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TALENTS FROM ALL OVER THE WORLD
Talents from all over the world We would like to thank our international network for its support: Australian Film Commission, Colombian Ministry of Culture, Delegation Wallonie-Bruxelles, Embassy of Argentina in Berlin, Embassy of Japan in Berlin, Embassy of Mexico in Berlin, Embassy of Peru in Berlin, Embassy of Singapore in Berlin, Embassy of Uruguay in Berlin, Radio-TV-Film Department at the Shih-Hsin University in Taiwan, Svenska Filminstituet Countries with applicants by country A H Afghanistan Argentina Australia Austria Azerbaijan B Bangladesh Belgium Bolivia Bosnia and Herzegovina Brazil Bulgaria C Cameroon Canada Chile China Colombia Congo, Democratic Republic Croatia Cuba Czech Republic D Denmark Dominican Republic E Ecuador Egypt Estonia F Finland France G Georgia Germany Ghana Greece Hong Kong Hungary I Iceland India Indonesia Iran Ireland Israel Italy J Japan Jordan K Kazakhstan Kenya Korea, Republic of Kyrgyzstan L Latvia Lebanon Lithuania Luxembourg M Macedonia Malaysia Mexico Moldova Morocco Mozambique N Netherlands New Zealand Nigeria Norway P Pakistan Palestinian Territory Panama Peru Philippines Poland Portugal ICELAND REYKJAVIK R Romania Russian Federation Rwanda Viet Nam Zambia Zimbabwe Vancouver Seattle Portland DUBLIN North America Edmonton Regina IRELAND Cardiff Porto PORTUGAL LISBON Seville MEXICO CITY Acapulco BELIZE BELMOPAN GUATEMALA HONDURAS GUATEMALA CITY SAN SALVADOR TEGUCIGALPA EL SALVADOR NICARAGUA MANAGUA SAN JOSÉ COSTA RICA Maracaibo Cartagena PRAIA Manaus Iquitos South America SUCRE SANTIAGO Salta PARAGUAY MANAMA ASUNCIÓN BENIN NIGERIA GHANA ABUJA TOGO PORTO-NOVO YAMOUS. ACCRA ABIDJAN MALABO YAOUNDE BUENOS AIRES OMAN DJIBOUTI Bangalore KIGALI LUANDA ANGOLA NAMIBIA RWANDA LILONGWE LUSAKA HARARE SOUTH AFRICA Nanjing Shanghai TAIPEI MYANMAR (BURMA) LAOS HANOI VIENTIANE THAILAND RANGOON Shenzhen TAIWAN HONG KONG VIETNAM BANGKOK CAMBODIA PHNOM PENH Asia MANILA PHILIPPINES Cebu Ho Chi Minh City (Saigon) SRI LANKA KOROR MALAYSIA KUALA LUMPUR Medan Mar del Plata ARGENTINA MAJURO PALIKIR BANDAR SERI BEGAWAN SINGAPORE VICTORIA Dar Es Salaam Palembang JAKARTA SEYCHELLES INDONESIA YAREN Ujungpandang Surabaya PORT MORESBY DILI EAST TIMOR FUNAFUTI HONIARA MALAWI MADAGASCAR MAURITIUS ANTANANARIVO PORT VILA PORT LOUIS SWAZILAND AUSTRALIA LESOTHO Durban SUVA Brisbane Perth Australia Oceania Adelaide Sydney CANBERRA Melbourne La Plata TOKYO PRETORIA MAPUTO MBABANE MASERU Osaka Hiroshima Xi'an Canton MORONI ZIMBABWE MOZAMBIQUE BOTSWANA Johannesburg SOUTH KOREA Zibo SINGAPORE TANZANIA DODOMA JAPAN PYONGYANG SEOUL Dalian Tientsin Jinan Wuhan DACCA NAIROBI ZAMBIA GABORONE MONTEVIDEO MOGADISHU BUJUMBURA KINSHASA BURUNDI Cape Town MALE MALDIVES Vladivostok NORTH KOREA BHUTAN KAMPALA CONGO, DEMOCRATIC REP. Rio de Janeiro KENYA Calcutta Madras (Chennai) COLOMBO SOMALIA THIMPHU Hyderabad DJIBOUTI ETHIOPIA Chengdu BANGLADESH INDIA SANAA CHINA KATHMANDU YEMEN ASMARA UGANDA LIBREVILLE Curitiba Porto Alegre Córdoba Santa Fé URUGUAY Rosario Mendoza Hyderabad MUSCAT Mecca ERITREA BANGUI EQUAT. GUINEA Africa Karachi Taiyuan NEPAL ADDIS ABABA CAMEROON LOME Lagos GABON Vitória ABU DHABI BEIJING (PEKING) Lahore Delhi NEW DELHI DOHA Medina Faisalabad PAKISTAN Shiraz Harbin Shenyang ISLAMABAD AFGHANISTAN Isfahan KUWAIT KHARTOUM N'DJAMENA WINDHOEK São Paulo IRAN Khabarovsk ULAN BATOR MONGOLIA KASHMIR KABUL Qom SAUDI ARABIA BAHRAIN Florianópolis Bahía Blanca Puerto Montt AMMAN JERUSALEM SUDAN NIAMEY SÃO TOMÉ Recife Maceió Aracaju Salvador TEHRAN BAGHDAD Mashhad Bombay (Mumbai) CHAD OUGADOUGOU MONROVIA IRAQ JORDAN EGYPT NIGER SÃO TOMÉ AND PRINCIPE Fortaleza Natal Belo Horizonte Antofagasta ASTANA KAZAKHSTAN ASHGABAT Jeddah BURKINA FASO D'IVOIRE LIBERIA BRASÍLIA Cuiabá Goiânia BOLIVIA Irkutsk Orenburg RIYADH QATAR São Luis BRAZIL Iquique CHILE LIBYA BRAZZAVILLE Porto Velho LA PAZ BAMAKO FREETOWN João Pessoa Cusco BANJUL BISSAU GUINEA CÔTE CONAKRY Teresina PERU GAMBIA SIERRA LEONE TRINIDAD AND TOBAGO Belém Arica ISRAEL Alexandria CAIRO MALI SENEGAL DAKAR GUINEA-BISSAU QUITO Valparaíso CAPE VERDE ANTIGUA AND BARBUDA ECUADOR Arequipa TRIPOLI ALGERIA NOUAKCHOTT DOMINICA ST LUCIA BARBADOS GRENADA ST VINCENT AND THE GRENADINES CARACAS LIMA BEIRUT DAMASCUS MAURITANIA Trujillo CYPRUS SYRIA NICOSIA LEBANON WEST BANK WESTERN SAHARA Mérida PANAMA VENEZUELA GEORGETOWN Medellín PARAMARIBO GUYANA BOGOTÁ FRENCH GUIANA Cali SURINAME COLOMBIA Boa Vista Guayaquil GREECE MALTA TUNISIA Marrakech PORT OF SPAIN PANAMA CITY TUNIS Constantine Fes MOROCCO STO DOMINGO ST KITTS AND NEVIS PORT-AUKINGSTON PRINCE Oran RABAT DOMINICAN REPUBLIC Santiago de Cuba HAITI JAMAICA Samara Voronezh Volgograd LIECHTENSTEIN VIENNA ALGIERS Casablanca NASSAU KIEV Krasnoyarsk Novosibirsk Omsk Barnaul Saratov PRAGUE Tomsk Chelyabinsk Ufa BERNE Québec Montréal CUBA Cancún BELARUS WARSAW Ryazan' Tula Penza SWITZERLAND Milwaukee Detroit Boston Chicago Cleveland New York Salt Lake City Pittsburgh Philadelphia Denver Kansas City Indianapolis Baltimore Sacramento St Louis San Francisco WASHINGTON Memphis Los Angeles Atlanta San Diego Dallas Mexicali Ciudad Juárez Houston Austin New Orleans San Antonio THE BAHAMAS Monterrey Miami Culiacán MEXICO HAVANA Tampico Mérida BERLIN GERMANY Yekaterinburg Nizhniy Novgorod Kazan' UKRAINE SLOVAKIA BRATISLAVA MOLDOVA BUDAPEST AUSTRIA Rostov-na-Donu CHISINAU (KISHINEV) HUNGARY Astrakhan' SLOVENIA LJUBLJANA ROMANIA FRANCE Lyon Milan ZAGREB BELGRADE BUCHAREST Bordeaux Turin CROATIA MACEDONIA BOSNIA & HERZ. UZBEKISTAN Almaty (Alma-Ata) Marseille SARAJEVO SERBIA BISHKEK ANDORRA SOFIA GEORGIA ROME TBILISI ALBANIA BULGARIA SKOPJE KYRGYZSTAN Barcelona ARMENIA BAKU TIRANA TASHKENT ITALY Istanbul YEREVAN MADRID ANKARA Naples AZERBAIJAN TURKMENISTAN SPAIN TURKEY Izmir TAJIKISTAN ATHENS DUSHANBE Tabriz PARIS Toronto Guadalajara MINSK POLAND Hamburg AMSTERDAM BRUSSELS OTTAWA Minneapolis VILNIUS BELGIUM LUX. CZECH REPUBLIC Winnipeg UNITED STATES OF AMERICA LONDON MOSCOW LITHUANIA Perm' Yaroslavl' RIGA Edinburg COPENHAGEN Newcastle Manchester NETHERLANDS St Petersburg TALLINN ESTONIA LATVIA DENMARK Belfast Liverpool S Uganda Ukraine United Kingdom United States Uruguay Uzbekistan V-Z OSLO RUSSIAN FEDERATION Europe HELSINKI STOCKHOLM UNITED KINGDOM Glasgow Calgary Senegal Serbia Singapore Slovakia Slovenia South Africa Spain Sweden Switzerland Syria T Taiwan Tanzania Thailand Tunisia Turkey U SWEDEN NORWAY CANADA Arkhangel'sk FINLAND Auckland Hobart WELLINGTON NEW ZEALAND Punta Arenas Ushuaia The Berlinale Talent Campus #6 3 www.volkswagen.de page introduction 07 08 09 10 11 12 14 15 16 1 05–17 Contents Editorial Dieter Kosslick Editorial Frank-Walter Steinmeier A Welcome from our Partners What is the Berlinale Talent Campus? The Worldwide Campus Network Berlinale Talent Campus Abroad Campus Alumni at the Berlinale Foundations The Passat BlueMotion. Official VIP Shuttle of the Berlinale Talent Campus #6. The Berlinale Talent Campus #6 Contents Editorial 08 Editorial Dieter Kosslick 09 Editorial Frank-Walter Steinmeier 10 A Welcome from our Partners 11 What is the Berlinale Talent Campus ? 12 The World Wide Campus Network 14 Berlinale Talent Campus Abroad 15 Campus Alumni at the Berlinale 16 Foundations 20 Special Focus Screening Emotions – Cinema‘s Finest Asset 24 25 26 27 28 29 30 31 32 33 34 36 37 hands-on-training Volkswagen Score Competition Portrait: Gustavo Santaolalla Garage Studio Portrait: Mike Figgis The Talent Press Portrait: Peter Cowie Script & Doc Station Portrait: Franz Rodenkirchen Talent Project Market Portrait: Sandrine Bonnaire Berlin Today Award Why Democracy? Focus Africa / Portrait: Kate Henshaw-Nuttall 39 44 46 47 52 56 60 63 campus programme Timetable Meet the Expert sat 09: Day 1 sun 10: Day 2 mon 11: Day 3 tue 12: Day 4 wed 13: Day 5 thu 14: Day 6 Index 67 Index of Events 68 Index of Experts 74 Index of Talents 76 Epilogue / Note of Thanks 78 Team / Imprint The Berlinale Talent Campus #6 1 2 3 4 5 editorial setting us in motion editorial message of welcome We all love the movies – I guess this might be the basic common ground among the circa 20,000 accredited partici- pants of the Berlin International Film Festival and its visitors. We love it as a form of political and artistic expression, as an intensely social event or simply for its incomparable potential for creating, causing and attending to a multitude of emotions. This year Subsaharan Africa will be the focus of Germany‘s cultural cooperation with Africa. Three major events con tributed to this: Germany‘s EU Presidency in the first half of 2007, the G8 Summit hosted by Germany in Heiligendamm in June 2007 and the EU-Africa Summit held in Lisbon in December 2007, which produced a Joint Strategy aimed at enhancing existing ties and paving the way for future cooperation between the two continents. As a result, Germany is dedicating considerably more resources not only to political, security, economic and development cooperation with Africa but also to cultural affairs. Starting with the Berlinale Talent Campus 2008, a series of events will highlight our relations with Subsaharan Africa. “Screening Emotions – Cinema‘s Finest Asset“ – the title of this year‘s special focus of the Berlinale Talent Campus aims at an important feature of filmmaking: setting something within somebody in motion. Sometimes it is this special capacity that even starts off our relationship to cinema: “I grew up in a family where everyone talks but no one listens. When I finished my first short film, I invited them to see it, suddenly, they were in complete silence! In that moment I thought, ’It’s a miracle, my family is listening to me!‘ That‘s the reason why I make films.“ This is how Fernando Eimbcke once described his initiation into cinema. The Mexican director was a participant of the 2003 Campus and with it one from over 2,800 filmmakers from 120 countries who have by now been part of the Ber linale Talent Campus – a remarkable number of possible members of the future world cinema. Travelling around to prepare the next Berlinale holds a “special” pleasure for my colleagues and me: We meet alumni all over the world and are greeted like old friends. In return, we are always happy to welcome them back to Berlin with their films in the Official Programme. And this year we are proud to present for the first time alumni films in the Berlinale Competition pro gramme! Lake Tahoe by the very same Fernando Eimbcke and Ballast by 2004 participant Lance Hammer. In addition to these two films, another 22 films with major involvement of current or former Talents will be presented in this year’s Official Selection. This brilliant fact encourages us to strengthen the role of the Campus as a global network of communication, passion and creativity. In this year‘s sixth edition, another 350 young filmmakers will join this fresh community. A community that begins step-by-step to act independently of the real Campus, becoming a virtual one. But getting back to emotions: Gratitude is our finest asset when thinking of the group of true partners whose support makes the ambitious idea of the Berlinale Talent Campus a reality. Representatively for all we wish to thank long-time partners like MEDIA – Training Programme of the European Union, Medienboard Berlin-Brandenburg, Skillset and the UK Film Council as well as Volkswagen and Euromed Audiovisual II Programme. Moreover, we are delighted that this year we have deepened our cooperation with the Federal Foreign Office: Together we host a multifaceted “Focus Africa” programme at the 2008 Campus. Without the fruitful cooperation and the courtesy of these partners a vivacious and spirited project like the Campus including its innovative and inspiring creative network would never take place. I wish all Talents, international film experts as well as all visitors an exciting, successful, pleasing and, of course, emotionally intense Campus week. Dieter Kosslick, Director Berlin International Film Festival One of the key political challenges facing the future partnership between the two continents is the promotion of “more accurate images of each other, in place of those that are dominated by inherited negative stereotypes and that ignore the overwhelmingly positive developments on the two continents“. In view of the importance of this cultur- al cooperation, I initiated the “Action Africa“ cultural programme, investing an additional 20 million euro in 2008 to strengthen ties with the education and culture sectors in the Subsaharan region. Despite the vastness of the African continent and its overwhelming cultural diversity, there is one problem which – from a European standpoint – is evident no matter where one‘s journey may be headed. It is the lack of images of the African continent in the Northern hemisphere or, rather, the lack of images from Africa which go beyond its depiction in the news as the continent