subject to a structure within which we enact our daily acts and rituals, play our games and design our future. The five guests on this panel – each an expert in his/her field of spe ci a lisation – will address how one can create a virtual landscape of things and spaces around us and consequently in art and film. This session brings together production designer Alex McDowell (FIGHT CLuB, MInORITy

REPORT), he is also the founder of 5D: The Future of Immersive Design; film maker Shekhar Kapur (ELIZABETH and ELIZABETH THE GOLDEn

AGE); ex pe r ience designer and founding member of 5D Tali Krakowsky; founder of Greyworld, an artists‘ collective creating art in public spaces, Andrew Shoben; and art director of Remedy Entertainment Saku Lehtinen, who is responsible for the audiovisual experience of games. Based on the core idea behind the 5D Conference – talking about learning about seeing better stories – the five panellists will explore the notion of “playing“ at the centre of the new creative collaborative space, and the designer’s recent ability to build worlds using digital tools, for an immersive audience experience.

Exciting discussions: Actor and director Ralph Fiennes with Vanessa Redgrave in his Berlinale Competition film CORIOLAnuS | Production designer Alex McDowell joins the Campus again (insert) | Liz Rosenthal moderates all three “Indie Filmmakers Guide“ sessions (right page)

rehearsed reading Workshop with alby James.feb 15 + 16, 14:00 | Hau 3, black Stage

The look, the style of movement and the ability to adapt these to the different character roles and filmic setting are core aspects of the actor’s craft. Equally crucial to bringing characters of a script to life is the smooth and effective delivery of dialogue. This workshop of the Talent Actors Stage focuses on dialogue training and will have Talent actors reading vital scenes from a preselected script of the Script Station. Mentor Alby James will work with Talent actors and scriptwriters on building characters, exploring how characters would act, react and talk in a variety of circumstances and in the different situ at ions portrayed in each scene. Alby James, a successful theatre direc tor for fifteen years before he moved into films, radio and television drama, was previously head of development for two years with EOn Screenwriters’ Workshop in London and is currently in dependent producer. Scriptwriters will have the opportunity to ob serve a screen play brought to life for the first time. Participating actors and script writers are invited to offer opinions, reactions, feedback and suggestions at the end of each reading.

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the Indie filmmakers Guide to Cross-Media IIextending Partnerships: How to Produce Cross-Media Projects Wendy bernfeld, ben Grass and Inga von Staden.Moderated by Liz rosenthal.14:00 | Hau 3, top floor

Creating crossmedia projects demands a whole new set of skills, collaborators and finance partners from across the media in dus tries. This session looks at the extended role of the crossmedia pro ducer and examines potential new alliances and partnerships with online networks, multiplatform broadcasters, brands, agencies and other new financiers, as well as the legal issues involved.

In the Limelight: István Szabó and ralph fiennesWith ralph fiennes and István Szabó. Moderated by Mike Goodridge.In cooperation with FERA and Robert Bosch Stiftung.17:00 | Hau 1

Renowned British actor turned director Ralph Fiennes, whose debut film CORIOLAnuS premieres prominently at this year’s Berlinale, has acted in films such as THE COnSTAnT GARDEnER, SunSHInE, THE

READER, THE HuRT LOCKER, SCHInDLER’S LIST and THE EnGLISH PATIEnT. He was nominated for Oscars for the latter two films. Fiennes steps into the spotlight with Hungarian filmmaker, István Szabó – a name that resonates in the world of cinema. He was awarded an Oscar for MEPHISTO and received tremendous accolade not just for his im pres s ive slate of films such as COLOnEL REDL, HAnuSSEn, MEETInG VEnuS and SWEET EMMA, DEAR BöBE, but also for the historic and con tem p orary relevance of the social and political themes they ad dress. The celebrated actor and director who worked closely together on Sun SHInE, an epic tale that follows the Hungarian Jewish family, Sonnen schein, through five generations, will discuss what it takes for a director to get actors to step into their roles with an ease that brings out convincing performances and what the close collaboration on the content of the film means and entails.

Plugging People: european Producers Positioning themselves Jean des forêts, Nicole Gerhards, Peter de Maegd and Soon-Mi Peten. Moderated by fleur Knopperts.In cooperation with MEDIA.17:00 | Hau 2

Emerging producers have plenty of tools to put their com panies on the map and can choose from an array of funding opportunities for support. So much for marketing talk! What is the reality on ground when you set up your own company and want to distinguish yourself from others? How can you build a steady track record as a producer and be successful in getting your film out there?

Three European producers, who have made their mark in the past decade, will discuss the dos and don’ts when establishing oneself as a producer. They will be joined by SoonMi Peten, MEDIA Devel opment Programme representative, who will emphasise the signi ficance of new producers and entrepreneurs for the audiovisual industry and highlight the opportunities MEDIA offers young producers: how it enables them to broaden their horizons and streng then their profiles, gain access to financing and networking op por tunities. MEDIA, the Eu's support programme for the European audio visual industry, has facilitated the development and distribution of thousands of films as well as training activities, festivals and pro motion projects throughout the continent over the past 20 years. MEDIA is one of the Berlinale Talent Campus’ most essential partners.

building digital Worlds for the ScreenShekhar Kapur and alex Mcdowell. 17:00 | Hau 3, top floor

Creating the physical world surrounding a film story involves not just design but also indepth research, problemsolving and technical insight. As a creative process of visualising and physically developing an environment, it becomes a key element of the storytelling process. This workshop, for a selected group of production desig ners, is led by two master craftsmen: Indian filmmaker and producer Shekhar Kapur and production designer and producer Alex McDowell. Shekhar Kapur has made critically acclaimed films like BAnDIT quEEn, the awardwinning historical biopic ELIZABETH and its sequel ELIZABETH: THE GOLDEn AGE, which was nominated for two Oscars. Alex McDowell is one of Hollywood’s most acclaimed production designers with films such as MInORITy REPORT, CHARLIE AnD

THE CHOCOLATE FACTORy, FEAR AnD LOATHInG In LAS VEGAS, FIGHT

CLuB and CORPSE BRIDE comprising his film portfolio. Showing excerpts from their films, the two professionals will examine indepth the production of a plausible and realistic world on screen. Parti ci pating Talents will have the opportunity to discuss their own projects and receive input, insight and guidance.


WedNeSday, feb 16

rise and Shine breakfast Presented by ACPFILMS. 9:30 | Hau 2

Early birds catch the worm! In this case, it’s the breakfast. This morning’s scrumptious spread of breakfast delights is offered by ACPFILMS. Learn more about their fund and get to know their re presentatives over hot coffee and delicious chocolate croissants.

absolute Hearing I-IVexcursions to the Heinrich Hertz Institut and the German film Orchestra babelsberg; Q&a with Michael Nyman; Master Class Sound editing & re-recording Mixing at the film and television university (Hff) “Konrad Wolf”.For composers and sound designers only. In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film Orchestra Babelsberg, Film and Television University (HFF) “Konrad Wolf“.9:30 | Meeting point at the entrance of Hau 1absolute Hearing I-II: excursions to the Heinrich Hertz Institut and the German film Orchestra babelsberg

The Heinrich Hertz Institut is a stateoftheart research institute for communication systems and digital media and services where Talents will learn about pioneering technologies for screen and sound developed for the future. The scores of the Score Competition, recorded with the German Film Orchestra Babelsberg, are remixed in Wave Field Synthesis (WFS), in order to show the spatial sensation of the technology. These scores will be presented at the Heinrich Hertz Institut. WFS is a sound technology which offers high creative potential for an im mersive interactive “cinema of the future”.

in the Berlinale Forum: Thunska Pansittivorakul‘s THE TERRORISTS (above) | The future after the Campus shone bright for alumna Rosario GarcíaMontero whose THE BAD InTEnTIOnS runs in the Berlinale Generation

Campus programme


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The excursion then moves to the German Film Orchestra Babels berg, the only professional orchestra for film music in Germany, invites sound designers and composers for a guided tour of its premises. It gets its name from the illustrious Babelsberg Studios, where noteworthy films such as DR. MABuSE, THE BLuE AnGEL, THE LIFE OF

OTHERS and THE GHOST WRITER were produced.

absolute Hearing III-IV: Master class sound editing & re-recor d ing mixing on tHe LaSt StatION at the Hff-mixing stage

The sound and music excursion makes its final halt at the Film and Television university (HFF) “Konrad Wolf”. A tour of one of the most modern and biggest film academies in Germany will be followed by a q&A session with esteemed composer and Score Competition mentor Michael nyman. Prof. Martin Steyer, vice president of HFF “Konrad Wolf” and rerecording mixer of the awardwinning film THE LAST

STATIOn directed by Michael Hoffman and featuring Helen Mirren, James McAvoy and Christopher Plummer, will conduct a master class on the film: the relation and interaction of picture and sound and the creative work in the mixing theatre (the rerecording stage). Based on an autobiographical novel of the same name by Jay Parini, THE LAST

STATIOn is a historical drama that depicts the last year in the life of Russian author Leo Tolstoy and his struggle to balance fame and wealth with his commitment to a life devoid of material things.

berlin today award 2012 Producers’ MeetingSupported by Medienboard Berlin-Brandenburg.10:00 | Hessische Landesvertretung

The Berlinale Talent Campus offers young directors worldwide the opportunity to work with producers from BerlinBrandenburg, and a golden chance at the Berlin Today Award 2012. Five films based on the theme “Every Step you Take” will enjoy their world premiere at the 10th Berlinale Talent Campus in 2012. The winning film, which will take home the Berlin Today Award 2012, will be selected by a jury of five eminent film professionals. But that’s still in time to come! At this year’s Campus, fifteen preselected Talents and ten production companies will converge at the Producers’ Meeting for a marriage of sorts. Talents will meet Berlinbased producers in oneonone meetings to present their film projects; likewise producers will present their respective companies and the scope of their work. An intensive day, full of presentations and discussions, Talents and pro ducers will also vote for their preferred partners. From the wish list put together at the Producers’ Meeting, the Campus will select in spring 2011 the final five film projects and match them with five production companies. Please see page 32 for more information on the Berlin Today Award and the theme for 2011.

as Queer as It Gets John Greyson, thunska Pansittivorakul, Wieland Speck, Monika treut and Christine Vachon.Moderated by Matthijs Wouter Knol.In cooperation with Berlinale Panorama, Berlinale Forum and TEDDY AWARD.11:00 | Hau 1

queer cinema originated in times when queer opinions and lifestyles weren’t as yet part of the prevailing film industry in western countries. queer filmmakers experimented with new, different forms of storytelling working with lowbudgets and digital shooting formats way before the mainstream caught up with them. not only has queer cinema established itself as a thriving niche in present times, it has also been successful in forging greater mainstream acceptance of queer perspectives in cinema and everyday culture. At the same time, queer cinema appears increasingly less interested in demonstrating the importance of “daring to be different“, but more in celebrating the fact that “queer“ is now somewhat “normal“. Is this what the queer movement has been striving to achieve? How does one define a queer film today and are there differences at an international level? Cele bra ting the 25th TEDDy AWARD, the queer film prize of the Berlinale, five prominent filmmaking pro fessionals come together on this panel: Filmmaker and queer activist Wieland Speck, who is one of the initiators of the TEDDy AWARD in 1985; renowned indie producer Christine Vachon, who has produced many of the iconic queer films of the past two decades; Thai filmmaker Thunska Pansittivorakul, whose THE TERRO RISTS premieres in this year’s Berlinale Forum; Canadian filmmaker, video artist and activist John Greyson, whose uRInAL (1989) and FIG TREES (2009) both won TEDDy AWARDS at the Berlinale; and Monika Treut, one of Germany's most preeminent directors when it comes to queer films, whose GEnDERnAuTS won the TEDDy AWARD in 1999. They will discuss the concept and form of the “queer film“, the possible future role of queer cinema and the challenges faced by filmmakers in less queerfriendly parts of the world.

the Indie filmmakers Guide to Cross-Media IIIextending the audience: How to engage an audience across Multiple PlatformsMartin ericsson, ben Grass and Lena thiele.Moderated by Liz rosenthal.11:00 | Hau 3, top floor

As audiences discover and experience stories across a rapid ly expanding array of platforms and devices, strategies for engaging aud iences are evolving. Looking at a variety of case studies, speakers will demonstrate a number of models and lessons learned from making film stories available across multiple platforms, sites and devices to special events and digital wordofmouth campaigns.


WedNeSday, feb 16

the Internationals: How Small Stories become bigClaudia Llosa, Kornél Mundruzcó and abderrahmane Sissako.Moderated by dorothee Wenner.In cooperation with ACPFILMS and Robert Bosch Stiftung.14:00 | Hau 1

The most powerful stories emerge from the reality one is most engaged in. They are linked to the place(s) you come from, situations you’ve experienced and reflect issues that deeply move and interest you. In the words of awardwinning filmmaker and producer Ab de rrahmane Sissako, “When you work as a filmmaker, you have an intense desire to express yourself and I think that the best way to do so is to speak about oneself or one's experiences”. But how does one transform small, unique stories into compelling narratives that appeals to in ternational audiences?