of natural disasters, famines, war and poverty. This has far-reaching consequences which can by no means be regarded as purely cultural. Neither for Africans nor for us. The Berlinale Talent Campus #6 In Germany, as in most European and Western countries, the lack of films from Africa should be seen as a serious issue. I can imagine that if our cinemas and TV stations were to show films from Africa as regularly as – for example – those from Asia, and our audiences could laugh at a comedy from Ouagadougou, cry over a sad love story from Kampala or be taken on an exciting tour through Johannesburg‘s underbelly in a thriller, Africa would become so much more real, contemporary and interesting. This interest, we all know, is the starting point and sine qua non condition of any true partnership – be it within or outside the filmmaking community. I hope that the Berlinale Talent Campus #6 will be a memorable and motivating time for Talents from all over the world. Enjoy your time in Berlin. Frank-Walter Steinmeier, Deputy Federal Chancellor and Federal Minister for Foreign Affairs a welcome from our partners what is the berlinale talent campus? A quick glimpse at the various programmes that make up the Campus and what they offer. Grande Format: Film Co-ops: Lectures, panels with stars in the limelight. The Berlinale Talent Campus and the Goethe-Institut support film co-ops in Zimbabwe and the Philippines. Atelier: Workshops, seminars, case studies. Hands-on-Trainings (see also p.23-32) Costas Daskalakis, Head of the EU MEDIA programme at the Education, Audiovisual and Culture Executive Agency Petra M. Müller, CEO Medienboard BerlinBrandenburg, Management Media Development Kirsten Niehuus, CEO Medienboard BerlinBrandenburg, Management Film Funding Costas Daskalakis: It comes naturally for the MEDIA programme to be one of the main financial partners of the Berlinale Talent Campus since the beginning. We share the same objectives and values: training professionals, fostering pro jects, networking people, opening minds so that talents and works circulate in Europe and in the world. The MEDIA programme can do a lot for young filmmakers: training, project development, international distribution. One among the many interesting workshops of the Campus this year will be the occasion for experienced professionals to explain how the MEDIA programme has contributed to their success. In the meantime I wish you a wonderful week at the Berlinale Talent Campus and… a vibrant international career. Petra M. Müller & Kirsten Niehuus: Welcome to Berlin! We hope your week at the Berlinale Talent Campus will truly be a special time and become a pivotal point in your career. You may end up sleep deprived but the week will most certainly be full of unforgettable and creative experiences. Exciting guests and lectures, fantastic films, super networking op portunities, and not to mention, the parties! Janine Marmot: This is the fourth year that Skillset has supported the Berlinale Talent Campus. The feedback we get from previous participants that we have supported at the Campus is fantastic. Relationships and partnerships are forged here that Talents will develop throughout their careers. To encourage and assist with networking, Skillset organises the highly popular speed matching sessions, 10 Janine Marmot, Director of Film, Skillset, Sector Skills Council for the Audiovisual Industries Stephan Grühsem, Head of VolkswagenGroup Communications, external relations and investor relations t aking place every day to help Talents meet informally. We organise many of the “Meet the Expert“ sessions that give Talents the opportunity to meet key figures in our industry, from filmmakers to financiers. We are also running a number of workshops including the popular “Indie Filmmaker’s Guide to the Internet“ sessions that share the latest thinking on how to get your films shown and seen as widely as possible, using and exploiting the latest technology and exploring new financing models. Skillset is delighted to be working with the Berlinale again and hope you have a great week. For more information on Skillset visit www.skillset.org. Stephan Grühsem: As a main sponsor of the 58th Berlin International Film Festival, Volkswagen is supporting the Berlinale Talent Campus for the sixth year. In line with our commitment to encourage both young filmmakers and music- ians, we announced the Volkswagen Score Competition once again. This competition for young composers and sound designers is now successfully established, and over the years we observe the careers of the respective finalists and winners with great interest. In accordance with this year‘s motto “Screening Emotions“, Volkswagen‘s Head of Future Research, Wolfgang Müller-Pietralla, will discuss with director Aditya Assarat on the panel “Cinema Inside the Crystal Ball – Future Thoughts on Filmmaking“ how future issues will influence both the automotive and the filmmaking world. We are very happy to be a partner of the Campus and wish all participants an exciting and informative time in Berlin. The Volkswagen Score Competition: Three selected film music composers are invited to create new scores for film clips with professional support and using digital equipment. The Garage Studio: Digital shorts are produced for internet release during the Campus week. The Script & Doc Station: Individual script consulting for preselected fiction films or documentaries. The Talent Project Market: Selected budding producers pitch their projects at the Berlinale Co-Production Market. The Talent Press: Young film journalists write daily reviews about the festival under the mentorship of international film critics. The Worldwide campus net: The Campus web platform guides you with ease and speed through more than 2,500 profiles and work samples of current and former Campus participants, functioning also as an effective networking tool for film professionals. In what fields of filmmaking are the Talents of 2008 involved? Most of the 350 Talents work in more than one field of filmmaking. Participating in this year’s Campus are 270 direc tors, 86 scriptwriters, 43 producers, 54 cinematographers, 42 editors, 9 production designers or art directors, 32 sound designers or composers, 34 actors, 20 visual artists and eight critics or film journalists. Application to the Berlinale Talent Campus: Awards: Short film competition for Talents and alumni (www.berlintoday.de). Current and former Talents can apply to the Campus for a second time for only two hands-on-trainings: Talent Project Market and Berlin Today Award. The online application to the next Berlinale Talent Campus can be accessed at www.berlinale-talentcampus.de in the summer of 2008. Filmmakers are required to apply with a short sample of work. Current Talent samples can be viewed at various terminals in the three HAUs. Moreover, work samples of all Talents are continuously streamed on the Campus website. Campus Abroad: Alumni: Participants at one of the five previous Berlinale Offshoots of the Campus are taking place in Buenos Aires, Durban, New Delhi and Sarajevo. Visionary Campus in Guadalajara in March 2008. Talent Campus editions. Berlin Today Award: World premiere of the short films at the Opening, announcement of the winner at “Dine & Shine“. Volkswagen Score Competition: Announcement of the winner during the Closing Ceremony. The Berlin Today Award: Excursions: Campus participants meet professionals or visit institutions in the media capital region, Berlin /Brandenburg. Stars in the Limelight: director John Waters in 2007 The Berlinale Talent Campus #6 11 new heart of the campus website The Worldwide Campus Network is the central feature of the Berlinale Talent Campus website – our online community and international network. The upcoming Campus #6 marks the next progressive step in our scope of website initiatives. We strive to enhance our already existing networking tools to increase visibility of future Talent projects; whereby various opportunities for crew-building, as well as production and funding support, will be easily accessible. Naturally, this informal networking between Talents has prevailed since the founding year of the Campus, as they can simply connect and converse with one another through their online profiles. During the 2008 Berlinale Talent Campus, the Worldwide Campus Net will be accessible throughout the day in HAU 1 and HAU 2 at various PC stations. On the BTC website, Talents are able to access the complete content of the Worldwide Campus Net by browsing profiles, viewing samples of this year’s participants, and contacting any Talent directly. In a ddition, the profiles and projects of all Talent alumni are available and, in the near future, will be joined by the alumni of all Campus “Satellite“ events around the world. This new networking tool provides a thorough overview of current productions in their various stages, encouraging Talents to promote selected projects and utilise the Campus Net to introduce both on-going and completed work. The “Projects in Development“ section includes the stages of Pre-production, Production and Post-production, with the option to publish open crew positions among members of the Campus network. Ultimately, it’s easier than ever before to establish a collaboration between Talents from various Campus years and from different regions of the world. Projects, alumni profiles, and job offers can be accessed, browsed, and sorted by categories; completed projects can be presented with pictures and trailers. The next phase is to integrate out strategic partner net- work (e.g. MEDIA, Medienboard Berlin-Brandenburg, Skillset, training institutes, production houses, funding agencies etc.) into the Worldwide Campus Net. Once these partners get connected, former Campus participants can conveniently find information about film financing, programmes, product ions, etc. Before offering this site to a greater professional network of selected producers and funding agencies, we will allow for a one-year trail period, in which an emphasis will be placed on developing the tool within the community and allowing a body of “work-in-progress“ projects to formulate. After the 2008 Talent Campus, all alumni will be able to locate the Talent Project Market and Script & Doc Station projects on the Worldwide Campus Net. Additional alumni projects from previous years are welcome! Archive A visit to www.berlinale-talentcampus.de is a worthwhile endeavour for anyone, from curious filmmakers who have never attended the Campus to seasoned Campus veterans hoping to catch up on missed events. Other Campus events are presented as audio lectures or full transcripts. In connection with detailed programme infor mation, covering all former events, the Campus website provides access to an index of all previous Experts. Browse through the list of more than 350 professionals and find the corresponding programme events! Newsletter To receive the Berlinale Talent Campus newsletter, please go to the website www.berlinale-talentcampus.de and register online. The 20-minute presentation of the Worldwide Campus Net will take place daily at HAU 1 (1st floor) from February 10th to 14th, starting at 16.00. Media Library The Campus Media Library consists of more than 35 tele lectures, transcripts, and audio files, as well as the Campus Short Film Programmes and the online Garage Studio. The telelectures (or video lectures) cover previous Berlinale Talent Campus presentations from a growing list of film’s biggest names, including Dante Ferretti, Frances McDormand, Anthony Minghella, Walter Salles and Wim Wenders. The video lectures cover the Campus events in full and give a great opportunity to get information on a particular topic, theme, discussion, or movement within the current industry. The Virtual Services at the Campus website offer a widerange of media content for filmmakers and reflect the divers ity of the Campus. feb 10-14 16:00 H HAU 1 Presentation of Worldwide Campus Net During the Berlinale Talent Campus the Worldwide Campus Net is available in HAU 1 and HAU 2 at PC stations 12 The Worldwide Campus Net 1stfl. The Berlinale Talent Campus #6 13 Campus Abroad spreading its wings campus Alumni we await your return “Campus Abroad“ editions are modelled on the Berlinale Talent Campus, retaining at the same time a regional flavour and outlook. These editions find their support and services from their local film festivals. The Berlinale Talent Campus hopes to inspire more and more Talents to send in their film projects to the Berlin International Film Festival. The number of Talents invited to the Berlinale increases every year; this year we have the pleasure of congratulating 34 Talents from around the world on their success. Since the first Berlinale Talent Campus in 2002, the Campus has not only become an established and prominent event at the Berlin International Film