On stage with Abderrahmane Sissako, whose sharply political films such as BAMAKO and LIFE On EARTH are fitting critiques of globalisation, colonisation and social justice, is critically acclaimed filmmaker Claudia Llosa, who won the 2009 Golden Bear and an Academy Award nomination for THE MILK OF SORROW, and Hungarian director and 2003 Campus alumnus Kornél Mundruczó, whose TEnDER SOn –

THE FRAnKEnSTEIn PROJECT screened in competition at Cannes in 2010, his current project features in the 2011 Berlinale CoProduction Market. The noted filmmakers, whose films are deeply grounded in stories from their own backyard and have received tremendous international recognition, will elaborate on how they decide which stories to develop into films and what makes a local film an international one. They will discuss the significance of support at a national and regional level, particularly if one is keen on working and distributing films internationally.

barbara Hammer: Making Movies Out of Sex and Lifebarbara Hammer. Moderated by Stefanie Schulte Strathaus. In cooperation with Berlinale Forum Expanded.14:00 | Hau 2

She has inspired a generation of queer, feminist and avantgarde artists and filmmakers. Barbara Hammer, a highly prolific visual artist working primarily in film and video, has made over eighty films and videos in the past forty years. Galvanised by the second wave of feminism, Hammer soon became a pioneer of queer cinema. Although the subjects she addresses are astonishingly diverse, her innovative and playful approach to form is unchanging. Her work is about re vealing, showing, expressing, uncovering that which has not been seen before. “I try to give voice and image to those who have been denied personal expression.” Her experimental films of the 1970s dealt with taboo subjects through performance, in the 1980s she used optical

Screening the future: excursion to the Heinrich Hertz InstitutIn cooperation with Fraunhofer / Heinrich Hertz Institut.13:00 | Heinrich Hertz Institut Meeting Point | 12:30 at the entrance to Hau 1

Innovations for the digital future – this is the core of the re search and development work conducted by the Heinrich Hertz Institut – both in the field of hightech communications systems and digital media and services use. The Heinrich Hertz Institut is a leading research institute for Mobile Broadband Communications, Photonic networks and Electronic Imaging for Multimedia. Multimedia is seen as one of the key components in information technology as images, video, language, sound and additional data are being used for an increasing number of services. Additionally, the institute heads the German national project (PRIME), which deals with 3D production technologies for film and broadcasting. Their innovative approaches for the film industry com prise image processing, image communication and 3-D displays, as well as the development of new audio technologies. Research and development trends in the next generation of cuttingedge screen and sound technologies will be demonstrated and explained to Tal ents visiting the institute.

dial f for fiction: Script Station PresentationModerated by Merle Kröger. In cooperation with German Federal Film Board (FFA) and SOURCES 2.14:00 | Hau 3, White Stage

It isn’t the director alone who makes a great film artistic. They do so because they work with exceptional, artistic scripts. The best film scripts are therefore lasting works of art which contain moments of bril l iance, elegance and emotionality that make us want to return to them time and time again. As every year, the Script Station 2011 will be a fascinating showcase of current global storytelling – locally rooted in twelve writers’ experienced reality and personal imagination. One topic depicted in several stories is farewell – as a long process of accompanying a mother with dementia, as a harsh break when a wife suddenly disappears, leaving her husband thrown out of his daily routine, as a painful experience in letting go an impossible love to save one’s own identity. Reflections of world politics shine through highly personal encounters – taking place in Athens and Beirut, or even beyond the coastline of Somalia. Remarkably strong women have to deal with teenage pregnancy in the uS Bible Belt or with the drug scene in Bucharest, with prejudice in Jordan and uganda. While male protagonists catch our hearts in their vulnerability: be it an outcast young rebel from rural India or a boy in love with death on the island of Borneo, Indonesia. These screenplays, at various stages of de velopment, will be discussed for the first time as works in progress by their writers and expert mentors, each depicting the aural, visual and lingual elements required to transform their stories into cinema.

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printing to explore perception and the fragility of 16mm film itself, and in the 1990s she began making documentaries about hid den aspects of queer history. Her documentaries tell the stories of people who have been excluded and relegated to the margins of history and are often essay films that are multilayered and engage audiences viscerally and intellectually with the goal of activating so c i al change. Each decade has marked a new direction in her work as she continues her inward exploration with an unfailing radical sincerity to talk about sexuality, womanhood, illness, aging and mortality.

Her film A HORSE IS nOT A METAPHOR won the 2009 TEDDy

AWARD for Best Short Film, and her most recent GEnERATIOnS (made with Gina Carducci) celebrated its world premier at the MOMA in new york in 2010. Barbara Hammer, who will present the two films GEnERATIOnS and MAyA DEREn’S SInK at the Berlinale Forum Expanded this year, will talk about the evolution of her wideranging body of avantgarde films and on how she views her own creative trajectory.

Welcome to reality: doc Station Presentation Heino deckert. Moderated by Sirkka Möller.In cooperation with German Federal Film Board (FFA) and SOURCES 2.14:00 | Hau 3, top floor

Turning a fascinating idea grounded in reality into a factual work of art is indeed a long and lengthy process. The Doc Station gives a unique snapshot of the world, seen through the eyes of 12 filmmakers from five continents. They span from personal histories of violence

from Colombia to a revolutionary love story in Guatemala. We learn how the economic crisis hits a family business in China, and how an Ethiopian girl is hit by her HIV diagnosis. The directors unravel complex patterns of life in smalltown Germany, in Barcelona’s suburbia, mov ing from new Zealand to China, and from Chile to Sweden. They seduce us with the timeless idea of love in Mexico, and with the ancient songs of Belize. And last but not least, they surprise us with the story of a Kenyan female truck driver, and the dilemma of two cagefighting friends in Germany, who have to face each other. These stories of the Doc Station, currently at different stages of development, will be presented for the first time to a professional audience.

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Barbara Hammer‘s GEnERATIOnS screens at the Berlinale Forum Expanded (above) | Michael nyman, the Score Competition‘s mentor (insert)


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the Great World of SoundMaster class with Michael Nyman. Moderated by Peter Cowie.17:00 | Hau 1

Scoring for film is not a solo venture, but rather a collaborative project that requires a comprehensive understanding of the film and the aim of the filmmaker, envisaging it from a sonic perspective before bringing it to life. That’s what most people are familiar with visàvis the music of Michael nyman – the distinguishing style of his film scores. Having worked as a film composer for over 30 years, he has composed a string of notable scores for over ten films of British art house director Peter Greenaway, several Michael Winterbottom films, and of course the astounding music for Jane Campion’s THE PIAnO. But nyman is more than just a film composer – with over 300 works only ten percent are film scores. He is also a conductor, composer, leader of the Michael nyman Band, photographer and filmmaker. In this master class, nyman will explore ideas behind the tension which exists between music/soundtrack composing, sound effects and mov ing and still images, and how all of these interact and affect each other in the completion of a film. Showing excerpts from his own films as well as the commercial films he has scored, he will talk about his approach and understanding of soundtrack composing from the perspective of a visual artist and filmmaker.

Why Poverty?don edkins and Hans robert eisenhauer.17:00 | Hau 2

Myriad films have been made on poverty but a large pro portion of them are stereotypical approaches often seen on television. Experts call them “development porn“ as images of passive help lessness and deprivation are easy to absorb and easier to ignore. “Why Poverty?” aims to initiate a global dialogue on poverty through public media, challenging people to participate and come up with their own solu tions to eradicate poverty. This crossmedia project, launched by Don Edkins, executive producer of the HIV/Aids project “Steps for the Future” and “Why Democracy?”, will comprise eight onehour and thirty short documentary films to be distributed via innumerable inter national broadcasters, the internet and mobile platforms during a theme week in 2012. The films will depict how people find ways to overcome and fight poverty in daily life, fostering the belief that things can improve if we set our minds to it. Don Edkins will explain the underlining concept and the objectives of the project, the broad themes related to poverty under which the films will be made, and the process of applying with short film ideas, which can be submitted by interested Talents from February 2011. Joining him on stage is coinitiator Hans Robert Eisenhauer (ZDF/ARTE), who will ela borate on the process of initiating a project of this size and scale.

Happy returns: the future after the Campusrosario García-Montero, Kaspars Goba and Javier fuentes-León. In cooperation with Berlinale Generation, Berlinale Panorama,World Cinema Fund, Berlinale Co-Production Market.17:00 | Hau 2

The ninth edition of the Campus assists filmmaking pro fessionals in their quest to position themselves in an everexpanding and fast changing world of cinema, where taking risks and facing chall enges headon is slowly becoming a matter of course. In the limelight today are Campus alumni who have been invited to the Berlinale 2011 with the films or market projects they worked on since they attended the Campus. Javier FuentesLeón and Rosario GarcíaMontero will tell us how they managed to make their film projects a reality, discussing their personal and professional struggles in staying on the filmmaking path and in positioning themselves. Presenting excerpts from their films, they will elaborate on how they addressed the challenges that arose whilst taking creative and strategic decisions for their projects, decisions that have brought them back to the Berlinale with inspiring new films.

Christoph Schlingensief: five favouritesanselm franke, Carl Hegemann, francis Kéré, Matthias Lilienthal and Georg Seeßlen. Moderated by dorothee Wenner.In cooperation with Theater Hebbel am Ufer (HAU), Forum Expanded and Goethe-Institut South Africa.20:30 | Hau 1

He was once arrested for exhibiting a poster with the words “Kill Helmut Kohl” (then chancellor of Germany), and a year later form ed a political party, Chance 2000, which urged Germans to vote for themselves in the 2000 national elections. Christoph Schlingensief, the enfantterrible of the Germanspeaking cultural scene, and certainly its bestknown artistic provocateur, passed away in August 2010. An artist, film, theatre and opera director, he was tireless in his attempts to urge a critical reflection on issues such as immigration, unemployment, rights of the disabled, etc.

This evening isdedicated to Christoph Schlingensief with selec ted film, photo and sound material from his work in theatre, visual art, film and opera. Five specialists, friends and companions will show, comment and discuss their favourite Schlingensief work. With Anselm Franke (curator) on “MedienKunst” (“Media Art”), Carl Hege mann (dra ma turge) on “Mea Culpa”, “Parsifal” and “Der fliegende Holländer” (“The Flying Dutch man”), Matthias Lilienthal (artistic director of HAu) on “Ausländer Raus!” (“Foreigners Out!”), Francis Kéré (architect) on the “Operndorf” (“Opera Village”) and Georg Seeßlen (film critic) on his films.

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rise and Shine breakfast Presented by Institut français. 9:30 | Hau 2

Today’s breakfast is presented by the Institut français and offers you a great start to a new Campus day. Meet representatives of the Institut français and chat with fellow Talents as you enjoy café au lait and ovenfresh croissants.

dress to Impress Master class for production designers at Costume House theaterkunst.In cooperation with Theaterkunst.10:00 | excursion | Shuttle leaves at 9:30 from Hau 2

Production designers and their teams would be at quite a loss if it wasn’t for the Theaterkunst. A reputed institution with a long tradition of outfitting films, Theaterkunst designs very personal and in di vidual collections for each film in line with their specifications. Their highly skilled team of wardrobe masters, tailors, designers and costume painters custommakes every piece of clothing (or disguise) no matter how eccentric. As film costumes are a vital part of the narrative elements and contribute to the overall effect of the film, nothing about their form, colours, material, cut and design can be left to chance. Visiting the Theaterkunst is similar to taking a journey into the past where one revisits such classics as BEn-HuR, THE BLuE AnGEL and METROPOLIS, and the more recent critically acclaimed films THE LIVES

OF OTHERS and InGLOuRIOuS BASTERDS. A guided tour around Theaterkunst will introduce produc

t ion designer Talents to the vast collection of clothes and accessories stretch ing back decades and to the tiny details that go into costume

and production designing. Talents will also benefit from an en lightening case study of the historical drama THE LAST STATIOn, which was filmed in Germany and supplied costumes by Theaterkunst. The film is an adaptation from the bestselling historical novel by Jay Parini and illustrates Russian author Leo Tolstoy’s struggle to balance fame and wealth with his commitment to a life devoid of material things.

disclosing the World Cinema fundVincenzo bugno and Sonja Heinen.In cooperation with World Cinema Fund.10:30 | Hau 3, top floor

With the aim of bringing new perspectives to the big screen from countries with little financial aid, the World Cinema Fund, an initiative of the Berlin International Film Festival, the German Federal Cultural Foundation in cooperation with the GoetheInstitut, finances independent productions from around the world. Supporting films from Latin America, Africa, the Middle East, Central and South East Asia and the Caucasus, the fund looks for independent cinema that narrates local stories, embodies innovative ideas, concepts and aesthetics. As Project Manager Vincenzo Bugno explains, “Our job is an incredible privilege. We deal with countless stories, visions and visual worlds but we are also very ambitious: we try our best in order to support strong projects with an original artistic profile. And it works!” Eighty fiction and documentary films have received funding from the World Cinema Fund so far. One of their very recent success stories is unCLE BOOn MEE WHO CAn RECALL HIS PAST LIVES by Thai director Apichatpong Weera sethakul, which won the Palme d’Or in Cannes in 2010. Moreover, three World Cinema Fund films will have their world premiere at the 2011 Berlinale: THE PRIZE in Competition, MEDIAnERAS


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opportunities for young filmmakers to present their projects at the CoProduction Market and connect with international film industry professionals. Head of the CoProduction Market, Sonja Heinen, together with Kathi Bildhauer and Martina Bleis will introduce the role and workings of the market, its range of events and the application and selection process, as well as how Campus alumni can apply to the Talent Project Market.