Festival, it has also travell- ed abroad to select international festivals, functioning in partnership with its prototype, the Berlinale Talent Campus. The Sarajevo Talent Campus, one of the newest offshoots of the Campus, took place for the first time in 2007 within the framework of the Sarajevo Film Festival. Open to young filmmakers and film students in the final years of their studies, 70 applicants were invited from various East European countries. Similar to the Berlin Today Award, the Sarajevo Talent Campus also recently installed the “Sarajevo City of Film”, a fund for the realisation of film projects by participants of the Sarajevo Talent Campus. The South African Talent Campus will be hosted for the first time by the Durban International Film Festival in July/August 2008, shifting from Sithengi/Capetown, which was its previous home base. The first Durban Talent Campus will also be part of the 2008 “Focus Africa“ initiative of the Federal Foreign Office. The various branches of the Goethe-Institut in Subsaharan Africa support the Durban Talent Campus with a bursary programme for young film professionals from countries beyond South Africa. Buenos Aires Independent International Film Festival, invited around 50 participants from Central and South America to benefit from four days of seminars, presentations and workshops. Talent Campus India is held in New Delhi as part of the Osian’s Cinefan Festival of New Asian Cinema where it enjoyed its fourth successful edition in 2007. Film Co-Ops, nascent initiatives of the Berlinale Talent Campus, the Goethe-Institut and the existing cooperative structures in Harare, Zimbabwe and Manila, Philippines, have been established as a base and support to independent film productions. Former Campus participants Rumbi Katedza from Zimbabwe and Khavn De La Cruz from the Philippines have been working throughout the year as “Campus Em bassies” to put into place this support structure for filmmakers in their respective countries. The activities of the co-ops can be followed on the Berlinale Talent Campus webpage. With these outposts, the Campus community is multiplying year after year, resounding the spirit and exemplary cinematic potential that exists the world over. An exciting recent development is the Visionary Campus Guadalajara, a five-day event from March 10 to 14, 2008 to acquaint young filmmaking professionals in the region with the concept of the Berlinale Talent Campus and inform them about the first-ever Talent Campus Guadalajara to take place in 2009. Visionary Campus Guadalajara, a section of the Guadalajara International Film Festival, will offer the selected 70 young audiovisual artists and filmmakers from Mexico, Central America and the Caribbean, and also Colombia workshops and master classes by approximately 50 eminent documentary filmmakers. With a focus on the relationship between cinema and music in its various forms, the Universidad del Cine’s third Buenos Aires Talent Campus is scheduled from April 10 to 13, 2008. The 2005 and 2007 Talent Campus, in cooperation with the 14 Three Talents, one film – that is The Amazing Truth of Queen Raquela. It all fell into place when director Olaf de Fleur Johannesson and screenwriter Stefan Schaefer met at the very first Campus in 2003. Since then they have worked together on three film projects, The Amazing Truth of Queen Raquela was the first of the trio. Going through the Talent database, they located one of their producers for the film, former Talent Arleen Cuevas from the Philippines. Since the film is set mostly in the Philippines, the Campus’ vast database seemed the most likely place to look for a producer from the country. This was about three years ago; today the film is where it should be: in the 2008 Berlinale Panorama programme. The possibility to network not only with well-established filmmaking experts but also with co-Talents is one of the objectives of the Berlinale Talent Campus. The success of transnational collaborative film projects mirrors our ambition in creating this platform for like-minded film professionals. Another such example can be seen through the production of Divizionz. Co-director Donald Mugisha (2006) from Uganda got in touch with producer/sales agent, Adolf El-Assal from Luxemburg through the Talent Database, and also encouraged 2008 South African Talent and co-director of the film, James Taylor, to apply to the Campus. Divizionz will screen in the Forum section of the Berlinale 2008. Three other Alumni films are featured in the Berlinale Forum – The Muzzled Horse Of An Engineer In Search Of Mechanical Saddles, Corridor #8 and Tatil Kitabi. The news gets even better – the Competition programme of the 58th Berlin International Film Festival includes Ballast, a film by American Lance Hammer, former Talent director of the 2004 Campus, which celebrates its international premiere at the Berlinale. There’s more still: first Campus participant, director Fernando Eimbcke from Mexico returns to the Berlinale with his second feature film, Lake Tahoe, which also enjoys its world premiere in Competition. This is the first time ever that former Talent films have been invited to compete at the Berlinale, and we rejoice in all your successes. Juliette Binoche and Dan Fainaru at the 2007 Sarajevo Talent Campus Photo: Sarajevo Film Festival This year’s Panorama section comprises another two Alumni films, I am From Titov Veles by Macedonian director Teona The Berlinale Talent Campus #6 Strugar Mitevska (2004), and Japanese filmmaker Naoko Ogigami’s Megane (2004). Four Alumni films – Flower In The Pocket, September, Take 3 and Meditations On A Name – enrich the Berlinale Generation’s programme. Perspektive Deutsches Kino features films by three former Talent directors, Lea by Steffi Niederzoll (2006), Football Under Cover by Ayat Nayafi (2005) and Robin by Hanno Olderdissen. The shorts, Dreznica by Anna Azevedo, Traces by Rachel Zisser, Mompelaar by Marc Roels and Udedh Bun by Siddharth Sinha, will highlight the programme of the Berlinale Shorts – don’t miss your chance to watch these films. All in all, 34 former Talents with various contributions re present 24 films invited to different sections of the Berlinale 2008. We hope this serves as an encouragement to all former and current Talents to keep at it! We are sure we’ll be hear- ing from you and welcoming you back to Berlin shortly. For information on submitting your films to the Berlin International Film Festival, go to www.berlinale.de. The Amazing Truth of Queen Raquela: a Talent collaboration in the 2008 Berlinale Panorama suN 10 14:00 H HAU 1 Panamericana – Young Latin American Cinema on the Move tue 12 17:00 H HAU 2 From Street Cred to Screen Credibility – Hip-Hop and the Movies; followed by a Hip-Hop Lounge 15 foundations creating the right conditions Without international foundations and organisations lending a helping hand, the Berlinale Talent Campus would not have come this far. We are thankful for their input, which has enriched our programme, and their support, which has enabled many Talents to be at the Campus. Alfred Herrhausen Society The Alfred Herrhausen Society is the international forum of the Deutsche Bank. It seeks traces of the future in the present and brings together people who are committed to the continuous existence of civil society. For this the Alfred Herrhausen Society encourages international dialogue by organising and arranging conferences and congresses with international participation. Within this context, the Alfred Herrhausen Society supports the Berlinale Talent Campus in the conception and organi sation of the panel “Heroes versus Anti-Heroes: Success Stories in Cinema”, which will take place on 11 February, 11:00 at HAU 1. Further information on the Society can be found at www.alfred-herrhausen-gesellschaft.de. Oberst Redl and was one of the first Europeans to shoot a film in Beijing in 1986. To commemorate his fifth death anni versary, there will be a special screening of István Szabó’s Mephisto. One of the aims of the Manfred Durniok Foundation, recently established by his daughter, Ayano Teramoto, is the promotion of South-East Asian art and the support of young creatives. This year, like 2006 and 2007, the travel expenses of the Talents from South East Asia will be covered by the Manfred Durniok Foundation. More information on Manfred Durniok at www.durniok.com. The Heinrich Böll Foundation, named after the Nobel Prize winning German writer, is affiliated with the German Green Party and headquartered in the Hackesche Höfe in the heart of Berlin. It is a legally independent political foundation whose primary objective is to support political education within both Germany and abroad, thus promoting democratic involvement, socio-political activism, and cross-cultural understanding. The Foundation also provides support to art and culture, science and research, and developmental cooperation. The Foundation and the Berlinale Talent Campus have cooperated repeatedly over the years. Brimming with excitable energy, the Berlinale Talent Campus, hosted at the three HAUs, is where it’s all happening. With 350 creative filmmaking talents from all corners of the world, abundant personal, professional and personal stories will be enacted during these six action-packed days. The Deutsche Welle TV (DW-TV) crew, with cameras and mics in tow, will be scouting the Campus looking to catch those rare and fleeting moments, unique stories and spirited bustle. Portraying the mood and activities of the Campus are the DW-TV producers, Melanie Matthäus and Bettina Kolb. Their entire team consists of 18 camera and editing crew members who are serving an apprenticeship at Berlin’s Deutsche Welle TV in digital media design/sound and vision. Divided into smaller crews, the TV journalists will be on the prowl to capture interesting and amusing incidents, and portray Talents and their impressions. The Campus team and the three HAUs, filmed in advance by the DW-TV, will be presented at the “Taking Off” on Feb ruary 9, 2008 at 11:00 and 13:00. The “Making of The Berlinale Talent Campus” will be screened on the final day of the Campus during the Closing and Award Ceremony of the Volkswagen Score Competition. THU 14 20:00 H HAU 1 The Making of The Berlinale Talent Campus 2008 at the Closing and Award Ceremony win a co-production The prizes enable young and creative talents to carry out international projects together. The prize is awarded in the categories of animated film, documentary, and short film, and consists of a grant to be used for a specific film project. The grant should primarily cover the production team’s expenses for travel, meals, and accommodation. It may, to a lesser extent, also be allocated to cover production expenses. Filming material and technical film equipment such as cameras, postproduction tools etc. will not be covered by the grant. Every winning production can receive up to 70,000 Euros in funds. Foundations help bringing in Talents from all over the world MON 11 11:00 H HAU 1 Heroes versus Antiheroes: Manfred Durniok Foundation The late Berlin-based filmmaker and producer Manfred Durniok had a deep passion for South-Eastern Asian culture. He produced István Szabó’s Oscar-awarded Mephisto and wed 13 17:00 H HAU 2 Lonely Hearts Club – 16 The Deutsche Welle TV Crew will be on-hand to capture the highlights and the spirit of the Berlinale Talent Campus for the “Making of“ film. The Robert Bosch Stiftung, together with its partner, the Filmbüro Baden-Württemberg, issues three promotional prizes for joint film productions by young German, Eastern and South East European filmmakers. Heinrich Böll Foundation This year, the Heinrich Böll Foundation supports the Campus by covering the travel expenses of Latin American Talents, and preparing the workshop “Lonely Hearts Club – NGOs Date Filmmakers”, which will take place on 13 February, 17:00 at HAU 2. For further information on the Foundation see: www.heinrich-boell-stiftung.de. portraying the campus Success Stories in Cinema NGOs Date Filmmakers Qualifying applications will be submitted to an independent jury. The jury will pre-select up to 15 teams. Two members of each team will be invited to take part in the Co-Production Forum in Stuttgart. In April, every nominated team will pitch its project at the goEast-Festival in Wiesbaden in front of the jury. The prizes will be awarded at a gala one day later in Wies baden. Up to two members of each winning team will have the opportunity to participate in the Berlinale Talent Campus. A detailed description of application rules as well as the application form are available at www.filmfoerderpreis.com. In 2007, the Robert Bosch Stiftung supported the German- The Berlinale Talent Campus #6 Bulgarian animated film Anna Blume (by Ebele Okoye and Vessela Dantcheva), the German-Estonian documentary Normal (by Sandra van Slooten and Heilika Vosu) and the German-Polish short film Freundschaft (by Nicole Volpert). We invite you to our Campus events and encourage you to use this opportunity to meet many directors and producers. For more information please contact: Filmbüro Baden-Württemberg e.V., Oliver Mahn 0049 – (0)711 – 22 10 67; info@filmfoerderpreis.com Robert Bosch Stiftung GmbH, Frank W. Albers E-mail: frank.albers@bosch-stiftung.de MON 11 14:00 H HAU 2 Frogs in the Pocket: Dušan Makavejev tue 12 14:00 H HAU 1 Matters of Life and Death – Reviews that Make or Break wed 13 09:30 H HAU 2 Early Bird Breakfast 17 »Robin« Regie Hanno Olderdissen Produktion Katrin Hohendahl Drehbuch Clemente Fernandez-Gil Foto Martin Valentin Menke INTERNATIONALE FILMSCHULEKÚLN page 2 19–21 special focus 20 Screening Emotions – Emotional Modus Operandi Inspire reality ifs internationale filmschule köln at the Berlinale Talent Campus: Tuesday, February 12, HAU 2 stage, 9:30 am »Taste it: Training & Development« Presentation of ifs internationale filmschule köln, NIPKOW PROGRAMM, SOURCES 2 with breakfast ifs internationale filmschule köln gmbh Werderstr. 1 | 50672 Köln | +49 (0)221 920188-0 | info@filmschule.de The Berlinale Talent Campus #6 19 special focus emotional modus operandi “Screening Emotions – Cinema‘s Finest Asset“ – the Berlinale Talent Campus #6 has set its sights on an asset that keeps the entire filmmaking community pulsating. The great art of film is to transform the silver screen into a golden receptacle of stories, spaces, perspectives, light, music and visuals that incite emotional responses, hit a sentimental chord and captivate and touch audiences. Emotions are a valuable asset in filmmaking, as directors need to set the tone of the film, producers need to know how to sell a film, a cinematographer needs to develop sympathy for his protagonist, a composer must succeed in moving us to tears, and an editor needs to create excruciating tension in a thriller. To examine emotionality in cinema is to look into the heart of the film industry and that is what the Berlinale Talent Campus, in its sixth edition, is setting out to do. Emotions and cinema are a classical topic, yet of late there has been renewed interest by film theorists on the subject partly related to discoveries in the field of scientific brain research. New developments and academic approaches to film analyse comprehensively this phenomena in an insightful way. Acquiring some of this knowledge can only assist the filmmaking process, for as Dorothee Wenner, director of the Berlinale Talent Campus, expounds, “Emotionality is for me – despite the technologies and strategies you can use in films to create certain feelings – still something abstract and difficult to grasp. Isn’t the conveyance of emotions, to a degree, about a capability of translation that one can’t quite put a finger on?” The complex role of emotions in filmmaking is of relevance to all stages of filmmaking and to all fields of work of film professionals. Even the first cinematic idea is of extreme importance, especially on the level of emotionality. The appeal of the film idea and the subject material a filmmaker wishes to work on needs considerable reflection before he/ she embarks on his/her project. Furthermore, the emotional scope of the material has become a very important factor for the realisation and success of a film, in both the feature and documentary segments. In terms of production technique, the creation of emotional worlds is really a craft. Basically, every layman knows that an emotional film experience is extremely influenced by the type and style of filming, the light and the sound. 20 The fact that emotional worlds are also dependent on historical conditions and socio-cultural contexts, the “emo tional realities” portrayed in films will also be placed under the spotlight. For example, the Campus event “Love International” isn’t just about love, but the cultural codification and perception of feelings. Despite globalisation, depictions of love function very differently within different cultural groups. You just have to compare the so-called “Berlin School” and their depiction of new emotionality of young couples in German films, to cult and love films from Mexico, India or China – the differences become immediately apparent. Similarly, internationally acclaimed filmmaker, Dušan Maka vejev will converse with Peter Cowie about explicitness in film, using film as a tool for provocation. He will talk about his own career, the challenges involved in low-budget filmmaking and in being politically committed, reflecting also on the limits to which you can push an audience and generate differing emotional responses: repellence, curiosity, love or hate. The panel, “The Dark Side of Cinema”, will bring to gether such creatives as Hiam Abbass, Newton I. Aduaka and Josef Fares to discuss themes such as alienation, racism, oppression, a longing for home – issues that elicit the powerful darker emotions, leaving audiences contemplative or even speechless. trends, political resistance and the fight against oppression are afforded credibility on the big screen. Post-production and promotion are the areas where the repertoire of emotions is played with the most. In film advertising, in particular, the emotional qualities of a film are promoted. Here, the difference in emphasis on diverse cultural groups become obvious. Moreover, emotionality does not stop with the launch of the film. Film criticism has, by and large, the potential to affect not just the marketing of a film, but also the film itself, the makers, the actors, as well as those who write those critiques. These issues will be taken apart during the panel “Matters of Life and Death – Reviews that Make or Break”. All these points belong to the reciprocal effects of emotionality, film production and commerciali sation that we wish to address. Emotions, the least calculable, yet the most inescapable aspect of the film business will be opened up to debate throughout the numerous panels and internationally re nowned experts from all fields of filmmaking, including behind-the-scenes artistic genius, Alex McDowell, and cele brated directors Stephen Daldry, Mike Leigh, and Andrzej Wajda, who will take a theoretical and practical look at the many facets of this theme. An event dealing with biopics, a genre that is experiencing a renaissance, will look closely at why audiences are so eager to see “real” stories depicted in cinema. Why are real life emotions fictionalised in successful films such as Downfall, produced by panelist Bernd Eichinger, The Queen by Stephen Frears or in the Jeanne D‘Arc film Jeanne la Pucelle, with Sandrine Bonnaire? The panel on documentary films, “Senses & Sensibilities – Documentaries for the Big Screen”, will analyse the limits and ethics of intruding into the private sphere of the protagonist, using intense emotional material – the “real life emotions” – for the big screen. Cinema’s Finest asset “From Street Cred to Screen Credibility. Hip-hop and the Movies” seeks to broaden the debate on the credibility of Hip-hop in the film and television industry. How aspects such as the love affair with gangsters and pimps, new fashion The Berlinale Talent Campus #6 21 PROFESSIONAL DEVELOPMENT & TRAINING page hands-on-training 24 25 26 27 28 29 30 31 32 33 34 36 37 Three-month process coached by experienced script advisers for European screenwriters and teams of writers, producers or directors! SOURCES 2 Script Development Workshop Seven-day session, coached development period, follow-up session. Application dates 3 23–37 Volkswagen Score Competition Portrait: Gustavo Santaolalla Garage Studio Portrait: Mike Figgis The Talent Press Portrait: Peter Cowie Script & Doc Station Portrait: Franz Rodenkirchen Talent Project Market Portrait: Sandrine Bonnaire Berlin Today Award Why Democracy? – Film Programme Focus Africa 1st March 2008 for the workshop at the FilmCamp/Norway, 12th – 20th June 2008, with the support of FilmCamp AS. Requested: feature film projects + creative documentaries. 1st July 2008 for the workshop in Potsdam/Germany, November 2008, with the support of Medienboard Berlin-Brandenburg and MFG Baden-Württemberg. Requested: feature film projects, biopics + creative documentaries. SOURCES 2 at BERLINALE TALENT CAMPUS: Consultation – Analysis – Advice for selected projects! Heidrun Schleef at the Script Station and David Wingate at the Doc Station. SOURCES 2 Lecture on 11th February 2008 / HAU 2 Second Floor Dick Ross: The Heart of the Matter – Emotion vs Intelligence Please contact the SOURCES 2 office close to Potsdamer Platz! Köthener Strasse 44, D-10963 Berlin Tel. + 49(0)30-88 60 211 • + 49(0)172-32 30 216 • Fax + 49(0) 30-88 60 213 info@sources2.de • www.sources2.de The Berlinale Talent Campus #6 23 Volkswagen score competition tune into the film portrait sonic living The hands-on-training for composers and sound designers – the Volkswagen Score Competition – gives three Talents the opportunity to work with the German Film Orchestra Babelsberg and to be mentored by internationally renowned composer, Gustavo Santaolalla. Winner of two Academy Awards and the guru of the alternative Latin style, musician, film composer and producer, Gustavo Santaolalla‘s music often combines elements of rock, soul, African rhythms and Latin American folk. The Volkswagen Score Competition, an initiative of the Berlinale Talent Campus and Volkswagen, was set up in 2003 to boost young international composers and sound designers. In the autumn of 2007, sixteen composers and sound designers downloaded excerpts of two soundtracks from the Berlinale Talent Campus webpage: Platz im Schatten, by Sophie Narr (2007) and Around the World – In the 25th Million Golf, the Volkswagen advertisement released in summer 2007. To apply to the Volkswagen Score Competition, they created and submitted new scores for the two film excerpts. On December 1, 2007, jury members – artistic director of the Film Orchestra Babelsberg, Klaus-Peter Beyer, prominent German sound mixer, Prof. Martin Steyer, and film composer Martin Todsharow – selected the final contestants. The three finalists – Conrad Oleak (Germany), Sonal Shah (India) and Vasco Hexel (Germany/UK) – will work aroundthe-clock during the Campus under the guidance of their mentor, the winner of two Academy Awards, Argentinean musician, composer and producer, Gustavo Santaolalla, giving the final touches to their scores. They will record their soundtracks with the musicians of the German Film Orchestra Babelsberg, with the final mixing taking place at the film school HFF “Konrad Wolf“. The digital post-production will be directed by Wave-Line, a Berlin-based production company. During each stage of post-production, they will receive feedback and expert direction from professionals – on preparing the soundtrack, using studio resources and recording with a live orchestra, and the final editing. One-toone sessions will enable them to receive useful pointers specific to their particular scores. weeks and working with professionals. We recorded our music with the Babelsberg Film Orchestra which was my first experience of working with a live orchestra. This was a very important experience because I was recently working on a feature film project, and I now had the confidence and knew what I was facing.