Censored CinemaSepideh farsi, Mehrangiz Kar, rafi Pitts and ali Samadi ahadi. Moderated by Vincenzo bugno.In cooperation with World Cinema Fund.14:00 | Hau 1

Filmmaking remains politically sensitive facing censorship and limitation of artistic expression in far too many countries, one such example is Iran. Iranian filmmakers Jafar Panahi and Mohammad Rassoulov were recently sentenced to imprisonment and banned from making films. yet, films do get made in Iran, films that strive to tackle social issues headon. And despite the fact that Iran’s current creative climate con tin ues to be in the clasp of a repressive regime, an im pressive body of work earning critical acclaim and international recognition is being pro duced. How do Iranian filmmakers deal with censorship and the imposed restrictions, and what consequences does this have? Pro mi nent Iranian filmmaker Rafi Pitts, whose film THE HunTER prem ie red in the 2010 Berlinale Competition, will be joined by Mehrangiz Kar, eminent Iranian human rights activist and author, Iranian director Sepideh Farsi and Ali Samadi Ahadi, German filmmaker of Iranian descent. They will talk about how filmmakers can join forces and respond to political censorship.

Covering Cinema: Critics Meet filmmakers

alma Har'el, Gerhard Midding, Jay Weissberg and Przemysław Wojcieszek. Moderated by dana Linssen.In cooperation with Robert Bosch Stiftung, Berlinale Forum and Berlinale Panorama.14:00 | Hau 2

Films, the most accessible and popular of art forms, are predominantly reviewed and evaluated in print and online media. A rare opportunity to experience a facetoface session between film critics and filmmakers as they discuss the latters‘ films! under critical review are MADE In POLAnD by Przemysław Wojcieszek, which feature in this year’s Berlinale Forum, and BOMBAy BEACH by Alma Har‘el, screening in the Berlinale Panorama. Reputed film critics – Gerhard Midding, freelance film critic for German daily newspapers, magazines, as well as radio and television, and Jay Weissberg, film critic for Variety – will undertake an indepth critical analysis of the film, dissecting the

in Panorama and THE BAD InTEnTIOnS in Generation. In this session, Project Managers Vincenzo Bugno and Sonja Heinen elaborate on the scope and objectives of the fund before they present allimportant infor mation regarding the application process.

the Schrader Way to Start a filmPaul Schrader. Moderated by Peter Cowie.In cooperation with Berlinale Special.11:00 | Hau 1

When the lights go off, the hall goes dark and the curtain rises, its time to sit back and enjoy the film. The anticipation that comes with the opening scene is often crucial to the success of the film as it sets the tone and allows the viewer to delve into the world it is creating. Many films hinge on the success of the opening scene as they compel us to remember and relive the moment, either with relish or tense with fear. Paul Schrader, uSAmerican screenwriter and director, has written a range of outstanding films such as TAXI DRIVER – which features in the 2011 Berlinale Special – RAGInG BuLL and THE LAST

TEMP TATIOn OF CHRIST, and is the acclaimed director of MISHIMA: A

LIFE In FOuR CHAPTERS, AMERICAn GIGOLO and BLuE COLLAR. With a spotlight on the perfect opening scene, Schrader will talk about creating an atmosphere that engages the audience, defines the film and keeps the audience hooked from the very start. using excerpts from the films he has written and/or directed, he will discuss how to open a film story that imparts the opening thematic component of everything that is to follow.

On track with Market trends:berlinale Co-Production Market & talent Project MarketKathi bildhauer, Martina bleis and Sonja Heinen.In cooperation with Berlinale Co-Production Market.12:15 | Hau 3, top floor

The 8th Berlinale CoProduction Market brings together about 500 reputed international producers, film financiers, sales agents and distributors, as well as broadcasting and funding representatives, for exclusive and concentrated networking. As its name implies, it is a service platform for those interested in international coproduction to discover the most promising preselected projects, financing pos sibilities and have productive exchanges on current topics. A per so nalised schedule of onetoone meetings with producers of selected projects is put together for each participant based on their preference of projects from the CoProduction Market’s catalogue. Since its in cep tion in 2004, 115 films, comprising approximately 40% of all projects presented at the Berlinale CoProduction Market, have been made, premiered at major festivals worldwide and released in cinemas. In addition, the CoProduction Market closely collaborates with the Berlinale Talent Campus for the Talent Project Market, which opens up

Campus programme


tHurSday, feb 17tHurSday, feb 17 65

things to take HomeMarjorie bendeck, Kathi bildhauer and Christine tröstrum.Moderated by Matthijs Wouter Knol.16:00 | Hau 2

One of the last events of the ninth Berlinale Talent Campus and you begin to ask yourself – is this really the end? This session is designed to show you that there is life after the Campus, and in fact, there is a whole lot in store – a host of new opportunities, activities and events that may be of advantage to you and can be availed of from your home base. Members of the Campus team will present an overview of the various extraCampus services that could be useful in developing your current and future film projects. Information about Campus activities throughout the year, including the online Campus community and Campus international editions will be provided.

Say It with a Score: Score Competition Presentation and award Ceremonyehud freedman, roger Goula, Hubert Henle, Michael Nyman and felix rösch. Moderated by Milena fessmann.In cooperation with Dolby Laboratories.17:30 | Hau 1

Scoring for film is all about imagery – it not only helps to create the ambience of the film and its plot, but also to elicit the emotions of the characters. The transformative power of a score when com bined with images is quite amazing. It guides emotions and can signal a change in theme or mood, a quality in a particular character or lend landscapes a certain characterlike quality. As Francis Ford Coppola stated, “Music is a big factor in helping the illusion of the film come to life.” And it is most effective when it works subtly, evoking and tuning the emotional response of the audience without them being aware of it. This is the craft of the sound composer – complementing dialogues, lighting, setdesign and the montage of the film with music. Three emerging composers and finalists of the Campus Score Competition have spent the past week working on their scores under the guidance of Michael nyman. The three composers join him on stage to discuss the process of creating original music and weaving it seamlessly to moving images. At the end of the session, the winner will be presented the Score Competition Award 2011: a unique tour of the best sound studios in Los Angeles, sponsored by Dolby Laboratories.

Closing Party21:00 | Hau 2

As the exhilarating Campus week comes to a close, we invite all Talents and experts to wind down at the Closing Party in HAu 2. A final farewell from the Campus team will follow the screening of the “Best of Berlinale Talent Campus”, snapshots of the week capt u red by the Deutsche Welle DW-TV Crew.

thematic, the dramatic and the aesthetics aspects with the filmmakers in question. The panelists will also reflect on the current state of film criticism: how young filmmakers deal with critiques and viceversa.

Where things Come together:Campus Post-Production Studio PresentationPhilippe ros. Moderated by Christine tröstrum.In cooperation with Camelot Broadcast Services. 14:00 | Hau 3, top floor

The right blend of ideas and techniques can take your film places, but getting acquainted with technological aspects of filmmaking can be quite intimidating. The Campus PostProduction Studio is a technical handson training programme geared to assist Talents in learning practical filmmaking techniques with the latest digital workflow equipment and the guidance of prominent cine mato graph ers and postproduction experts. 24 Talents chosen to work with expert practitioners in the Digital Workflow segment were able to shoot and experiment with digital cameras like Sony F3 and ARRI Alexa and digital postproduction processes including editing, grad ing, master ing and data management. Philippe Ros will present the final outcomes of this bustling postproduction hub.

Cutting on the edge: Campus editing Studio PresentationSusan Korda, Paz Lázaro, florian Weghorn. Moderated by Kevin Murphy. In cooperation with dffb.14:00 | CinemaxX 17

That extra little insight and input is sometimes all it takes to polish a roughcut and strengthen the narrative structure of a fiction or documentary project. Internationally renowned editors join the Campus Editing Studio to give advice and feedback that will help take films that extra distance. Selected participants will present excerpts from their roughcuts and describe how the oneday session in the editing room provided fresh insights and approaches to their projects. In conversation with Susan Korda, the participants will explain the challenges they identified within their roughcuts and the various approaches that were tried and tested in the Editing Studio.

Often the editing process can drag on longer than expected, and film festival submission deadlines are fast approaching. When is a roughcut polished enough to present to festival programmers? Paz Lázaro, Programme Manager, Berlinale Panorama, and Florian Weghorn, CoDirector, Berlinale Generation, will join the conversation and share their experiences when viewing roughcuts during the programming process. The discussion will turn to when and how to present a roughcut, as well as shedding light on the expectations of programmers when they select a roughcut for screening.

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Index05Chapter

p. 68 Index of events | p. 69 Index of expertsp. 75 Index of participants | p. 77 Note of thanks p. 78 Team and imprint | p. 79 Partners

Alongside the master classes that are of general interest, the Berlinale Talent Campus offers about 80 panel discussions, workshops and individual sessions. Find out which events best suit your needs:

Interesting for actorsDirecting Actors | p.48

Embodying the Character | p.52

On the Path with Jasmila Žbanić | p.50

Rehearsed Reading | p.56

The Rules of Engagement | p.47

Speed Matching on Feb 16 | p.46

Interesting for cinematographersCamera Workshop at Camelot | p.51

Cinematography: The Establishing Shot | p.55

Diving into Post-Production | p.47


Where Things Come Together: Campus Post-Production Studio Presentation | p.65

Interesting for composers and sound designersAbsolute Hearing | p.58

The Great World of Sound | p.62

The Legal Sound of Music | p.53

Say It with a Score: Score Competition Presentation and Award Ceremony | p.65


Interesting for directorsCovering Cinema: Critics Meet Filmmakers | p.64

Cutting on the Edge: Campus Editing Studio Presentation | p.65

Filming War | p.47

Disclosing the World Cinema Fund | p.63

The Indie Filmmakers Guide to Cross Media | p.52,57,59

Kill Your Darlings | p.47

Let‘s Make It Legal | p.51

New Horizons in 3D: Storytelling and Producing Redefined | p.54

Short Encounters | p.53

The Shortest Track to Cinema | p.53





Welcome to Reality: Doc Station Presentation | p.61

Why Poverty? | p.62

Your Body Speaks | p.49

Interesting for editorsCutting on the Edge: Campus Editing Studio Presentation | p.65

Diving into Post-Production | p.47

Kill Your Darlings | p.47

Where Things Come Together: Campus Post-Production Studio Presentation | p.65

Interesting for producersDial F for Fiction: Script Station Presentation | p.60

Disclosing the World Cinema Fund | p.63

Excursion to the European Film Market | p.53

The Indie Filmmakers Guide to Cross Media | p.52,57,59

The Legal Sound of Music | p.53

Let‘s Make It Legal | p.51


On Track with Market Trends: Berlinale Co-Production Market and Talent Project Market | p.64

Plugging People: European Producers Positioning Themselves | p.57

Short Encounters | p.53

The Shortest Track to Cinema | p.53


Two Producers Sharing Their Secrets | p.49

Welcome to Reality: Doc Station Presentation | p.61

Why Poverty? | p.62

Your Body Speaks | p.49

Interesting for production designersBuilding Digital Worlds for the Screen | p.57

Dress to Impress – Master Class at Costume House Theaterkunst | p.63

Excursion to the Costume House Theaterkunst | p.51

Play as Process: Worldbuilding and New Ways to Imagine | p.56

Interesting for screenwritersDial F for Fiction: Script Station Presentation | p.60


Rehearsed Reading | p.56


Why Poverty? | p.62

Your Body Speaks | p.49Katriel Schory at the Campus 2010: Check also the Meet the Expert sessions for talks that might interest you

Index of events

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AbrAm, Ido Director of communications of the EYE Film Institute Netherlands, the new national film institute. He is a board member of ACE and member of the International Advisory Board of the CineMart and the Hong Kong Film Financing Forum. (p.28)AllAmodA, bettInA Artist working in the contextual field of visual arts in a transdisciplinary sense, her work reflects architectural interdependencies of urban public spaces and projective functions of the built environment. Focusing on the mediatisation of history and documentation, her work shows the analysis and exposure of concealed politics of vi si bility inscribed in the surfaces of fashion, art and architecture. (p.35)ArrAte Fernández, IsAbel Head of the Jan Vrijman Fund, initiated in 1998 by the International Documentary Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded over 400 creative documentary projects in development and (post)production stage by filmmakers from developing countries. (p.35)beerends, sAndrA Dutch script editor and guest lecturer. She has worked with an array of screenwriters, directors and producers strengthening the narrative structure of their scripts and films. At the public broadcaster NTR, she was responsible for various awardwinning series and worked on several feature films, family films and documentaries. (p.35)behesht nedjAd, roshAnAkShe is the founder and producer of Flying Moon, a Berlinbased production company, which focuses on features films and documentaries. With an emphasis on inter national coproductions, Flying Moon films include COMRADES IN DREAMS and FULL METAL VILLAGE. She also produced FOOTBALL UNDER COVER, OVERSEAS AND