“ The three-member jury team will come together once more at the presentation of the three final film scores. The winner of the Volkswagen Score Competition 2008 will be announced on February 14, 2008. Sponsored by Dolby, a trip to Los Angeles with an exclusive guided tour of the best sound studios in the city is the award awaiting the winning cont estant. The three finalists and their mentor, Gustavo Santaolalla, will converse with Peter Cowie about their experiences and the outcome of the competition on February 14 at 11am. Mixing the scores at the film school HFF “Konrad Wolf“ Titas Petrikis, finalist of the Volkswagen Score Competition 2007, in an interview with film journalist Martin Blaney stated, “When I came to Berlin, I was amazed at how big the event is,“ he adds. “I didn‘t realise the scale of opportunities they offered you. But it was a bit different for us compared to the other Campus participants because the finalists of the Score Competition [the other two finalists were Germany‘s Ilja Coric and the UK‘s Costas Fotopoulos] were there for two 24 wed 13 10:00 H EXT Excursion to the German Filmorchestra Babelsberg and the HFF “Konrad Wolf“ thu 14 20:00 H HAU 1 Award Ceremony of the Volkswagen Score Competition at the Closing For music aficionados, a soundtrack to a movie often makes the movie what it is. Gustavo Santaolalla has swerved his long musical career in the direction of composing mindblowing scores for a number of remarkable movies. Old“ from Brokeback Mountain won him the Golden Globe Award, which was followed by an Oscar for Best Original Score. His score for Iñárritu’s third film, Babel (2006), got him his second Academy Award for Best Original Score. Santaolalla‘s music career started at the age of 16, when he wrote, recorded and produced his first single in Argentina. He founded and led two influential rock bands in the 1960s and 1970s, Arco Iris and Soluna, making history as the pioneer in the fusion of rock and Latin American folk. In 1978 he fled to the United States as Argentina descended into military dictatorship. Here, his success surged by the tail end of the 1980s when he began producing breakthrough albums for key bands amid the burgeoning rock en español scene. The launch of his highly successful record label Surco led to the production of records for Café Tacuba, Juanes, Molotov, Bajofondo Tango Club and other premiere Latin acts. What pleases Santaolalla most is the way the genre has achieved popularity, pushing the definition of Latin music. It offers a “cultural map of Latin America and shows that we are more than just Mexican sombreros and congas,” he says. “Not that I have anything against that, but I wanted to stretch past the stereotypes.” As the mentor for the Volkswagen Score Competition, we are lucky to gain from him such insights on film scoring: “In my experience, [with] the music you have to support emotionally the movie and the characters. And you have to create an environment but you should never put yourself in-between the story and the audience with the music.” In 1998, Santaolalla recorded an instrumental album “Ron roco“, which attracted the attention of producer/director Michael Mann who used the song “Iguazu” in The Insider (1999). The song featured prominently in the film, opening the doors to Hollywood. First came Amores Perros (2000), released as a two-CD soundtrack for the Alejandro González Iñárritu film of the same name. Both the film and the soundtrack were widely praised, and a few years later Santaolalla composed the score for Iñárritu’s 21 Grams (2003). He was then invited to compose the soundtrack for The Motorcycle Diaries (2004), which won him the BAFTA Award in February 2005. For Brokeback Mountain (2005), he composed the score on the basis of the script, a rare occurrence in Hollywood. “I came up with a theme and a kind of sonic texture that the movie was gonna have before the film was shot”, he explains. Director Ang Lee was able to study the soundtrack beforehand, keeping it in mind as he went about scouting locations for the film. The track “A Love That Will Never Grow The Berlinale Talent Campus #6 Mentor of the Volkswagen Score Competition: Gustavo Santaolalla Photo: Alejandra Palacios THU 14 11:00 H HAU 1 Eyes on the Music – Presentation of the Volkswagen Score Competition. With Gustavo Santaolalla 25 garage studio breaking free of the big screen Portrait thriving on risks The Garage Studio has been set up to produce short digital flicks for online streaming. All Talents are invited to visit the Garage Studio at Hau 3 to watch the film teams in action. As a filmmaker who has constantly crossed borders, experimented and on occasion extended the very language of film, we are delighted to have Mike Figgis at the Campus and as a Garage Studio mentor. A do-it-yourself project from start to finish, The Garage Studio inspires Talents from all domains of filmmaking to undertake a new cinematic adventure. Working in the “garage” are four international teams who will have a fast-track day of digital production. Each team has one day to shoot, edit and package a digital short film which will be uploaded on the internet the same night. Mike Figgis is a visionary filmmaker who thrives on experimentation. With roots in experimental theatre and music, he wrote, directed and composed scores for a number of films including the moody thrillers, Stormy Monday (1988), One Night Stand (1997) and the Oscar-nominated Leaving Las Vegas (1995). Born in England, he lived in Kenya until the age of eight before moving back to Newcastle in the north of England. As a teenager, he helped form an R&R band – Gas Board, featuring future Roxy Music singer Bryan Ferry. Moving to London, he studied music for three years and began performing with The People Show. In 1980, he left The People Show to concentrate on writing and directing theatre. He formed his own theatre company, The Mike Figgis Group, and began creating multi-media productions, which included the extensive use of film. Some of his earliest projects, including “Redhugh 1980“, “Slow Fade“ and “Animals in the City“, won awards for their innovative blend of live action with music and film. In its second year, and as such the youngest of the hands-on training programmes offered by the Berlinale Talent Campus, it gives Talents the opportunity to discover and explore new ways of making digital films, meant solely for internet presentation. The Garage Studio provides the participants with the possibility of a practical, aesthetic and theoretical engagement with this still very new medium for professional filmmakers/filmmaking. An experiment of sorts, the Online Garage Studio was developed for the express purpose of posting film ideas, enabling directors to select their team members from the online Campus pool of actors, directors, editors, cinematographers and visual artists, and providing them with the opportunity to communicate online and work constructively on pre-production from their home base. To familiarise themselves with the facilities and to get to know the cast and crew prior to shooting, the teams arrived in Berlin a few days before the Campus began. These international teams will be hard at work on the day pencilled-out for them, between February 10 to 13, when they will produce a five-minute digital film to be uploaded instantly and presented exclusively on the internet. All this would not have been possible without the support of the Campus partners: Canon provides us with the indispensable digital camcorders this year, and production designers are on hand thanks to the Film & Television Academy (HFF) “Konrad Wolf“. The Berlin based casting agency, Type Face, supports us with the casting of all the actors not found in the Talent pool, while L‘Oréal Paris accounts for the make-up. With each passing Campus day, these digital flicks can be viewed on our website: www.berlinale-talentcampus.de. Garage Talents are guided by the filmmakers Jay Anania, Mike Figgis, Garin Rianto Nugroho and Grahame Weinbren. 26 Founder and producer of Earthly Delights Films and former programme director of Digimart, Liz Rosenthal, will supervise all four Talents and their films. The Garage Flicks will be shot, edited and posted online: On February 10: On Time Written by David Halls (Canada) and directed by Ted Chung (USA): A travelling salesman sells the future in his suitcase. On February 11: It Could Happen to You Written and directed by Juliane Block (Malaysia): The story of an Urban Myth about a new rape tactic – little girls as bait to bring young women to a certain house with a wired bell. On February 12: Eddi Written and directed by Victoria Hayford (UK): A computer bytes back. “I think this is the liberation of filmmaking. I think such interesting things will come out of people’s laptops now – I can’t wait. I think it is a brilliant time to be making films”, he said in an interview following the release of Timecode, referring to the breaking away from traditional filmmaking and the usage of tools that shake up the audio system. Mike Figgis has also written a book, “Digital Filmmaking“, published by Faber & Faber, on his experience with digital equipment. He describes his artistic trajectory, his familiarisation with video camera, offers advice on the procedures of pre- and post-production, location, lighting, camera movement, working with actors, music and distribution. The Talents of the Garage Studio will go a long way with Mike Figgis guiding them through their filmmaking process. On February 13: The String Puppet Written and directed by Alexander Frank (Switzerland): A western soldier starts to play a string puppet and ultimately plays for his life under the merciless eyes of a boy turned soldier. Shooting a “Garage Flick“ in 2007 THU 14 14:00 H HAU 1 Garage Studio Proudly Presents: Four Flicks for Clicks Stormy Monday (1988) was his debut in feature length filmmaking. He wrote, directed and scored the movie that was set in Newcastle’s steamy jazz club world. The film earned him attention as a director who could get interesting performances from established Hollywood actors. His entrance into American films came with Internal Affairs (1990), which he directed and co-scored. He went on to make the films Liebestraum (1991) and Leaving Las Vegas (1995), with the latter he began his love affair with the “more impressionistic” Super 16 film normally used in documentaries, perfectly capturing the seamy trappings of the powerful love story. Leaving Las Vegas became a critical darling, earning him great reviews as well as two Oscar nominations, and Nicolas Cage the Best Actor award for his portrayal of the alcoholic screenwriter. He made One Night Stand and The Loss of Sexual Innocence in the following years. His forays into digital video technology led him to conceive and direct Timecode (2000), a digital video feature film production portraying four stories running simultaneously in real time, and with no editing. Since then, his work output has almost exclusively been on the cutting edge of creative digital filmmaking. The Berlinale Talent Campus #6 Director and composer Mike Figgis A critical darling: Leaving Las Vegas by Mike Figgis 27 the talent press campus chroniclers Portrait feasting on film Eight young Talents zip around the Berlinale, featuring Campus events as well as reviewing films of the Official Berlinale Programme. Charming, prolific and versatile, veteran film critic and historian, Peter Cowie is one of the Berlinale Talent Campus‘ most favoured moderators and a senior Talent Press mentor. A programme of the Berlinale Talent Campus, Goethe-Institut and FIPRESCI, The Talent Press is an integral part of the Berlinale Talent Campus and offers young film critics and journalists from around the world the opportunity to immerse themselves and capture the finest moments of this year‘s festival. Now in its fifth year, this hands-on-training permits young critics to attend the festival and gain experience in reviewing on a daily basis the events of the Campus and films of their choice. An once-in-a-lifetime opportunity to get invaluable input and expert mentoring by renowned film journalists and critics – this year‘s mentors are Peter Cowie (former International publisher), Dana Linssen (Editor-in-Chief of “De Filmkrant“), Derek Malcolm (Film critic for the “London Evening Standard“) and Stephanie Zacharek (film critic for Salon.com). Under their guidance, these journalists will write reviews of films presented in the various sections of the festival, compose features and reports on the atmosphere of the Campus, and interview both Talents and experts – gaining insight into the business of covering a big international film festival by being integrated into the pipelines of the Campus and various other sections of the Berlin International Film Festival. least, Talents and mentors will discuss and analyse a preselected film in its historical and socio-political context. On Tuesday 12, a panel of equal interest to film critics, directors, producers and actors alike „Matters of Life and Death – Reviews That Make or Break“ takes a fresh look at the unique relationship between film professionals and film critics. From over 200 applications, a six-member jury selected the current participants of The Talent Press: Natalia Ames (Peru), Dilek Aydin (Turkey) Suchandrika Chakrabarti (United Kingdom) Benjamin Cho (Australia), Shaibu Husseini (Nigeria) Martyna Olszowska (Poland), Ezequiel Schmoller (Argentina), Mayank Shekhar (India) Articles of the participants will be published daily – from February 9 to 14 – on the website of the Berlinale Talent Campus, and on the homepages of the Goethe-Institut and FIPRESCI. What’s more, the daily articles, reviews and interviews will be published and distributed as wall newspapers at the three HAUs. Finally, on Thursday 14 the printed issue “Best of The Talent Press“ will be available all-around. A new feature of this year’s Talent Press is the workshop on February 8, 2008. Through the course of the day, press Talents will be introduced and exposed to various issues related to film writing, including the situation of film criticism worldwide, and the vital factors of reporting on festivals – standards to be maintained, possibilities and expectations. Together with invited experts, they will reflect on the borders defining public relations and film criticism, and last but not 28 Being integrated into the pipelines of the Campus: The Talent Press Tue 12 14:00 H HAU 1 Matters of Life