UNDER YOUR SKIN and HOME FROM HOME and most recently, LOVESONG. (p.28)belAFonte, hArryIn addition to a long, successful singing and acting career, the USAmerican Harry Belafonte is wellknown as an advocate for human rights and has received awards from the Peace Corps and UNICEF. His film career includes CARMEN JONES, ISLAND IN

THE SUN and KANSAS CITY. Susanne Rostock’s documentary about Belafonte’s life, SING YOUR SONG, will be screened at this year’s Berlinale Special. (p.51)belsIto, PeterAmerican producer, cinematographer and publisher, he was the executive vice president of FilmFinders. Together with Sydney Levine, he successfully merged FilmFinders with IMDb and Amazon.com. He has been involved in the professional education of young filmmakers at festivals, market panels and forums. (p.35)berg, ChrIstIne Former managing director of the Film Fund SchleswigHolstein, she is the project director of the German Federal Film Fund (DFFF) at the German Federal Film Board (FFA). She also worked for the production company Kinowelt where she produced MOSTLY MARTHA. (p.46)bernFeld, WendyFounder of Rights Stuff BV, established in 1999. She specialises in hardcore content licensing negotiations and related rights advice for traditional and new media. Based in Amsterdam, she has over 24 years experience in film/payTV channel startup and programme buying, beginning originally as an entertainment lawyer and then spending her career as a senior movie buyer/TV executive. (p.37,57)beyer, klAus-PeterArtistic director of the German Film Orchestra Babelsberg, he was the music pro ducer of the 2001 version of Lotte Reiniger’s THE ADVENTURES OF PRINCE ACHMED, mu sic composer of CONVERSATIONS WITH A BEAST and studio manager of THE MUSKE TEER. (p.22, 58)bInIAsz, thomAs Psychologist, executive coach and management consultant. Since 2001, he is director of PSM. His core competencies are executive coaching, developing and im plementing leadership programmes and facilitating change processes in big organisations. (p.55)

Bird, AndrewBritish-born editor who works chiefly in German cinema. He collaborated with Fatih Akin, whose films THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN he edited. Among others, he received the German Camera Award and Film+'s Schnitt Prize. He edited Miranda July’s THE FUTURE, which runs in this year’s Berlinale Competition. (p.26)BrinkmAnn, kAthrin Commissioning editor of the department ARTE “Thema” within the German TV

channel ZDF, she used to commission “Das Kleine Fernsehspiel” from 1994-2000. Recently she commissioned COMRADE COUTURE by Marco Willms, SUPER ART MAR KET by Zoran Solomun and A JIHAD FOR LOVE by Parvez Sharma. (p.25)Büscher, mAreileBerlin-based lawyer at Raue LLP, she focuses on intellectual property matters, media and entertainment law, as well as copyright litigation and negotiation. She has lec-tured on the subject of art and copyright law for various institutions including the Humboldt University Berlin. (p.51, 53)chronis, iwAnAManager of the Hubert Bals Fund of the International Film Festival Rotterdam. Previously, she worked at the Prince Claus Fund for Culture and Development, where she coordinated the Cultural Emergency Response (CER) programme. During those years, she also collaborated with IFFR’s CineMart for the Prince Claus Fund Film Grant. (p.37)colAs, cAtherineCommissioning editor for short and long films at ZDF/ARTE, she is also responsible for the ZDF magazine “Short Circuit”. Since 1995, she works at ARTE in Paris in the feature film department, for the programme “Metropolis” and as production man a-ger for documentary films. (p.53)cowie, Peter Film historian and long-time international publishing director of “Variety" magazine, he has written some 30 books on film and film icons, and has contributed numerous commentaries to “Criterion” DVDs. In 1963 he was the founding editor of the annual “International Film Guide”. His latest book is on Akira Kurosawa. (p.49, 62, 64)de Beijer, evertDutch short film director, screenwriter and graphic designer. In 1980 he completed his first animated film, GERARD which ran successfully at festivals, followed by THE

CHARACTERS which was honoured with numerous prizes and awards. His most re-cent film GET REAL! will be shown in this year’s Berlinale Generation. (p.54)de mAegd, PeterIndependent film producer focusing on new opportunities of the converging media. He was involved in the production and marketing of various Caviar Films releases such as DIRTY MIND, LEFT BANK and MY QUEEN KARO. With Caviar Films, he develops the drama series THE ARTISTS in co-production with several European broadcasters. In 2004 he founded the production company Potemkino. (p.57)deckert, heinoProducer and managing director of MA.JA.DE Film Production. In 1995 he founded d.net, an informal union of seven European producers. In 2003 he established the world sales agency Deckert Distribution. He lectures on documentary production and distribution for organisations such as EDN and Eurodoc. (p.61)deroBe, AlAinFrench cinematographer and stereographer. Having been involved in numerous feature films, Derobe specialised on 3D cinema and developed various systems that are crucial for 3D filming. He is the founder of the Association of French Cine ma-tographers and UP3D, an association of French stereographers. He is the stereo-grapher of PINA, screening in this year‘s Berlinale. (p.54)des Forêts, jeAnAlumnus of 2008, he is the producer of numerous short and feature films including AGUA FRÍA DE MAR by Paz Fábrega and HÉROS by Bruno Merle. In 2010 he started his own company, Petit Film. Currently in production are 40 DAYS OF SILENCE by Saodat Ismailova, LEONES by Jazmín López and WIR SIND TOT by Tobias Nölle. (p.14, 57)


PageIndex of experts

69experTs

DonalDson, Michael c.Entertainment lawyer for independent filmmakers for over thirty years. In addition to representing writers, producers and directors, he serves as General Counsel to Film Independent and the Writers Guild Foundation. His books on faire use, copyright, negotiation and trademarks for independent filmmakers are standard re ference books. He lectures at law and film schools worldwide. (p.51)Driessen, ellisWorking through the privately owned company Proctor Film & TV, she has also work ed for Fortissimo Films as the acquisition consultant for Europe & the Middle East, as an independent sales agent and an individual producer for German speaking countries. Driessen has been involved in the Binger Filmlab and is a member of the feature film advisory commission of the Netherlands Film Fund. (p.28)Dringenberg, KatjaOne of Germany’s finest film editors, she won the German Camera Award for Andres Veiel‘s BlACk BOx BRD and DIE TöDlICHE MARIA by Tom Tykwer. She has also directed the documentaries kINDHEIT HINTER DRAHT and ICH DICH AuCH. (p.26)eDKins, DonProducer of the Southern African series on truth and reconciliation lANDSCAPE OF

MEMORy, and the multiawarded documentary project STEPS FOR THE FuTuRE. He is executive producer of the STEPS International global documentary project “Why Democracy?” which encompassed long and short films, one of which, TAxI TO THE

DARk SIDE, won an Oscar for Best Documentary in 2008. (p.62)eisenhauer, hans robertHead of Thema at ZDF/ARTE. Before working in the film industry, he was a freelance journalist and moved to ZDF/ARTE in 1991, where he commissioned international coproductions including BuENA VISTA SOCIAl CluB and TAxI TO THE DARk SIDE. (p.62)ericsson, MartinSenior designer and creative director of The Company P in Sweden. He has initiated, written and designed more than twenty pieces of participative art ranging from reality games to SciFi and FantasylARPS. Together with the Swedish channel SVT, he created THE TRuTH ABOuT MARIkA, which won an Emmy Award in 2008. (p.52, 59)Farsi, sepiDehIranian filmmaker based in Tehran and Paris. Before making her first film, she worked in visual arts and photography. She won the FIPRESCI Prize at the Mumbai International Film Festival for HOMI D. SETHNA, FIlMMAkER and Best documentary prize in Festival dei Popoli for HARAT. Her most recent documentary TEHRAN WITHOuT

PERMISSION which portrays her hometown, is shot entirely on a mobile phone. (p.64)Felix, bruno Director and independent new media producer. In 2000 he cofounded Submarine, an independent production studio specialised in documentaries and new media. As a producer, he has worked with directors such as Douglas Gayeton, Peter Greenaway and Thé Tjongkhing. Previously, he was responsible for the new media strategy of Dutch Public broadcaster VPRO, and Director of VPRO Digital. (p.52)FessMann, Milena German music supervisor, she is the founder of Cinesong, which offers a full range of services related to music and films. She was music consultant for more than a hundred films including Wender’s PINA which premieres at the Berlinale. (p.53, 65)Fiennes, ralphOscarnominated British actor, he celebrates his directing debut at this year’s Berlinale Competition with CORIOlANuS. His extraordinary filmography as an actor includes films such as SCHINDlER’S lIST, THE ENGlISH PATIENT, THE HuRT lOCkER, István Szabó’s SuNSHINE, and THE READER. (p.57)Fontaine, DicK Documentary filmmaker, currently head of documentary direction at the National Film and Television School uk, he has made over 40 films for television and in dependent media. A founding member of Granada Television’s WORlD IN ACTION, he developed experimental art films with John Cage, Roland kirk, Johnny Rotten and kathleen Battle. (p.25)

Fox, KerryAcclaimed New Zealand actress, her film debut was Jane Campion’s AN ANgel At My

tAble, for which she won, among others, the best Actress Award at the New Zealand Film & tV Awards. Fox starred in WelCoMe to SArAJeVo and won the Silver bear for INtIMACy at the berlinale 2001. In 2009 she performed in Hans-Christian Schmid’s StorM, and will soon appear in Jonathan teplitzky’s burNINg MAN. (p.31, 47, 48)FranKe, anselmCurator and writer, he is the artistic director of extra City Centre for Contemporary Art in Antwerp. He has edited and published with different publishing houses and contributes to a number of magazines such as Partkett and Cabinet Magazine. Franke is on the advisory board of the berlinale Forum expanded. (p.62)Fuentes-león, JavierPeruvian filmmaker, he made the film uNdertoW, which received awards at festivals such as Sundance and San Sebastian. It was also Peru‘s national entry for the 2011 oscars. 2005 talent Project Market alumnus, Fuentes-león returns to the berlinale Co-Production Market with his project “the Woman Who Feared the Sun“. (p.14, 62)FuJiwara, ChrisWriter, film critic, journalist, editor and translator, he is the author of various books such as “Jerry lewis," "otto Preminger: the World and Its double” and “Jacques tourneur: the Cinema of Nightfall”. He is editor of “defining Moments in Movies” and of the online film-criticism magazine “undercurrent” and contributes to numerous journals such as “Film Quarterly”. (p.29)GarCía-montero, rosarioPeruvian director and screenwriter and Campus alumna from 2007, her short film Are you FeelINg loNely? (2003) won numerous awards at film festivals. Her feature film tHe bAd INteNtIoNS, for which she found her co-producers at the talent Project Market 2007 and which is supported by the World Cinema Fund, will celebrate its world premiere in this year’s berlinale generation. (p.14, 62)GazdaG, Gyula Hungarian director of theatre, film and television, his feature films include: A

HuNgArIAN FAIry tAle, StANd oFF and SINgINg oN tHe treAdMIll. He is the artistic director of the Sundance Filmmakers lab, teaches at the binger Filmlab and is a distinguished Professor at the uClA School of theatre, Film & tV. (p.24)Gerhards, niColeProducer for NIKo Film, her filmography includes films tHe StrANger IN Me, CHAQue

Jour eSt uNe Fête and töte MICH. She was supported as “New talent“ by MedIA in 2007. (p.57)Gibson, bendirector of the london Film School, he has commissioned and produced films by terence davies, derek Jarman, John Maybury and many others as an independent producer and as the head of production at the british Film Institute. He is the foun d-ing chairman of the Script Factory. (p.47, 55)Goba, Kasparsdocumentary film director and photographer, he made the award-winning SedA.

PeoPle oF tHe MArSH. His HoMe@lV features in this year’s berlinale Panorama. Since 1996, he has worked as a director, scriptwripter and cinematographer on more than 15 documentaries that focus on social and environmental issues. (p.62)GoldbeCK, Christiangerman production designer and art director. He has worked on films such as tHe

reAder, KrAbAt and reQuIeM; he was nominated for the german Film Award for all these three films. He is production designer of Andres Veiel’s IF Not uS, WHo? which premieres in this year’s berlinale Competition. (p.35)GoodridGe, miKeeditor of Screen International, he is in charge of all editorial content on the brand which covers Screendaily.com, Screen print dailies at berlin, Cannes, toronto and AFM and the monthly print magazine. He has a regular column in el Mundo in Spain. In 2000 he published his first book “directing”. (p.57)

Index of expertsPage

70 experTs

GouGh, Louise Australian script editor and dramaturge currently based in NYC, she has worked as a script manager, edited a number of feature film scripts and has developed over 40 professionally produced plays. She works as a development executive for Robyn Kershaw Productions, Australia, and as a script editor at SOURCES 2. (p.24)Grass, BenManaging director of Pure Grass Films, he produced BEYOND THE RAVE and KIRILL, which won a Webby for Best Drama Episode in 2009. Pure Grass Films are currently working on four transmedia properties and financing a contemporary remake of Oliver Twist (TWIST). Grass was formerly responsible for Sony Pictures Digital in Europe and was senior advisor for Corporate Strategy at the BBC. (p.57, 59)Greyson, JohnCanadian filmmaker, video artist, writer and activist, he directed numerous short films including THE PERILS OF PEDAGOGY and MOSCOW DOES NOT BELIEVE IN QUEERS. Among his feature films are ZERO PATIENCE, LILIES and FIG TREES; the latter won the 2009 TEDDY AWARD for Best Documentary. He is a professor at York University, where he teaches film and video theory, film production and editing. (p.59)GryLLus, DorkaHungarian award winning film and theatre actress who studied at the Budapest Academy of Drama and Film. In 2004 she participated in the Berlinale Talent Campus and was selected as a Shooting Star during the 55th Berlinale. Among her most recent films are THE BONE MAN by Wolfgang Murnberger (Berlinale Panorama 2009), SOUL KITCHEN by Fatih Akin and IRINA PALM by Sam Garbarski. (p.33, 49)haDžihaLiLović, LuciLe French director, editor and producer. Her first feature INNOCENCE won numerous awards including Best First Film at San Sebastian Film Festival. Previous films include MIMI, which was shown at Sundance, Cannes and Toronto. With Gaspar Noé, she foun ded the production company Les Cinémas de la Zone, which most recently produced ENTER THE VOID, for which she co-wrote the script. (p.24)hammer, BarBaraAmerican experimental filmmaker, video artist, feminist activist and author. Hammer has directed over eighty films and videos. Her most recent films include RESISTING

PARADISE and A HORSE IS NOT A METAPHOR, which won the TEDDY AWARD in 2009. Her memoir “HAMMER! Making It in Sex and Movies“ was published in the spring of 2010. Retrospectives of her work were shown at The Museum of Modern Art in New York City, the Reina Sofia in Madrid, and the Tate Modern in London. Two of her films will be screened at this year’s Berlinale Forum Expanded. (p.60)har’eL, aLma Music video and commercial director, her documentary BOMBAY BEACH was selected for this year’s Berlinale Panorama. In addition to directing a number of music videos, she has directed TV spots starring Danny DeVito, Carl Reiner, Garry Marshal and Jerry Stiller for Obama’s presidential campaign. (p.64)hayashi, kanakoFestival director of the TOKYO FILMeX International Film Festival, which showcases contemporary independent cinema from Asia, she was a member of the Berlinale Jury in 2002 and the Manfred Salzgeber Prize of the Panorama section. (p.37)heGemann, carLProminent dramaturge, he has worked at a number of theatres including The Ber liner Ensemble. He served as the dramaturg-in-residence at the Volksbühne am Rosa- Luxemburg-Platz in Berlin, working with notable directors such as Frank Cas torf, Christoph Schingensief, Rene Pollesch and Einar Schleef. (p.62)høGeL, JakoB kirstein Artistic director of the talent development scheme New Danish Screen. Previously, he was a film consultant at the Danish Film Institute, supporting documentaries, and was co-founder of the documentary production company Cosmo Doc where he produced award-winning films such as PROSTITUTION BEHIND THE VEIL. (p.25)

Honigmann, Heddy Peruvian-born documentary and feature filmmaker, as well as screenwriter. Her extraordinary filmography includes Metal and MelancHoly, o aMor natural, Good Husband, dear son and Goodbye. Winner of numerous awards, her work has been honoured in many retrospectives including at the MoMa in 2003. (p.55)James, alby Former head of development at eon screenwriters’ Workshop. Independent pro du-cer and script consultant for emerging talent for feature films and television drama series. His career began in theatre and he has produced, directed and written a large number of notable theatrical and radio plays. His work on feature films and tele -vision dramas started in the mid-90s. (p.31, 56)Kapur, sHeKHaracclaimed Indian film director and producer. He rose to popularity with his film bandIt Queen. among others, he directed elIzabetH, which was nominated for seven oscars and elIzabetH: tHe Golden aGe, starring cate blanchett. His future projects include PaanI, to be released in 2011, produced by danny boyle. (p.56, 57)Kar, meHrangizIranian lawyer, human right activist and author. she has served as a fellow, among others, at the national endowment for democracy, the american university in Wash ington dc, the university of Virginia and columbia university. she was a rad-cliffe Fellow at Harvard and is currently based at the carr center for Human rights Policy at Harvard’s John F. Kennedy school of Government. (p.64)Kennedy, adrianactor/comedian, tV writer and senior producer of deutsche Welle dW-tV‘s daily show “euromaxx“. He is a founding member of the berlin & brandenburg society for authentic and Historical Music. (p.49)Kéré, francisan architect and development activist from burkina Faso, he won the aga Khan award for architecture in 2004. together with christoph schlingensief, he is the architect of operndorf africa, which will put in place working and living conditions that facilitate education, dialogue and art production. (p.62)Knaf, JoacHimtutor at the Film & television university (HFF) “Konrad Wolf” for interdisciplinary film economics, with a focus on financing and calculation. He has been working in inter-national feature and documentary production since 1996 and was producer and line producer of numerous international co-operations. (p.35)Knopperts, fleur Former director of the Forum for international co-financing of documentaries at IdFa in amsterdam. In 2007 she set up MeetMarket – international marketplace for in de-pendent documentary projects at doc/Fest sheffield. since 2009, she is head of development at Volya Films. (p.25, 57)Korda, susan susan Korda edited the oscar-nominated and sundance-crowned For all Man-

KInd, and teddy winner treMblInG beFore G-d. Korda also writes and directs, and was most recently a producer on WIllIaM Kunstler: dIsturbInG tHe unI Verse. Her own work includes VIenna Is dIFFerent and one oF us. Korda teaches at columbia’s Graduate Film Program and binger Film lab, amsterdam. (p.26, 47, 65)KosslicK, dieterFestival director of the berlin International Film Festival since 2001, he was managing director of Hamburg‘s cultural film fund since 1983. He became director of the Hamburg Film Fund in 1988 and director of the Filmstiftung northrhine-Westphalia in 1992. (p.46, 49)KraKowsKy, taliFormer director of experience design at Imaginary Forces, she is a founding member of “5d: Future of Immersive design”. throughout her career, she has led the con-ceptual and strategic development of projects integrating storytelling, new media and physical environments. she has published several articles and given lectures on the topics of design, technology and architecture. (p.56)



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Kruger, beatriceA casting director based in Rome, Beatrice Kruger was responsible for the Euro pean and/or Italian casting of films such as SILK, THE INTERNATIONAL, CASINO ROYALE, OCEAN’S TWELVE and many more. (p.31, 37)Kurz, SibyllePitching trainer and consultant for film schools and film institutes all over Europe, she specialises in intensive pitching training, project presentation, proposal development, dramaturgical doctoring and consultancy work. (p.28)lachman, edwardOscarnominated USAmerican director of photography and filmmaker. He has work ed with directors such as Steven Soderbergh, Paul Schrader and Robert Altman. His extraordinary filmography includes ERIN BROCKOVICH, FAR FROm

HEAVEN and most recently Ulrich Seidl‘s new film PARAdISE. (p.55)larSSon, PeterSwedish animation film director, his SEVEN dAYS IN THE WOOdS will be screened in this year’s Berlinale Shorts. His most recent films are THE PEOPLE ANd THE WHALE, THE

mAN WHO GOT NOWHERE, WHAT WE ALREAdY KNOW and SEVEN TRIPS WO RSE. (p.54)lehtinen, SaKuFinnish art director of Remedy Entertainment Ltd, he is responsible for the entire audiovisual experience of games such as the recent psychological action thriller game “Alan Wake“. (p.56)levine, SydneyOver 35 years experience in the entertainment industry, she was a pioneer acquisitions executive and founder of FilmFinders, the first database used for tracking new films worldwide. She established the video rental division of Republic Pictures and Lorimar Home Video. (p.35, 53)lilja, hugoSwedish film director. He has worked with the Emmy Award winning company ”The Company P” and directed their web series dOLLPLAY, which was developed by FOX. He founded and run the productions company Accordion Film in Sweden between 20052007. Lilja presents his film THE UNLIVING in the Berlinale Shorts 2011. (p.54)lilienthal, matthiaSArtistic director of Theater Hebbel am Ufer (HAU), he was head dramaturge at the Volksbühne in Berlin, and in 2002 directed the “World Theatre” festival in the Ruhr district in Germany. He has successfully developed a chain of performing arts projects that look at contemporary society with a sharp and insightful eye. (p.62)linSSen, danaSince 1997, she is writing film criticism for the dutch daily newspaper NRC Handelsblad, became editorinchief in 1998 and later copublisher of the dutch inde pendent film monthly de Filmkrant. She recently launched the Slow Criticism Project as a counterbalance against the commodification of film criticism. (p.29, 64)lloSa, claudiaPeruvian filmmaker whose first feature film mAdEINUSA won numerous awards, among them the FIPRESCI prize in Rotterdam. Her second film THE mILK OF SORROW won the Golden Bear at the 2009 Berlinale. THE mILK OF SORROW was nominated for the Academy Award in the Best Foreign Film category in 2010. (p.60)maccarone, angelinadirector and writer based in Berlin. Her first feature film UNVEILEd was nominated for various awards and won the Hessische Filmpreis. In 2006, her film PUNISH mE

received the Golden Leopard at the Locarno Film Festival. maccarone works as a lecturer at the German Film and Television Academy Berlin (dffb). (p.22)malcolm, dereK British film historian and critic for “The Guardian” for decades, he is President of the British Federation of Film Societies and the International Film Critics Circle, as well as Honorary President of FIPRESCI. He writes for the “London Evening Standard”. (p.29)manKell, henningHis most iconic literary creation is a series of crime novels with the character of Kurt Wallander. He has written children’s books and several plays. He was a member of

the International Jury at the Berlinale in 2009. He is socially and politically engaged, and participated in the “Ship to Gaza” project in 2010. (p.47)Maoz, SaMuelIsraeli film director; his debut feature film LEBANON won the Golden Lion at the Venice Film Festival in 2009 and the European Discovery and Best Photography at the European Film Awards in 2010. (p.47)Marten, GeSaGerman editor, dramaturge and lecturer, she was nominated for Best Editing at the Ger man Television Awards for ABNEHMEN IN ESSEN and at the German Camera Award for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won Film+‘s Schnitt Prize for WAS LEBST DU? in 2005 and for PERESTROIKA in 2009. (p.26)MartenS, MeikeGerman producer and production manager for co-productions, she participated in the Campus in 2009. She co-produced numerous films and documentaries including THE DAY OF THE SPARROW and NOSTALGIA DE LA LUZ, directed by Patricio Guzmán, which won the Prix Arte at the European Film Awards 2010. (p.25)McDowell, alexBritish production designer and film producer, he has worked with Tim Burton, Steven Spielberg and David Fincher. His filmography includes FEAR AND LOATHING

IN LAS VEGAS, FIGHT CLUB and MINORITY REPORT. He is also founder and director of “5D Conference”, an interdisciplinary network focusing on the impact of technologies in design fields. (p.56, 57)Metz, JanuSDanish documentary director whose latest film ARMADILLO premiered at the Cannes Film Festival and was awarded the Grand Prix de la Semaine de la Critique. Metz holds a master degree in visual anthropology, his international breakthrough came in 2008 with the two films, LOVE ON DELIVERY and TICKET TO PARADISE. (p.47)MiDDinG, GerharD Film journalist for EPD Film magazine and several other newspapers, film maga -zines and radio programmes in Germany, Austria and Switzerland, he is the German corres pondent of the French magazine “Positif”. (p.64)Müller, ulrikeGerman casting director for films such as WHEN WE LEAVE with Sibil Kekilli, which won numerous awards and Hochhäusler’s EINE MINUTE DUNKEL, which premieres in the Berlinale Forum, and SLEEPING SICKNESS, which features in this year’s Berlinale Competition. Müller was awarded the German Casting Prize in 2010. (p.31, 37)MunDruczó, kornélHungarian director, actor and writer. He won, among others, the FIPRESCI prize for the film DELTA at the 2008 Cannes Film Festival. His film PLEASANT DAYS won a Silver Leopard at the Locarno Film Festival in 2002. He returns to the Co-Production Market with his new project “The Flying Man“. (p.14, 60)nikitin, nikolaJThe Berlinale delegate for Eastern-Europe and co-founder of the film magazine “Schnitt“, he is member of FIPRESCI and the European Film Academy. He curates international film festivals in Germany and across Europe, and heads the only European festival dedicated to editing, “Film+“ in Cologne. (p.37)nyMan, Michael See interview on p. 23 (p.62, 65)PaDilha, JoSéAward-winning Brazilian director of the films BUS 174 and ELITE SqUAD, the latter won the Golden Bear at the 2008 Berlinale. Most recently, he directed the documentaries GARAPA and SECRETS OF THE TRIBE. Padilha presents his sequel ELITE

SqUAD 2 – THE ENEMY WITHIN at this year’s Berlinale Panorama. (p.47)PalMer, PatrickCo-founder and chief operating officer of IRIDAS, he has worked on the front edge of software technologies for the film industry for the last decade. Palmer is one of the driving forces in making Stereo 3D post-production tools more versatile. He also gives master classes on Stereo 3D at various locations throughout Europe. (p.54)

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Pansittivorakul, thunskaThai independent film director, his short films, documentaries and feature films were screened in over 100 international film festivals. Most recently, he directed The