and Death – Reviews that Make or Break In 1958, at a cinema in London, Peter Cowie’s life changed watching Ingmar Bergman’s The Seventh Seal. The film shaped his career as a journalist and author, among whose books are biographical studies of Ingmar Bergman, Orson Welles and Francis Ford Coppola. Born in England, he became passionate about writing on film while at Cambridge University in 1960 and began publishing books on film soon after he left university. Film historian and author of over thirty books on cinema, the founder and editor of The International Film Guide for 40 years before his retirement, and the editor of the Tantivy Press line of film books that flourished through the 1960s and early 1970s, Peter Cowie is one of the most important writers and editors on cinema of the past half-century. He is one of the leading authorities on Ingmar Bergman and Scandinavian cinema and was decorated with the Royal Order of the Polar Star by the King of Sweden in 1989 for his services to Swedish culture. Apart from “Ingmar Bergman: A Critical Biography“ (New York: Scribners, 1982), he has also authored reference books on the national cinema of Finland, Norway, Sweden and the Netherlands. In November 2006, to coincide with the centenary of the most spectacular icons of early cinema, Louise Brooks, Cowie’s “Louise Brooks: Lulu Forever“ (New York: Rizzoli; Schirmer-Mosel, Munich, 2006) was published in Germany and the United States. This exquisitely produced album celebrates Lulu with rare film footage stills, private photos, letters, interviews, and texts by Cowie, exploring this influential cult figure and the abiding symbol of the Jazz Age. In his book “Coppola: A Biography“ (Da Capo Press, 1994), Cowie traces the career of the flamboyant director. Describing his filmmaking techniques and analysing his plots, the author shows how the director’s inventiveness, as well as such aspects of his personal life as his Italian heritage, have influenced his work. In “Revolution! The Explosion of World Cinema in the Sixties“ (London / New York: Faber and Faber, 2004), an evocative and unique exploration of the most important era in international filmmaking, Peter Cowie gives us a personal angle, lending an immediacy to events decades in The Berlinale Talent Campus #6 the past. In an interview Cowie said, “I was fortunate enough to be 20 years of age when the 1960s began, and it was such a stirring time – a time of transition from postwar gloom and conservatism to a more confident exploration of life and art.” The book focuses on those voices that still evoke the struggles and achievements of the 1960s and set the creative and intellectual standard by which today’s finest films are still held. Peter Cowie is one of the few writers of his kind to have had a foot in both cinema’s academic world – teaching, writing biographies and film studies – and business world, with the International Film Guides and his former position as the international publishing director of Variety. He has served on the juries of numerous festivals, lectured on film in four continents and is a special consultant to the Berlinale. The Campus extends its heartfelt thanks to Peter Cowie for his priceless input and steady support of the Campus and its objectives. Peter Cowie moderating a discussion with Gael García Bernal in 2007 mon 11 14:00 H HAU 2 Frogs in the Pocket – Dušan Makavejev in conversation with Peter Cowie 29 script & Doc station getting down to the basics Portrait transferring scripting know-how An integral part of the Berlinale Talent Campus is the Script & Doc Station which provides concrete feedback sessions to documentary filmmakers and screen writers. International script advisor and tutor, Franz Rodenkirchen has been involved in the development of the Script Station since its conception in 2004. We are delighted to have his guidance at the sixth edition of the Berlinale Talent Campus. Focusing on the complex craft of working with screenwriters and documentary filmmakers – practically and creatively – the Script & Doc Station offers select young film professionals the opportunity to have personal sessions for concrete feedback on their current film ideas, reassessing and revamping them in such that they are ready to take those important steps towards production. Twelve documentary filmmakers and an equal number of screenwriters were selected for the Script & Doc Station 2008 from over 187 applicants who sent in treatments in English or German. Supported by the German Federal Film Board FFA , this hands-on-training, housed at HAU 3, not only offers Talents a concentrated Concept Development Day, but also intensive one-to-one meetings with 13 experts from different countries; and two coaching sessions scheduled with time inbetween to develop answers to questions and new ideas. The aim of the Script & Doc Station is also to establish a protected space for interaction and learning among Talents to discuss their work, styles and experiences, as well as the different methods of writing and concept development. mentors include Anne-Kathrin Brinkmann, Dick Fontaine, Ernst Ganzert, Esther van Messel, Ulla Simonen, and David Wingate. The Script Station has been developed in cooperation with Script House, a well-established script agency in Germany; and the Concept Development Day 2008 has been designed in cooperation with EON Screenwriters‘ Workshop in London. ZDF/arte, one of the most important German television departments for the production and co-production of international documentaries, has been cooperating with the Doc Station since 2007, providing mentorship and designing the Concept Development Day 2008. The European Script Writers‘ Training Programme SOURCES 2 has supported the Script & Doc Station from the start with experts from their teaching staff. Without the continued support of these institutions, the Script & Doc Station would not have been able to continually evaluate and reshape its programme, making it sustainable for Talents and their future projects. “Between the Lines“, moderated by Alby James, Head of Development at EON Screenwriters’ Workshop and a Script Station jury member, will have Talent actors reading two scenes from fiction scripts. Script Reading is not only a core part of the film process, but also the moment the script is woken to life. Mentors for the Script Station 2008 are Franz Rodenkirchen, Alby James, Marten Rabarts, Julian Friedmann, Gyula Gazdag, Heidrun Schleef and Selina Ukwuoma. This year’s Doc Station 30 Since Summer 1953 by Shirin Neshat, one of his more recent projects, he is presently working on, among others, Red Cross by Hugo Vieira da Silva, whose first feature, Body Rice, premiered in Locarno and went on to garner a host of international festival awards, and on The Obscure Spring, the new project by Carlos Contreras, which was presented at CineMart in Rotterdam last month. International script advisor, teacher and tutor for workshops and individual project development throughout Europe, Franz Rodenkirchen is currently the head of dramaturgy at the script development agency Script House in Berlin, where he has been a partner since 2001. He is one of the tutors for the international scriptwriting programme Script & Pitch and is one of the script advisors of the BINGER Filmlab, Amsterdam since 2006. Additionally, as script editor for the CineLink coproduction market at the Sarajevo Film Festival, he coaches selected writers on their projects, and also tutors students at the script academy of the dffb (Deutsche Film- und Fernseh akademie Berlin). As mentor of the Script Station, it is his open gaze and in valuable expertise in the intricate art of scripting from which the Talents of the Script Station will benefit from. During and after his studies in media consulting and German literature, Franz Rodenkirchen co-wrote four feature films with director Jörg Buttgereit (1987-1994) and also assisted in bringing them to the big screen. In 1995, after freelancing as a writer on film-related topics, he moved to Helsinki, where he continued writing articles, as well as a Radio play, “The House that Jack built”, for German broadcaster WDR and lectured at the Helsinki University. In 1996, he started working as a script consultant for international art house projects. Two public events during the Berlinale Talent Campus will present an insight into the Script & Doc Station 2008 for strategic partners, international experts and fellow Talents: “Between Reality“, moderated by Sirkka Möller, documentary curator and Doc Station jury member, will have Doc Talents present their documentary treatments and discuss them on stage with an international panel of documentary experts, among them distributors, funders and TV execs. Franz Rodenkirchen is a person who has meticulously infused quality into the screenplays of some of the best young directors of today. Take for example Jasmila Žbanić‘s Grbavica, winner of the Golden Bear at the Berlinale 2006, and Teona Strugar Mitevska’s I Am from Titov Veles, which will be screened in the Panorama section of the Berlinale 2008 and won the Special Jury Award, Sarajevo 2007. Personal sessions for writing Talents: Alby James with 2007 participant wed 13 11:00 H HAU 2 Between Realities – 2nd fl. Doc Station Presentation wed 13 15:00 H HAU 2 Between the Lines – 2nd fl. Script Station Presentation The award-winning films Suzhou River (1999) by Chinese director Lou Ye, Noi Albinoi (2002) by Daguar Kari, Hotel (2004) by Austrian director Jessica Hausner and Armin (2007) by Ognjen Svilicic, part of the Berlinale Forum programme in 2007 – all comprise the vast portfolio of over 100 films he has consulted. Sharing his thoughts with us on writing and advising screenplays, he states, “When thinking of being a fulfilled script advisor, I‘d like to imagine that eventually one might be able to abandon all certainty for a completely open gaze that is no longer impaired by any preconceived con ventional solution.” The Berlinale Talent Campus #6 Mentor of the Script Station: Franz Rodenkirchen Tue 12 14:00 H HAU 2 Adventures in the Euro-Jungle – The MEDIA Programme Seen Through the Eyes of Film Practioners 31 talent project market present your project Portrait the portrait of an actress The Talent Project Market, in cooperation with the Berlinale Co-Production Market, offers young producers and directors the opportunity to present their projects to potential coproducers and financiers. Known for her complex and often rebellious roles, we are priviledged to have Sandrine Bonnaire, one of the most esteemed French actresses of her generation, at the Berlinale Talent Campus. This hands-on-training provides one-on-one coaching sessions by international professionals, as well as an insight into the workings of co-production markets. Ten projects from ten countries were chosen in early January and will be presented at the fifth edition of the Berlinale Co-Production Market from February 10-11, 2008, allowing Talents a rare opportunity to meet internationally experienced producers, financiers, distributors, sales agents and broadcasters from around the world. Selected for Talent Project Market 2008 are: The Scream of the Butterfly by Kirsi Marie Liimatainen, Finland Caribbean Chronicles by Jean des Forets, France Field of Blackbirds by Ewa Borowski, Germany The Conqueror by Alka Raghuram, India The Talent Project Market is a two-day programme; the first day allotted to pitching, presenting and preparing projects for the international market. Talents will also receive training on international co-production and financing. A reputed pitching trainer, an international jury and other industry experts will give valuable advice on bringing projects to fruition. The second day will focus on individual meetings with potential partners. This will take place at the Berlinale Co-Production Market where pre-scheduled meetings will allow Talents the time and space to present themselves and their projects to potential producers, financiers, and distributors who, in advance, would have familiarised themselves with the Talent projects through the Project Catalogue of the Berlinale Co-Production Market. Tony Ten by Marleen Slot, The Netherlands Black South-Easter by Carey McKenzie, South Africa Squire Musa by Othman Karim, Sweden English Rose by Hope Dickson Leach and Jennifer Westin, UK/USA Arches by Maria Laura Ruggiero, Argentina (alumnus) Susa by Rusudan Pirveli, Georgia (alumnus) Moreover, the VFF – Verwertungsgesellschaft der Film- und Fernsehproduzenten – for the fifth year in a row, is sponsoring the “Highlight Pitch”, where three pre-selected Talent projects will be pitched and each awarded the 3,000 € prize. In addition, the Talent Project Market offers a variety of informal networking opportunities and a chance to exchange ideas and share projects with other participants of the Talent Project Market. The film that unambiguously