TerrorisTs which will be screened in this year’s Berlinale Forum. (p.59)Paul, romanCo-founder of razor Filmproduktion. he co-produced the oscar-nominated WalTz

WiTh Bashir and Paradise NoW (the Berlinale’s Blue angel award, a Golden Globe and an european Film award). he also co-produced Cirkus ColuMBia and Miranda July’s The FuTure; the latter premieres in this year’s Berlinale Competition. (p.46)Peten, soon-miaudiovisual consultant before joining the Media Programme in 2000, she specialised in development support for independent european producers. she continues this work as selection coordinator within the european Commission‘s education, audio-visual and Culture executive agency. (p.57)Pinn, JulianChair of both the Bsi and iso Technical Committees on Cinematography, he is re s-pon sible for the development of dolby’s motion picture services portfolio. With fifteen years experience as a dolby consultant for both original and foreign language movie releases, he is heavily involved with standards-making. (p.54)Pitts, rafiiranian filmmaker, producer and screenwriter, his short and feature films received numerous awards at international festivals and are often categorised as films of the new wave of iranian Cinema. his most recent films iT’s WiNTer and The huNTer were screened in the Berlinale Competition in 2006 and 2010. (p.64)rabarts, marten artistic director of the Binger Filmlab amsterdam, he is a producer and screenwriter for cinema and TV. he worked for la's Propaganda Films, PolyGram Filmed enter -tain ment group and Manifesto, and has collaborated with sarah radclyffe, Tim Bevan and alison owen on films such as derek Jarman's edWard ii. (p.24, 48)reilhac, michelMichel reilhac is the executive director of arTe France Cinéma and the director of film acquisition for arTe France. For Canal+, he made To Be a MaN in 1999, and in 2000 directed keNYa islaNds for arTe. he produced CrY WoMaN, which was in un Certain regard of the Cannes Film Festival, and The Good old NauGhTY daYs (which he directed) was presented in the Filmmakers Fortnight. (p.35, 52)ringel, gian-PieroGerman producer, he founded his own film production company ringel in 2004. in 2006 he produced the short film das Mass der diNGe and his first feature film NaChMiTTaG premiered in the 2007 Berlinale Forum. as managing director of the company Neue road Movies, he has produced Wim Wender’s PiNa, which features in this year’s Berlinale. (p.54)rissenbeek, mariette Managing director of German Films, she is responsible for public relations and press, international festivals and “das rendezvous“, an annual German-French film meet-ing. her career began at Tobis Filmkunst in Berlin before she started working as a producer at ziegler Film. independently, she produced hiGhWaY soCieTY by Mika kaurismäki, among others. (p.46)rodenkirchen, franz script advisor and tutor in international workshops and individual project devel-opment, he is based in Berlin. he is head of selection for Torino Film lab, a script advisor at the Binger Filmlab, where he also teaches script editing to industry pro-fessionals. (p.24)rodrigue, Jean-louis Member of the faculty at the uCla school of Theater, Film and Television, his unique style of acting coaching, movement training and movement design can be seen in W. with Josh Brolin, huMaN NaTure with Patricia arquette, The aFFair oF The

NeCklaCe with hilary swank, seaBisCuiT with elizabeth Banks and Bee seasoN with Juliette Binoche. (p.31, 37, 49, 52)

Roginas, RenateRenate Roginas led, as producer, the international co-production department of Telfrance. She works as head of studies, lecturer and tutor. She established Villa Kult in Berlin, a venue and meeting place for international professionals from film, tele-vision, media, radio and the arts. (p.32)Rommel, PeteRGerman producer, whose GRILL POINT by Andreas Dresen won the Silver Bear in 2002. Other films are NIGHT SHAPES, LOST KILLERS and SUMMER IN BERLIN. His 2009 production CLOUD 9 won a German Film Award and WHISKEY WITH VODKA was the winner of the International Film Festival Karlovy Vary. (p.33, 49)RoRvik, PeteRDirector of the Durban International Film Festival, a flagship project of the Centre for Creative Arts, which Rorvik has headed since 1999. He is also the director of three other major annual festivals produced by the CCA; Time of the Writer, Jomba! Con temporary Dance Experience and Poetry Africa. (p.37)Ros, PhiliPPe Director of photography and digital imaging. He supervised the cinematography in HOME, Yann Arthus-Bertrand’s feature film from 2009. Ros was cinematographer for OCEANS, directed by Jacques Perrin and Jacques Cluzaud, and has worked as tech ni-cal supervisor of cinematography. (p.26, 47, 51, 65)Rosenthal, liz Digital film and media expert, she is the founder and director of Power to the Pixel, a cross-media company and forum based in London. She also founded Earthly Delight Films, launched the online animation project “Marsipan” and set up and ran the UK

office for Next Wave Films from 1998 to 2002. (p.52, 57, 59)Rossellini, isabellaItalian actress, filmmaker and author. Her career is defined by a diverse body of work, including films such as BLUE VELVET, THE SADDEST MUSIC IN THE WORLD and THE SOLITUDE OF PRIME NUMBERS, which was nominated for a Golden Lion at the Venice Film Festival in 2010. She is this year‘s President of the Berlinale Jury (p.49)Roy, RajendRaChief curator of film at the Museum of Modern Art, New York. From 2004-08, he was on the Competition Selection Committee of the Berlinale, and continues to serve as an advisor to the festival. (p.51)sable, jeRomeWriter, director and composer with credits in stage and film. His film THE LEGEND OF

BEAVER DAM, which he co-directed with Eli Batalion, will be screened at this year’s Berlinale Generation. Sable co-wrote and directed the short comedy series CRAzY/

SExY/AWKWARD for FremantleMedia, and the musical short MEANWHILE… (p.54)saltzwedel, danielFunding advisor for feature-length documentary films at the Medienboard Berlin-Brandenburg, he has worked extensively in film production as a production assistant and subsequently, as a producer at zero Film. (p.46)samadi ahadi, ali German filmmaker of Iranian origin. In 2006 his documentary LOST CHILDREN won the German Film Award. Most recently, he directed the intercultural comedy SALAMI

ALEI KUM. With his documentary THE GREEN WAVE, which features in this year’s German Cinema-LOLA@Berlinale, he responds to the opposition movement in Iran. (p.64)schmidt, eRwin m.German producer, he has been involved in a number of art house films, including YOU THE LIVING, DERNEL and ORLY. He was line producer for Shirin Neshat’s WOMEN

WITHOUT MEN which won the 2009 Silver Lion at the Venice Film Festival. Since 2008, he has been working as a 3D producer for Neue Road Movies, co-producing PINA, which premieres in this year’s Berlinale. (p.37,54)schoRy, katRielExecutive director of the Israel Film Fund since 1999, he founded the production com pany Belfilms and produced over 200 films including award-winning feature films, TV dramas and international co-productions. (p.28)



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Schrader, PaulUS-American screenwriter and film director. He wrote the screenplays of some of the most iconic films of modern cinema. Among them are TAxi Driver, which is part of this year‘s Berlinale Special. He celebrated his directorial debut with BlUe CollAr in 1978 and wrote/directed AmeriCAn GiGolo and ADAm reSUrreCTeD. (p.64)Schulte StrathauS, StefanieCurator at Arsenal – institute for Film und video Art in Berlin, and programmer of the Berlinale Forum expanded, she is the co-founder and board member of the Kinothek Asta nielsen in Frankfurt/ main. (p.60)Schwerbrock, MathiaSGerman producer, his film portfolio includes AimÉe & JAGUAr, niGHTSonGS and JoHn

rABe. in 2009 he worked as a producer of 24H Berlin, a 24-hour documentary told in real time. He is currently co-producing the Shah rukh Khan production Don 2. (p.35)Scotta, caroleFrench producer and founder of the independent production and distribution com pany Haut et Court. The company produced and co-produced over twenty feature films, among them CoCo AvAnT CHAnel and enTre leS mUrS and distributed over hundred films. it is currently producing THe WomAn in THe FiFTH directed by Pawel Pawlikowski with Kristin Scott Thomas and ethan Hawke. (p.49)SeeSSlen, georgone of Germany‘s most influential media critic, Georg Seeßlen writes for magazines and newspapers like “Die Zeit“, “taz“ and “ePD film“. He teaches at different German film academies and universities and has written about 20 books on film topics. (p.62)Shoben, andrewFounder of Greyworld, which has created works in hugely coveted locations across the world and has permanent installations in twelve countries. in 2004 he launched “The Source”, a permanent installation for the london Stock exchange. Shoben is a regular contributor to television, radio and print. (p.56)SiMonen, ulla Producer in her own company mADe, she also works as a producer for Klaffi Pro duc-tions and as a documentary script advisor for SoUrCeS 2. She lectures both nationally and internationally on different aspects of documentary productions and is a mem-ber of the european Film Academy. (p.25)SiSSako, abderrahMane Filmmaker who has worked in mali and France. His WAiTinG For HAPPineSS won the FiPreSCi Prize at the 2002 Cannes Film Festival. Sissako was a member of the inter-national Jury at the Berlinale and at Cannes. in 2008, he contributed the segment DiGniTY to the international project “Stories on Human rights”. (p.60)Skjødt, hannenetwork manager at the european Documentary network (eDn) based in Copen-hagen. Since 2000, she has been with the Danish Film institute as distribution and promotion consultant and head of unit for the promotion and distribution of shorts and documentaries. (p.37)SPeck, wielandHead of Berlinale Panorama since 1992, he initiated, together with manfred Salz-geber, the TeDDY AWArD. He is author and producer of numerous film productions and directed, among others, eSCAPe To liFe: THe eriKA AnD KlAUS mAnn STorY. He has also worked for european film institutions and taught at universities. (p.59)Staden, inga vonmedia architect, coach and educator for creative industries. She directs the pro-gramme interactive media at the Film Academy ludwigsburg. Having initiated, founded and directed various projects such as “The Academy of converging media”, she also worked for the medienboard Berlin-Brandenburg from 2004-2007. (p.57)Stehling, frankCeo and owner of the Berlin based PrimeHoUSe GmbH. He has been active in many fields of the film and media business such as scriptwriting, direction, production and funding. Stehling’s professional focus includes business development and script development, market research, world sales, financing and interactive media. (p.32)

Stein, AlexAnderManaging director of the International Short Film Festival, Interfilm, in Berlin. Stein has been working for Interfilm since 1998 and co-founded the limited company Inter film in 2000. (p.53)StenSgAArd, Molly MAleneSee interview on p.27. (p.26)Steyer, MArtinGerman sound mixer who worked on numerous acclaimed films including YELLA, THE LAST KING OF SCOTLAND and THE LAST STATION. He won the German Film Award for Best Sound Editing for REQUIEM and TRADE. He is Professor at the Film & Television University (HFF) “Konrad Wolf” since 2005 and its vice president since 2006. Since 2008, he has been the programme director of INSIGHT OUT at the HFF. (p.59)Stöhr, hAnneSGerman director and scriptwriter who studied at the German Film and Television Academy Berlin (dffb). Among the films he wrote and directed are BERLIN IS IN

GERMANY (Panorama Audience Award 2001), ONE DAY IN EUROPE (Berlinale Com-petition 2005) and BERLIN CALLING (2008). He works as a guest lecturer at the dffb and the Film Academy in Ludwigsburg. (p.33, 49)SzAbó, iStvánHungarian filmmaker who won an Academy Award for MEPHISTO in 1981. His films MEETING VENUS, SWEET EMMA, SUNSHINE and BEING JULIA have received numerous awards, among others, at the Berlinale, Cannes and Venice Film Festivals. Most recently, he wrote and directed, THE DOOR, starring Helen Mirren. (p.57) tAnović, dAniS Bosnian film director and screenwriter. His film NO MAN’S LAND won an Oscar for Best Foreign Film, the European Film Academy Award and the César Award. Tanović was member of the international Jury in Cannes in 2003. Well received by the critics was also his most recent film CIRKUS COLUMBIA. (p.47)thiele, lenAAs creative director and cross-media producer Lena Thiele is developing and pro-ducing new formats in the field of documentary film, online, mobile and games. She joined Gebrüder Beetz Filmproduktion in January 2010. Previously she headed a Berlin-based digital media company and a games studio as creative director. (p.59)todShArow, MArtinFilm music composer, producer and musician. He wrote scores for Oskar Roehler’s films including ELEMENTARY PARTICLES and AGNES AND HIS BROTHERS. He also wrote scores for NOTHING BUT GHOSTS, MINOTAUR and HILDE and worked as lecturer at the Film Academy Ludwigsburg, the German Film and Television Academy Berlin (dffb) and the Film & Television Uni versity (HFF) “Konrad Wolf” in Potsdam. (p.22)treut, MonikAOne of Germany‘s most preeminent documentary and fiction directors when it comes to queer films. She writes and produces her own films, among which are the award-winnning VIRGIN MACHINE, MY FATHER IS COMING and GENDERNAUTS, for which she won a TEDDY AWARD in 1999. (p.22)trijbitS, PAul Producer of award-winning films such as THE MAGDALENE SISTERS, THE WIND THAT