defined her as French cinema’s pre-eminent troubled teenager was Agnès Varda’s Sans toit ni loi (Vagabond, 1986). The disturbing, uncompromsing portrayal of a young drifter led not only to her second César Award, but more importantly, it became her entry into the company of France’s top auteurs – and she has since stuck to the path of film-as-art rather than indulging in more commerical European fare. footage shot especially for this project at the special residence, where Sabine now lives after a disastrous five-year detour of a mental institution. Sandrine Bonnaire is a member of the International Jury of the Berlin International Film Festival 2008, her film Elle s’appelle Sabine will be screened as Campus special during the festival. Having served on both sides of the camera – as director of Elle s‘appelle Sabine and playing the role of Jeanne D‘Arc in the two-part biopic Jeanne la Pucelle – she will reflect on audience desires for watching “real life“ stories portrayed in all their emotional intensity on the big screen as a panelist for “Real Life Emotion – Biopics and Doc Stars“. Her extraordinary early run was not yet finished. She spent the rest of the decade working steadily for some of France’s most accomplised directors. She has appeared in films by Claude Chabrol, Claude Sautet, Patrice Leconte, André Téchiné, Jacques Rivette, Jean-Pierre Améris, Pierre Jolivet, among others. An actress known to have her fingers firmly on the nape of her character’s neck, she was the object of Michel Blanc’s gaze in Monsieur Hire (1989), Patrice Leconte’s superb adaptation of a Georges Simenon story. Her career has gone from strength to strength, and she received international accolade and an award at the 1995 Venice film festival for her performance in Claude Chabrol’s La cérémonie (Judgement in Stone, 1995). Sandrine Bonnaire in Claude Chabrol‘s The Colour of Lies The Talent Project Market is one of the two hands-on-train ings open to Campus alumni. This year‘s list of selected projects includes two alumni projects. Valuable advice for the Talent projects given by international experts 32 Sandrine Bonnaire became an overnight sensation in France in 1983 when she was chosen from among thousands of teenage girls for the leading role in Maurice Pialat’s À nos amours. She was just fifteen years old, yet her presence in the film shows an immediate understanding of acting for the camera. In 1984, she was awarded the César Award for Most Promising Actress for her role in À nos amours. “Everything was there,” observed critic David Thomson, “without coyness or boasting. From shot to shot, nearly, she seemed to be shifting in mood and age. Here was a phenomenon of acting.” With Elle s’appelle Sabine, she makes a touching directorial debut, a thoughtful look at her younger sister whose autismrelated behavioural difficulties went undiagnosed for the better part of three decades. Bonnaire had a dual reason for making Elle s’appelle Sabine: “One is to paint a portrait of my sister. The other is to help establish autism centres for adults.” This deeply moving documentary consists of snippets from Sandrine’s 20 years worth of home videos, augmented by The Berlinale Talent Campus #6 MON 11 17:45 H Ext. Elle s‘appelle Sabine (Her Name Is Sabine) – Campus Special-Screening at Cubix 8 wed 13 17:00 H HAU 1 Real Life Emotion – Biopics and Doc Stars 33 berlin today award big opportunity for young filmmakers berlin today award finalists 2008 The Berlin Today Award – the short film competition suppor ted since 2003 by the Medienboard Berlin-Brandenburg within the framework of the Berlinale Talent Campus – unveils its new face. The upcoming round of this annual occasion for Talents to produce five short films will take place under the auspices of Federal Foreign Minister Frank-Walter Steinmeier and with the support of the Federal Foreign Office. The three short films by Campus Talents, in competition for the Berlin Today Award 2008, were produced by the Berlin production company zero fiction film: The Berlin Today Award is a short film competition within the frame work of the Berlinale Talent Campus. After five successful years and the production of 15 exciting short films, the competition now gives itself a new look. In 2009, to mark the 20th anniversary of the fall of the Berlin Wall, the Berlin Today Award will focus on the theme “My Wall”. Five short films, each a maximum of ten minutes in length, are to be realised in keeping with professional standards by five German-based production companies with funding from Medienboard Berlin-Brandenburg and in-kind contributions from the film industry. As part of a “Producers‘ Meeting“ to be held during the Berlinale Talent Campus 2008, 15 selected Talents have the chance to pitch their film ideas to the participating producers. The five projects that make the leap toward realisation will be produced by the end of 2008. As a new component of the competition, the young directors are invited to Berlin – or another German city – for a one-month project and development phase (residency) before shooting begins. The world premiere of the three short films competing for the Berlin Today Award 2008 takes place at the Campus. They will be presented to all Talents during the Opening Ceremony on February 9. The world premiere of the short films will take place at the opening of the Berlinale Talent Campus in 2009 as part of the 59th Berlin International Film Festival. Subsequently, the short films are planned for worldwide distribution in cooperation with the Goethe-Institut. Mentor for this year’s competition is German director Wim Wenders. The Berlin Today Award is open to all current and former participants of the Berlinale Talent Campus (this year‘s deadline was January 17th). The next application round for the Berlin Today Award 09/10 is planned for December 2008. For detailed conditions of the competition see the website www.berlintoday.de. Berlin Hair Today by Ole Bendtzen Photo: Peter Himsel Berlin Hair Today by Ole Bendtzen (Denmark) An exploration of the bizarre hair of the Berliners. The documentary follows flamboyant Danish hair-dresser Rikki on a precarious mission through Berlin. The owner of “Streetcut“, a trendy hair-dresser’s shop in Berlin’s colourful Kreuzberg district, has set himself up for a challenging task: to bring back good taste to the city. Match Factor by Maheen Zia (Pakistan) A haunting story about the power of prejudice and the strength of trust: Ahmed (Navid Akhavan), a young Iraqi soccer player, comes to Berlin for a FIFA charity match. When one evening he doesn’t return to his hotel, fear of a possible terrorist conspiracy triggers a city-wide manhunt. Brigitte (Anneke Kim Sarnau), a young policewoman, is on patrol duty when she spots the suspect. The Last Wash by Ville Jankeri (Finland) A black comedy about an unconventional suicide attempt: After 30 years of working in a Berlin launderette, Olga (Peggy Lukac) from Poland receives notice that her favourite washing machine will be replaced by a new model. With the help of her devoted friend, she decides to end her misery and loads her last wash. Match Factor by Maheen Zia Photo: Peter Himsel The Berlin Today Award is organised by boxfish events in cooperation with the Berlinale Talent Campus. It is supported by the Medienboard Berlin-Brandenburg, the Federal Foreign Office and the regional film industry. sat 9 HAU 1 17:00 H Opening Ceremony and World Premiere of the Berlin Today Award Short Films 2008 suN 10 19:30 H ext. Dine & Shine – Talents Rendezvous with Berlinale Guests Winner of last year‘s Berlin Today Award: Kasia Klimkiewicz (Poland) and Andrew Friedman (USA) for Wasserschlacht – The Great Border Battle The Last Wash by Ville Jankeri Photo: Peter Himsel Photo: David Ausserhofer 34 The Berlinale Talent Campus #6 & Berlin Today Award Ceremony (on invitation only) moN 11 18:00 H ext. Public Screening of finalist films 2008 at Hackesche Höfe Filmtheater 35 why democracy vote for democracy? focus africa spot on a new generation “What does democracy mean to me?“ – eight short films by Berlinale Talent Campus alumni explore the personal, political and the question of rights on the theme “Why Democracy?“ In 2008, the Subsaharan region and Germany will enjoy a stimulating exchange. With the aim of strengthening ties and exploring new ground for future collaborative efforts between the two regions, a series of events, “Focus Africa”, will commence with the Berlinale Talent Campus 2008. Democracy is arguably the greatest political buzzword of our time and is invoked by everyone – but what does it mean? Can it be defined, measured, safeguarded? What does it mean to people who don‘t believe in it? What does it mean to you? In October 2007, ten one-hour films by independent award-winning filmmakers from around the world focused on contemporary democracy were broadcast in the world‘s largest ever factual media event. More than 40 broadcasters on all continents are participating, with an estimated audience of 300 million viewers. With so much violence happening in the name of democracy, it has undoubtedly become a contested idea. Consequently, there is an even greater need than before to understand it better and, despite its ironies, an unparalled interest in the promise it holds. This also led to the setting up of the Why Democracy House, the project’s online forum. In addition, a selection of short films have been made in cooperation with the Berlinale Talent Campus, ten of which are by Campus alumni. Here’s your chance to watch a small selection of some of the creative and thought provo king shorts by former Talents. We are proud to have their World Premiere at the Berlinale 2008. More information on the entire project can be found at www.whydemocracy.net. Berlinale Talent Campus presents eight “Why Democracy?“ short films by Campus alumni: Iran means that the first female bus driver can only drive a bus when women are on board. Interferenze Italy (11'46). Director: Zoe D‘Amaro. The right to freedom of speech is an essential element of democracy. In 2002, pirate local TV stations started to spread throughout the Italian territory as a statement against the oligarchic control over the most influential medium. A new generation of African filmmakers is entering the scene with film and project ideas that are too diverse to be subsumed under one label. Looking at the scene from the outside, one cannot help but admire the artistic energy and striking determination in the various new production hubs on the continent. The Berlin International Film Festival and the Campus are platforms created to promote a new, young generation of filmmakers and to build international networks for filmmaking. This can be seen through the Official Programme, which includes eight films with major involvement On The Square Croatia (4'14). Director: Vanja Juranic. The changing political structure of SE Europe ignores an individual’s opposition to this reality. You Cannot Hide from Allah Pakistan (12'13). Director: Petr Lom. A Washington DC taxi driver who wins the lottery returns to his native town to try and win the mayoral election. Kinshasa 2.0 Democratic Republic of Congo (11'06). Director: Teboho Edkins. An internet campaign helps in the release of a presidential candidate jailed for talking openly about the lack of democracy. Moving between a militarised Kinshasa and “Second Life“, the power of the Internet for democracy is explored. kate henshaw-nuttall the efik princess on the movie run away By Shaibu Husseini She is one talented actress every good director would want to work with. Pretty and unpretentiously friendly, Kate Henshaw-Nuttall is one Nollywood (as the Nigerian Home Movie Industry is liberally called) personality who has worked herself to a level where she gets the sort of adulation that stars in Hollywood get. Famous Last Words United Kingdom (6'48). Director: Avril Evans. A young woman boards a train on the London Underground. Is she nervous or not? And if so, why? Three Blind Men India (6'57). Director: Kanu Behl. Three blind men run into an elephant on Parliament Street. Old Peter Russia (8'05). Director: Ivan Golovnev. The last Shaman of the Kazym river votes in each election but this hasn‘t helped to stop the destruction of his culture through massive oil extraction. Feminin – Masculin Iran (8'41). Director: Sadaf Foroughi. Equal rights for women in 36 of film professionals from the African continent. The Campus takes great pleasure in inviting 35 Talents and 10 Experts from Subsaharan Africa. It is a unique opportunity for all attending the Campus to interact with like-minded professionals and initiate partnerships with the African region and vice versa. On the opening day of the Campus, a special get together, “Hot Spot Africa” for Talents and experts from African countries will take place at 14:00 to guide Talents through the Campus and Berlinale