SHAKES THE BARLEY and TOUCHING THE VOID. He was head of the New Cinema Fund of the UK Film Council before he joined Ruby Films in 2007 as partner and exe cutive producer. Recently completed at Ruby Films were TAMARA DREWE and TOAST, the latter features in Culinary Cinema at this year’s Berlinale. (p.49)ukwuoMA, SelinA Formerly a development executive at EON Screenwriters' Workshop and Cuba Pic t-ures, she now works as a freelance script editor, consultant and tutor. She has worked on a number of projects including the feature BOY A, which screened at the 2008 Berlinale Panorama. (p.24)vAchon, chriStineUS-American producer of critically acclaimed films such as BOYS DON’T CRY, I’M NOT

THERE and FAR FROM HEAVEN. Vachon formed the production company Killer Films

experTsPage Index of experts

74

AAbdollahyan, Fatima GezaAbuhamdan, ZaidAchitsa, Bethsheba Adizes, TopazAi , ElizabethAjayi, ChristineAlbuliwi, BandarAldershoff, ChielAlexandre, ZeffAloni, OmriAlves, MariaAmat, GeorginaAmescua, PriscilaAmirpour, Ana Lily Anadu, ChikaAnderson, JosephineAndreeva, MariaAndrizzi, MauroApopei, Mihai Marius Arias, FelipeAsim, AdnanAttia, HabibAubert, SebastienAun, AnuAyub, Ishtiaque

BBajac, StasaBakker, TristenBalci, Emine EmelBaletic, HajdanaBallús, NeusBalulu, RafaelBaptist, WillemBarrejón, SergioBartenev, DenisBastes, May AnneBastos, MarioBaumeister, ClemensBen Hamra, Mohamed AliBerliner, CarolineBerliner, MichaelBiain, Juan ManuelBisset, Christopher Bizri, HishamBoeuf, SabrinaBofarull, Anna MariaBöhrnsen, Jytte-MerleBohun, DavidBorghi, Pablo GabrielBoulay-Goldsmith, CharlotteBravo, Angela Brending, NicoleBrkusic, Hrvoslava

Broadhurst, Frances ClareBrown, RobBusch, OlafButzmühlen, StefanBuyi, Philip Roy

C-DCash, ConallCeyton, KristinaChalupnik, RomanChapman, DavidCollington, SashaCorthouts, LievenCotorruelo, IvonneCruz, Francis JosephCukali, KoloretoDamnjanovic, NatasaDavari, MaryamDe Felice, FabioDeigman, NicholasDelbeke, MaartenDiaz, Augusto CesarDoering, PhilippDuncan, AlyxDurán, MauricioDurand, JonathanDvornik, Klemen

E-FEakwattanakij, KamontornEliash, Elisa ValentinaErríquez, EzequielEscala, Charena TheressaEssuman, HawaEvans, GarethExarchou, SofiaFantone, Gerald PatrickFaraone, DiegoFarina, GiorgiaFariñas, MauroFegan, Jorge AlejandroFernández, Juan DanielFerreiro, HéctorFreedman, Ehud

GGamat, ZalinaGammon, CharlotteGandour, MollyGanuza, IkerGarcía, Josefina MaríaGarcía, DanielGebresenbet, ZelalemGeissendörfer, HanaGerbaulet, AlexandraGiampà, Giorgio

with Pamela Koffler and Katie Roumel. In 1998 her first book “Shooting to Kill” was published, followed by “A Killer Life” in 2006. Vachon was a jury member of the Sundance Film Festival and at the Sarajevo Film Festival. (p.59)Veber, JulietteNew Zealand producer and director, she produced films such as The PRIce oF MILK and Toy LoVe. Veber's debut feature-length documentary TRoubLe IS My buSINeSS

premiered in the 2008 New Zealand International Film Festival. (p.54)Veiel, AndresLeading German film director, his film IF NoT uS, Who? features in this year’s berlinale competition. his documentaries bLAcK box bRD won the 2002 european Film Award and ADDIcTeD To AcTING won the 2004 Panorama Audience Award. (p.55)Weissberg, JAy Film critic at “Variety“, he was a researcher at the Photofest film stills archive in the uSA and continues to divide his interests between film and art history by working in the world of old Master drawings. (p.64)Wenders, WimWenders has been an influential figure in New German cinema. his films The

AMeRIcAN FRIeND, WINGS oF DeSIRe and bueNA VISTA SocIAL cLub have won num-erous prestigious awards. his forthcoming film PINA, an homage to the late choreo-grapher Pina bausch, was shot in 3D and premieres at this year‘s berlinale. (p.54)Wendt, ulrich KodJoGerman composer for film and theatre who did music for feature films such as IN JuLy, directed by Fatih Akin, as well as the documentary films ScoRING bLue by christian bau and Ab NAch RIo by Jens huckeriede. his work in theatre includes The WoRLD

IS bIG AND SALVATIoN LuRKS ARouND The coRNeR and live performances. (p.35)Wenner, dorotheeDocumentary filmmaker, author and journalist, she has been on the se lec tion committee of the berlinale Forum since 1990 and serves as the berlinale delegate for India and Sub-Saharan Africa. Among others, she has made the 2008 documentary PeAce MISSIoN. (p.60, 62)Westhoff, frédériquehead of team at AcPFILMS; its overall objective is to contribute to the development and structuring of the cinema and audiovisual industries in the African, caribbean, Pacific countries so that they can create and disseminate their own works more effectively. (p.37)WoJcieszeK, PrzemysŁAWPolish film director. he made his directorial debut with KILL TheM ALL, followed by the critically acclaimed LouDeR ThAN boMb in 2001. Since 2004, Wojcieszek has also directed plays. he wrote and directed the feature film MADe IN PoLAND, which celebrates its world premiere in the 2011 berlinale Forum. (p.64)Worschech, rudolfeditor of the ePD Film magazine, he was a research associate at the German Film Museum, Frankfurt from 1987 to 1995, where he curated several exhibitions and film series and published texts on Western and German films and on film policy. (p.53)yAng, hyo-JooKorean short film director, her film The uNbRoKeN will be presented in this year’s berlinale Shorts. She won numerous awards for her previous shorts oNe LAST DAy and JouISSANce. Most recently, she won the Asian New Force award at the 15th hong Kong Independent Short Film and Video Awards. (p.54)zAchAreK, stePhAnie chief film critic for “Movieline”, she was the senior writer and film critic for Salon.com for many years. her writing on books and pop culture has also appeared in “The New york Times”, “The Los Angeles Times”, “Rolling Stone” and “Sight and Sound”. (p.29)ŽbAnić, JAsmilAbosnian screenwriter, artist and director, she won the 2006 Golden bear for GRbAVIcA. In 1997 she founded the artists’ association Deblokada – through which she has directed and produced her films. her latest film oN The PATh was presented in the berlinale competition 2010 and distributed worldwide. (p.31, 50)


PageIndex of participantsIndex of experts

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Giberti, Luca Gieren, StefanGildehaus, LisaGiorgetti, AlessioGoldstein, Verena LeonaGoula, RogerGrant, Lauren MichelleGreene, NicholasGreenspan, GalGriniūtė, AlbinaGrinspum, DanielGroothof, MarinusGrosan, CristinaGroßheim, JulianeGueli, CaterinaGuerrero, Ianis

HHaddad, FadiHalldorsson, JakobHariche, HuguesHaseen, NoharHazboun, RamziHeinzerling, ZacharyHommer, JörgHörcher, GáborHotait, LailaHow, AngelaHsiung, JamesHussaini, Sayed JalalHutter, Magdalena

I-KIlana, NadiraInserra, LovissaIsmaiel, AhmedIvanov, VolodymyrJalla, RajeshJimeno, MargaritaJurkiewicz, TomaszKadan, SouddKalafati, Dafni FoteiniKamya, Agnes Kangas, JonasKanic, VladimirKato, YosukeKerimaa, Ville-VeikkoKesteris, PaulsKhaindrava, GigaKhan, Jibran Khedr, TamerKing, PeterKirkland, AlexKlem, Flemming ChristianKlepatski, DimitriKnuten, Henrik MartinKoçi, Gentian

Kofler, MichaelKolb, TilmanKoos, OlivierKoskas, CorentinKostovski, OgiKozemount-Sanidis, EfthymiosKrastev, GeorgiKristoffersen, Erlend M.Krizmanić, IvanaKrummenacher, MichaelKubescha, Mirjam AnneKuonen, Sebastian

LLääne, MadliLai, Yan ChiLaizāne, Agnese Lale, DavidLamhene, EricLamont, EmmaLanghof, JuliaLaperrousaz, ClaraLara, KatiaLeclere, AstridLee, DavidLenken, SusannaLeo, MaximilianLevick, JessicaLiauw, SuryaniLim, Kah WaiLindner, TobiasLindström, TobiasLittle-White, DamaliĻitvinova, ElīnaLo Savio, GiorgiaLópez, NazlyLovre, IvanaLupik, Victoria

MMachado, PauloMaciulskis, ViliusMackerras, Josephine Magee, Micah Marre, EmmanuelMartínez, Jesús GerardoMasferrer, MartaMatthews, KateMavroidi, MarthaMaza, SantiagoMazzi, EnricoMcConville, Sean McGrath, Anna Meghie, AlisonMendoza, David CarlosMesich, JenniferMijović, Luna

RRachuba, RemigiuszRaffel, FelixRajabi, HamedRamadan, MohamedRaman, ShankerRandriamahaly, SitrakaRankin, MatthewRantonen, MikaRebner, DanielReddy, EmmetReich, JulianReischer, LailaRenneke, UrsulaReshetnikova, EkaterinaRév, MarcellRiddell, BenjaminRittmannsberger, Michael Rodman, MihaRodríguez, OctavioRomagno, AndradaRösch, Felix

SSaag, SigridSaleem, AzhurSalvatori-Sinz, AxelSamavi, SetarehSamusik, RafalSantos, AndréSaqr, Hisham Salah Sárkány, ClaudiaSarmiento, JuanSattarov, AzizbekSavill, MichelleScarlato, DimitriScheidt, Marie ElisaSchmidt, Steffen PhilippSchönherr, AndreaSedgwick, GabrielSegal, RonSekyaya, PatrickSelonk, AletéiaShakeel, MohammedShan, ZuolongSheridan, TomásShoval, DeborahŠimić, IvanaSingh, PushpenderSkalski, RafalSnorrason, RagnarSokolova, EkaterinaSolf, RitaSoper, BenSotorra, AlbaSt. John, JenniferStan, Monica

Steyer, SabineSteytler, WillemStránská, MartinaStrelnikova, SvetlanaSzymańska, Joanna

TTakkin, HelenTanović, InesTillotson, RachelTisminetzky, MicaelaTitova, YanaTorres, Harald CarlosToulemonde, JacquesTraila, AlexTrifonova, TemenugaTrinh, Dinh Le Minh

U-VUgarte, MyriamValente, Mariavan der Tholen, Jemimavan Koevorden, Niels Vardar, ÖzcanVavouris, NikolaosVekarić, BarbaraVilanova, Laravon Horn, Magnusvon Lingen, MarkusVoutas, SamVukovic, Vesi

WWagenbauer, KristinaWagner, JohannaWai Kit, Wong Wallner, MartinWarrink, Derk-JanWatson, JustineWeber, Klaudia AidaWermke, ChristophWeydemann, JonasWigens, JonWłodarski, MariuszWolf, JanineWysocki, Jonathan

Y-ZYamamoto, HyoeYim, Kyung-dongZabukaite, JurgaZaharia, Maria-FlorentinaZirngibl, ChristophZlotorowicz, PiotrZogka, Elena AntigoniZoldnere, Astra Zoratti, Carlo

Milne, AnneMishra, Bikas RanjanMolina, CatalinaMollo, FabioMorales, MauraMoreira, FranciscoMotoyoshi, RetsuMuhumuza, PeterMüjdeci, Hüseyin KaanMunsamy, Kimeshree

NNasiru, IdiNel, WillemNesterenko, MariiaNeuville, MaaikeNiemczyk, AleksandraNistor, Edgar AlexandruNoonan, MarkNorton, SamNyaruri, Zippy

OOdabaşı, ErenOkorougo, ObinnaO'Leary, TerenceOliva, MarianaOlsson, Iris Omewiri-Pius, PeterOpalka, TomaszOrey, MauricioOrjonikidze, NinoOswald, Thomas

P-QPacsay, AttilaPálos, GergelyParadis, KatiaParhizgar, GolkouPastor, CarlesPedregal, AlejandroPedreira, Rafael Petev, VladimirPianezza, PamelaPfeifer, MarioPitsillidou, TheofanoPortillo, OtiliaPourseifi, HosseinProcter, DavidProtsenko, GuillaumePrühl, KarstenPujol, AnnaQuadekker, MatthiasQuinones, Jesse

Meet participants from 88 countries:

Afghanistan, Albania, Angola, Argentina, Armenia, Australia, Austria, Bangladesh, Belgium, Belize, Bolivia, Bosnia and Herzegovina,Brazil, Bulgaria, Cameroon, Canada, Chile, China, Colombia, Costa Rica, Croatia, Cuba, Cyprus, Czech Republic,Denmark, Ecuador, Egypt, Estonia, Ethiopia, Finland, France, Georgia, Germany, Ghana, Greece, Guatemala,Honduras, Hong Kong, Hungary,Iceland, India, Indonesia, Iran,Ireland, Israel, Italy, Jamaica, Japan, Jordan,Kazakhstan, Kenya,Latvia, Lithuania, Luxembourg,Madagascar, Malaysia, Mexico, Moldova,Netherlands,New Zealand, Nigeria, Norway, Pakistan, Palestinian Territory, Peru, Philippines,Poland, Portugal,Romania, Russian Federation,Serbia, Singapore,Slovenia, South Africa,South Korea,Spain, Sweden,Switzerland, Syria, Thailand, Tunisia, Turkey,Uganda, Ukraine,United Kingdom,United States, Uruguay,Vietnam

Index of countriesPage

pArTICIpAnTsIndex of participants

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ACPFILMS Frédérique Westhoff, Moussa Sawadogo.Ambassade de France Charles Malinas, Nathalie von Bernstorff and Carole Lunt.A&O HOTEL and HOSTEL Mitte Robert Hering, Tina Bierwolf, Denitza Babekova and Jasper Beckmann. ARTE Deutschland Hans Robert Eisenhauer and Kathrin Brinkmann.ARTE France Michel Reilhac and Annamaria Lodato.Auswärtiges Amt (Federal Foreign Office) Dr. Guido Westerwelle, Werner Wnendt, Max Mal dacker, Helmut Lörsch, Bernhard Abels and Katharina Cramer-Hadjidimos. Bar 7000 Jeremias Loock.Berliner Pilsener Bettina Pöttken.Berlin Today Award Producers 2011 Beleza Film: Jessica Landt, Falk Nagel; Filmkantine: Katrin Springer, Volker Ulrich; heimatmedien: Moritz Wessendorff; Kloos & Co. Medien: Stefan Kloos, Vanessa Temp; Macchiato Pictures Filmproduktion: Ismail Sahin, Holger Sorg.Binger Filmlab Gamila Ylstra and Marten Rabarts. BKM – Der Beauftragte der Bundesregierung für Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg Berggreen-Merkel, Ulrike Schauz and Michael Knoche.BMW Karsten Engel, Maximilian Schöberl, Manfred Bräunl and Hans-Reiner Schröder.British Council Rebecca Walton, Amaka Ugwunkwo, Christine Bardsley and Elke Ritt.Camelot Broadcast Services Victor Nikolaidis, John Henry and Christian Klimpke. COLT Dr. Adelino Santos.Daazo Film and Media Ltd. Dániel Deák, Zoltán AprilyDeutsche Weine Monika Reule.Deutsche Welle Eric Bettermann, Christoph Lanz, Rainer Traube, Arno Hefner, Melanie Matthäus, Bettina Kolb, Dieter Roser, Hanne Kehrwald, Fred Oelschlegel, Pamela Schobess, and the Deutsche Welle trainees.Deutsches Filmorchester Babelsberg Klaus-Peter Beyer and the musicians.dffb – German Film and Television Academy Prof. Jan Schütte, Maximilian Müllner, Kathrin Osterndorff, Stefan Beckers, Laura Gintar and Alex Leser.Dolby Laboratories Julian Pinn and Hubert Henle.Durban International Film Festival Peter Rorvik and Nashen Moodley.European Film Academy Marion Döring, Stephanie Röders and Pascal Edelmann.European Film Market Beki Probst, Catherine Buresi.European Film Promotion Renate Rose and Karin Dix.ewerk Ralf Regitz (†), Friedrike Tiedtke, Tjabo Reuter.Festival internazionale del film di Locarno Nadia Dresti and Mario TimbalFFA – German Federal Film Board Peter Dinges, Christine Berg and Birthe Klinge.FIDMARSEILLE Jean-Pierre Rehm, Fabienne Moris and Anaëlle Bourguignon. FIPRESCI Klaus Eder.

Fraunhofer / Heinrich Hertz Institut Michael Witte and Ralf Schäfer.Gahrens & Battermann Michael Kugel.Goethe-Institut Buenos Aires Stefan Huesgen, Dr. Gabriela Massuh and Inge Stache. Goethe-Institut Johannesburg Peter Anders.Goethe-Institut Mexico Folco Näther, Sebastian Huber.Goethe-Institut Tokyo Raimund Wördemann and Mihoko Tanno.Goethe-Institut München Prof. Dr. Klaus-Dieter Lehmann, Dr. Hans-Georg Knopp, Dr. Christian Lüffe and Marina Ludemann.Gorol & Partner Stephan Gorol, Verena Zimmermann and Leonie Würfel.Guadalajara International Film Festival Iván Trujillo Bolio.Hebbel am Ufer (HAU 1-3) Matthias Lilienthal, Sonja Hildebrandt, Rahel Häseler, Elisabeth Knauf, Kirsten Hehmeyer, Matthias Schäfer, Kathrin Veser and the entire HAU team for their cool theatre.Holland Subtitling Wibo de Groot, Ron van der Meij.Hugo Boss Philipp Wolff and Claudia Schmidt.IDFA Cathalijne de Wilde.Insight Out Max Hemmo.Internationale Kurzfilmtage Oberhausen Marcus Schütte.jobs und böhm Sonja Jobs and Sylvia Böhm.Kulturprojekte Berlin Tommy Nick.London Film School Ben Gibson.L’ORÉAL PARiS Jérôme Bruhat, Yvonne Rostock and Heike Leder. Manfred Durniok Foundation Michiko Teramoto.MEDIA Training Programme of the European Union Aviva Silver, Costas Daskalakis, Arnaud Pasquali, Soon-Mi Peten and Aurélie Varin. MEDIA International Irina Orssich Slavetich and Emmanuel Cocq.Medienboard Berlin-Brandenburg Kirsten Niehuus, Elmar Giglinger and Daniel Saltzwedel.Nipkow Programme Uta Ganschow and Petra Weisenburger. Rabenhorst Johannes H. Mauss.Robert Bosch Stiftung Dr. Ingrid Hamm, Dr. Kurt Liedtke, Frank Albers and Karin Angela Schyle.Sarajevo Film Festival Mirsad Purivatra, Amra Baksić Camo and Jovan Marjanović.Serve-U Phillip Sünderhauf.SOURCES 2 Dr. Renate Gompper, Marion Gompper.Talent Campus Buenos Aires María Marta Antin, Manuel Ferrari and Agustina Arbetman.Talent Campus Durban Monica Rorvik.Talent Campus Guadalajara Lorena Rossette Riestra and Ana de la Rosa Zamboni.Talent Campus Sarajevo Asja Makarević, Ivana Pekušić and Adnan Beširović.Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer.Theaterkunst Susanne Franke, Nikole Fölster, Birgit Raabe.

The Film and Television University (HFF) „Konrad Wolf“ Prof. Dieter Wiedemann, Prof. Martin Steyer and Holger Lochau.The Post Republic Rebekka Garrido and Michael Reuter.TOP-IX Torino e Piemonte Internet Exchange Silvano Giorcelli and the entire team.U.S. Embassy Berlin Philip D. Murphy, Elisabeth Corwin, Wolfgang Brandt and Kerstin Reichert.VFF Prof. Johannes Kreile, Prof. Norbert Flechsig and Prof. Georg FeilViva con Agua Benjamin Adrion.Wave-Line Matthias Behrens.Wirtshaus am Ufer Thomas King and the entire team.20sec.net Jens Rietdorf and Robert Wagner.KBB – Kulturveranstaltungen des Bundes in Berlin GmbH Charlotte Sieben, Ute Meyer, Johannes Emig, Andrea Schreiber, Susanne Grünberg, Petra Hemprich, Stefan Martin and Jana Daubitz.Berlin International Film Festival: Our colleagues Thomas Hailer, Bernadette Kamp, Juliane Grieb, Antonia Pössinger, Denise Anh-Dao Beyschlag, Karin Hoffinger and Daniela Weber. Johannes Wachs and Wolfgang Janßen. Anne Gebhardt, Kerstin Iskra, Melike Öztürk, Dr. Albert Drügemöller and Eva Simhart. The section heads Christoph Terhechte, Maike Mia Höhne, Dr. Rainer Rother, Maryanne Redpath and Florian Weghorn, Linda Söffker, Wieland Speck and their teams. Vincenzo Bugno, Stefanie Schulte Strathaus, Wilhelm Faber, Frauke Greiner, Dagmar Forelle, Anne Marburger and their teams. Hans von Trotha. Markus Hönle, Nina Orda, Gunnar Gilgen and Irena Akopjan; Karen Arikian, Anke Leweke, Elisabeth Lequeret, Alexis Grivas, Pamela Pickering, Nikolaj Nikitin, Norman Wang and Dorothee Wenner for strategic expert approach. Last but not least Dieter Kosslick! Our juries: Score Competition Klaus-Peter Beyer, Martin Steyer, Martin Todsharow, Angelina Maccarone. Doc Station Kathrin Brinkmann, Fabienne Moris, Sirkka Möller. Script Station Alby James, Franz Rodenkirchen, Merle Kröger. Talent Project Market Katriel Schory, Roshanak Behesht Nedjad, Ellis Driessen and Prof. Georg Feil. Talent Press Klaus Eder, Marina Ludemann, Oli Baumgarten, Rubaica Jaliwala, Frauke Greiner, Christiane Steiner. Berlin Today Award Jury Dorka Gryllus, Peter Rommel, Hannes Stöhr. Berlin Today Award preselection Daniel Saltzwedel, Bärbel Mauch, Alexandra Gramatke, Gerhard Meixner, Christiane Steiner. Special thanks to Peter Cowie and Liz Rosenthal. Campus Team 2011 Andrea, Anja, Ana, Anna, Andreas, Carme, Christiane, Daniel, Farina, Jana, Janne, Johannes, Kathi, Katrin, Kevin, Lira, Marcie, Marcus, Maria, Marjorie, Merle Ka., Merle Krö., Michael, Nan, Nicole, Oli, Rubaica, Sirkka, Stefan, Susann and Tobi; to all photographers, volunteers, angels, service suppliers and technicians. Many thanks to our location partners


PageDanke schön!

mAny THAnks 77

Berlin International Film FestivalFestival Director Dieter Kosslick

Berlinale Talent Campus 2011Programme Manager Matthijs Wouter Knol

Project Manager Christine Tröstrum

Head of Press and CommunicationChristiane Steiner

Programme Coordination Andrea Rieder

Events & AdministrationNicole Münch

Press & Communication Assistant Katrin Wirth

Communication & Event Assistant Maria Casas

Editor Daniel Bickermann

Online Editor Marcus Forchner

Talent Administration Coordination: Marjorie Bendeck ,Lira Lousinha

Selection Commitee Marcie Jost, Kevin Murphy,Stefan Pethke,Ana de la Rosa Zamboni

Hands-on trainings Score CompetitionMarcie Jost,Janne von Busse Campus StudioAndreas Westphal,Kevin Murphy, Stefan Pethke Doc & Script StationSirkka Möller,Merle Kröger

Talent Project MarketDr. Kathi Bildhauer, Sonja Heinen Talent PressOliver Baumgarten, Rubaica Jaliwala Talent Actors StageAnja JoosBerlin Today AwardChristiane Steiner,Maria Casas

Guest Managers Jana Daedelow,Anna Lässer

Trainee Merle Kasprzak

Interns Programme Farina Isrusch Press Johannes Siever ding Talent AdministrationNan XiaoWebsite, CommunicationCarme Correa

Press Acquisition & Support Susann Pataki

Administration Support Michael Hoffmeister

Event Agency Gorol & Partner:Stephan Gorol,Verena Zimmermann,Leonie Würfel

IT Project Management 20sec.net –Jens Rietdorf

IT Technology serve-u –Phillip Sünderhauf

Consultant Peter Cowie

ImprintCirculation 4.000

Editorial Office Oliver Baumgarten,

Publisher Berlin International Film Festival

Berlinale Talent CampusPotsdamer Straße 510785 Berlin

Phone: +49 30 25 92 05 15 Fax: +49 30 25 92 05 [email protected]

An initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH.

Matthijs Wouter Knol, Marjorie Bendeck, Kevin Murphy, Kathi Bildhauer, Marcus Forchner, Carme Correa, Farina Isrusch, Maria Casas, Michael Hoffmeister, Christiane Steiner, Rubaica Jaliwala, Andrea Rieder, Merle Kröger, Andreas Westphal, Nicole Münch, Tobi, Lira Lousinha, Anna Lässer, Katrin Wirth, Johannes Sieverding, Jana Daedelow, Anja Joos, Merle Kasprzak, Oliver Baumgarten, Christine Tröstrum, Nan Xiao, Stefan Pethke, Verena Zimmermann, Sirkka Möller and Marcie Jost. (from left to right)

Rubaica Jaliwala, Matthijs Wouter Knol,Farina Isrusch, Daniel Bickermann Cartography Runze & Casper, Berlin

Photography Berlin International Film Festival, David Ausserhofer, Peter Himsel and co op eration partners, distributors, film productions

Print | DesignPrintKönigsdruck, BerlinCover BOROS, Christian Boros, Ingo Maak, Sven Quadflieg Layout jobs und böhm, Sonja Jobs

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Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin


The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH , funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German Bundestag.

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In cooperation with MEDIA – Training programme of the European Union and Medienboard Berlin-Brandenburg.


Documents

Berlinale Talent Campus Magazine 2011