labyrinth and give them pointers on events that may be of special interest to them. Famous Last Words by Avril Evans suN 17 14:00 H EXT Why Democracy? – Short Films at CinemaxX 6, moderated by Don Edkins A trained microbiologist who is married to a Briton, acting for the African screen diva began in Lagos in 1993 after a chance opportunity to audition for a role in the movie When the Sun Set. It took that film for Kate to develop an unquenchable passion for acting. Soon producers found her a ready hand for their offerings. Today Kate has by dint of hard work risen to become one of the busiest and highest paid actresses in Nollywood, the world‘s third-biggest film-producing industry with a conservative movie credit estimate of about 150. Despite the usual inclination to use Hollywood as a standard for rating Nollywood, Kate Henshaw-Nuttall says that she does not follow that school of thought but instead believes in the potentials of Nollywood. With a penchant for playing The Berlinale Talent Campus #6 non-glamorous and down trodden roles, she has become a role model to new entrants. Kate’s views on the need for them to be focused have been very strong. She has not stopped admonishing them to look beyond the financial gains and the fame that comes with acting. “I think they should focus on getting it right. Fame and money will come once you get it right” she says. Kate Henshaw-Nuttall sun 10 11:00 H HAU 1 Love International – With Kate Henshaw-Nuttall, Shah Rukh Khan and Maria Schrader 37 Timetable of the Berlinale Talent Campus February 9 –14, 2008 HOGAN & HARTSON RAUE LLP FAIR USE EVERYTHING YOU NEED TO KNOW Are you a producer, director or scriptwriter? Then don’t miss our workshop at the BERLINALE TALENT CAMPUS 2008: www.berlinale-talentcampus.de Financing, casting, editing, shooting, writing, acting – every step in the filmmaking process is covered by six exciting and eventful days. The Berlinale Talent Campus offers nearly 70 lectures, discussions, excursions, screenings and workshops for Talents and in terested visitors, all held in english by internationally renowned experts. Monday, February 11, 2008, 5 – 7 p.m., HAU 2, Second Floor GOLDEN KEY TO THE ARCHIVES The Legal Path to Found Footage Michael Donaldson (Donaldson & Hart) in conversation with Mareile Büscher (Hogan & Hartson Raue LLP) Events reserved for Talents are marked in black, events also open to the public are mark ed in magenta. The page numbers of the event descriptions in the magazine are set in brackets. If you would like more information about how our film & entertainment law team can assist you, please contact: Prof. Dr. Peter Raue praue@hhlaw.com Dr. Christoph Wagner cwagner@hhlaw.com Christiane Stützle cstuetzle@hhlaw.com Dr. Mareile Büscher, LL.M. mbuescher@hhlaw.com B A LT I M O R E CARACAS HONG KONG MUNICH TOKYO BEIJING BERLIN BOULDER COLORADO SPRINGS LONDON NEW YORK WARSAW BRUSSELS DENVER G E N E VA MIAMI MOSCOW PARIS SHANGHAI LOS ANGELES NORTHERN VIRGINIA Berlin Office Munich Office Potsdamer Platz 1 10785 Berlin Germany Schackstrasse 1 80539 München Germany phone: (+49-30) 726 115 - 0 fax: (+49-30) 726 115 - 100 phone: (+49-89) 205 08 88 - 0 fax: (+49-89) 205 08 88 - 10 9 saturday Time HAU 1 HAU 2 Second Floor HAU 3 Black Stage OTHER VENUES 09:30 10:00 Talent Registration Talent Accreditation, Travel E xpense Reimbursement and Ticketing (until 16:00h) (p.46). 11:00 Taking Off Essential briefing on services, programme and Hands-on-Trainings (p.46). 13:00 Taking Off Essential briefing on services, programme and Hands-on-Trainings (p.46). 14:30 Global Speed Matching Big Global with Janine Marmot. In cooperation with Skillset (p.46). WASHINGTON DC WWW.HHLAW.COM HAU 2 17:00 Volkswagen Score Competition Editing at Wave-Line and feedback session with mentor Gustavo Santaolalla (p.24). Opening Ceremony and the World Premiere of the Berlin Today Award Films Dieter Kosslick, Kirsten Niehuus and guests. Moderated by Peter Twiehaus. Supported by Medienboard Berlin-Brandenburg (p.46). The Berlinale Talent Campus #6 39 10 HAU 1 12 HAU 2 HAU 2 Second Floor HAU 3 Black Stage OTHER VENUES Time HAU 1 HAU 2 09:00 Ticketing 09:00 Ticketing 09:30 Early Bird Breakfast Presented by Euromed Audiovisual II Programme (p.47). 09:30 Taste It: Training & Development With Breakfast. Presented by ifs internationale filmschule köln, NIPKOW PROGRAMM, SOURCES 2 (p.56). 11:00 Love International Kate Henshaw-Nuttall, Shah Rukh Khan, Maria Schrader. Moderated by Dorothee Wenner. In cooperation with Federal Foreign Office and Berlinale Special (p.47). The Indie Filmmaker‘s Guide to the Internet Tales from the Online Frontier. Liz Rosenthal. In cooperation with Skillset (p.47). Avid Media Composer Basic Training Editing Workshop. In cooperation with Avid (p.48). 12:30 Lunch Break Speed Matching (directors & producers meet everyone) Meet the Expert (p.44). 14:00 Panamericana – Young Latin American Cinema on the Move Fernando Eimbcke, Pablo Fendrik, Juan Pablo Gugliotta, Christian Valdelièvre. Moderated by Peter Cowie. In cooperation with Berlinale Competition (p.48). Two Producers Sharing Their Secrets Iain Smith in conversation with Sandy Lieberson. In cooperation with Skillset (p.48). Hot Spot Africa Peace Anyiam-Fiberesima, Don Edkins, Alby James, Nashen Moodley, Pedro Pimenta, Sophie Salbot, Selina Ukwuoma. Moderated by Michael Auret and Rumbi Katedza. In cooperation with Federal Foreign Office (p.49). Avid Media Composer Effects Editing Workshop. In cooperation with Avid (p.49). In the Limelight: Stephen Daldry Stephen Daldry in conversation with Mark LeFanu (p.49). Cairo Underground Shadi El-Noshokaty, Hala Galal, “Kaiser“ Mohamed Fatthi Moussa, Emad Mabrouk. Moderated by Viola Shafik. In cooperation with Euromed Audiovisual II Programme (p.51). 16:00 H Avid/Digidesign Workshop. In cooperation with Avid (p.51). 17:00 11 Meet the Expert (p.44). 17:00 H Don‘t Call Us, We'll Call You Nancy Bishop, Ilene Kahn, Derek Power. In cooperation with European Film Promotion (p.51). Volkswagen Score Competition Editing at Wave-Line (p.24). 12:45 H Reception of Manfred Durniok Foundation For East Asian Talents. Supported by Manfred Durniok Foundation (p.16). 11:00 HAU 1 HAU 2 09:00 Ticketing 09:30 Early Bird Breakfast Presented by Avid (p.52). 11:00 Heroes vs. Anti-Heroes: Success Stories in Cinema Julie Delpy, Benjamin Gilmour, Julia Jentsch, Ralph Ziman. Moderated by Grahame Weinbren. In cooperation with Alfred Herrhausen Society, Berlinale Panorama, Berlinale Generation, Berlinale Forum (p.52). HAU 2 Second Floor The Heart of the Matter – Emotion vs. Intelligence Dick Ross. In cooperation with SOURCES 2 (p.52). Lunch Break Speed Matching (directors meet producers & editors) Meet the Expert (p.44). 14:00 Senses & Sensibilities – Documentaries For the Big Screen John Akomfrah, Dominique Cabrera, Sandi DuBowski, Miroslav Janek. Moderated by Mark LeFanu. In cooperation with Federal Foreign Office, Berlinale Panorama and Berlinale Forum (p.53). Frogs in the Pocket Dušan Makavejev in conversation with Peter Cowie. In cooperation with Robert Bosch Stiftung and Berlinale Forum (p.53). Stargazing – Three Casting Directors Debate Nancy Bishop, Juliette Menager, Emma Style. In cooperation with European Film Promotion (p.53). In the Limelight: Mike Leigh Mike Leigh in conversation with Ben Gibson. In cooperation with Berlinale Competition (p.53). Short Films Expand Cinema Jeanne Faust, Shai Heredia, Matthias Müller, Abderrahmane A. Salem. Moderated by Maike Mia Höhne, Stefanie Schulte-Strathaus. In cooperation with Federal Foreign Office, Berlinale Shorts, Berlinale Forum Expanded (p.55). 20:00 Avid Media Composer Effects Editing Workshop. In cooperation with Avid (p.49). Meet the Expert (p.44). In cooperation with Berlinale Shorts and Berlinale Forum Expanded (p.55). 40 Avid Media Composer Basic Training Editing Workshop. In cooperation with Avid (p.48). 16:00 H 19:00 H Short Film Reception OTHER VENUES Southern Passages Hazim Bitar, Vincenzo Bugno, David Fisher, Irit Neidthardt, Abdelaziz Taleb, Jane Williams. Moderated by Cathérine Buresi, Bärbel Mauch. In cooperation with Euromed Audiovisual II Programme (p.56). 10:00 H Berlin Today Volkswagen Score Competition Final mixing at the HFF “Konrad Wolf“ (p.24). Speed Matching (directors meet writers) Meet the Expert (p.44). 14:00 Matters of Life and Death – Reviews that Make or Break David D‘Arcy, Martina Gedeck, Shaibu Husseini, István Szabó. Moderated by Peter Cowie. In cooperation with Federal Foreign Office, Robert Bosch Stiftung (p.57). Adventures in the Euro-Jungle Sébastien Delloye, Arnaud Pasquali, Riina Sildos. Moderated by Franz Rodenkirchen. In cooperation with MEDIA (p.57). The Indie Filmmaker‘s Guide to the Internet Adventures in Self-Distribution: Filmmaker Case Studies. Arin Crumley, M Dot Strange, Lance Weiler. Moderated by Liz Rosenthal. In cooperation with Skillset (p.57). 17:00 The Dark Side of Cinema Hiam Abbass, Newton I. Aduaka, Josef Fares, Damian Harris. Moderated by Vinzenz Hediger. In cooperation with Federal Foreign Office, Euromed Audiovisual II Programme, Berlinale Competition, Berlinale Forum, Berlinale Pano rama (p.59). From Street Cred to Screen Credibility – Hip-Hop & the Movies Karim Chrobog, Volker Meyer-Dabisch, Atif Ghani, Fatoumata Kandé Senghor, Donald Mugisha, Tyron Ricketts. Moderated by Kevin Fitzgerald and Satti R. Kuijpers. In cooperation with Federal Foreign Office, Berlinale Generation, Berlinale Perspektive and Berlinale Forum (p.59). Followed by the Hip-Hop Lounge 16:00 H HAU 2 HAU 2 Second Floor OTHER VENUES 13 Award: Producers‘ Meeting In cooperation with boxfish events. Supported by Medienboard Berlin- Brandenburg, Federal Foreign Office (p.56). 12:00 H Excursion to European Film Market (p.52). 16:00 H Meet the Expert (p.44). Excursion to European Film Market (p.52). 17:00 H Together Forever? What You Need for a Successful International Co-Production. Esther Bannenberg, Roshanak Behesht Nedjad, Frank Hübner. Moderated by Ido Abram (p.59). wednesday 12:30 17:00 HAU 3 Black Stage HAU 3 Black Stage Lunch Break 19:30 H Dine & Shine – Talents Rendezvous with Berlinale Guests at ewerk. Supported by Medienboard Berlin-Brandenburg, Robert Bosch Stiftung (p.51). In the Limelight: Andrzej Wajda Andrzej Wajda in conversation with Mark LeFanu and Ulrich Gregor. In cooperation with Berlinale (p.56). HAU 2 Second Floor 12:30 monday Time www.berlinale-talentcampus.de tuesday sunday Time Events reserved for Talents are marked in black, events also open to the public are marked in magenta. Golden Key to the Archives – The Legal Path to Found Footage Michael C. Donaldson in conversation with Mareile Büscher. In cooperation with Hogan & Hartson Raue LLP (p.55). Avid/Digidesign Workshop. In cooperation with Avid (p.51). Volkswagen Score Competition Editing at Wave-Line (p.24). 12:00 H Excursion to European Film Market (p.52). Time HAU 1 09:00 Ticketing 09:30 Early Bird Breakfast Presented by Robert Bosch Stiftung and International Film Festival Sarajevo (p.60). Volkswagen Score Competition: Excursion to Filmorchestra and HFF “Konrad Wolf“ (p.60). Cinema Inside the Crystal Ball – Future Thoughts on Film making Adytia Assarat, Wolfgang MüllerPietralla. Moderated by Mark LeFanu. In cooperation with Volkswagen and Berlinale Forum (p.60). Excursion to European Film Market (p.52). 12:30 Lunch Break Speed Matching (directors meet everyone else) Meet the Expert (p.44). 17:45 H 14:00 Crafting Visual Intensity Master Class Camera with Ellen Kuras. Moderated by Rajendra Roy (p.61). The Language of Spaces and Things Alex McDowell in conversation with Peter Cowie (p.61). 17:00 Real Life Emotion – Biopics and Doc Stars Sandrine Bonnaire, Bernd Eichinger, Stephen Frears. Moderated by Ben Gibson (p.62). “Lonely Hearts Club“ – NGOs Date Filmmakers Moderated by Christian Stahl. In cooperation with Heinrich Böll Foundation, Federal Foreign Office, Euromed Audiovisual II Programme (p.62). Excursion to the Costume House Theaterkunst (p.52). 16:00 H Elle s'appelle Sabine (Her Name is Sabine) Campus Special-Screening at Cubix 8 (p.33). 22:00 H Talent Night Short Films at CinemaxX 6. In cooperation with Berlinale Shorts, Berlinale Generation (p.55). The Berlinale Talent Campus #6 OTHER VENUES 10:00 H 11:00 13:15 H HAU 3 Black Stage Avid Media Composer Basic Training Editing Workshop. In cooperation with Avid (p.48). 10:00 H 15:00 H Avid Media Composer Effects Editing Workshop. In cooperation with Avid (p.49). Excursion to European Film Market For directors (p.52). 16:00 H Avid/Digidesign Workshop. In cooperation with Avid (p.51). Between Realities Doc Station Presentation. Heino Deckert, Dick Fontaine, Asako Fujioka, Ulla Simonen. Moderated by Sirkka Möller (p.60). Between the Lines Script Station Presentation. Moderated by Alby James (p.61). Meet the Expert (p.44). 17:30 H Hands-On HD HD-Workshop with Grischa Schaufuß (p.62). Excursion to European Film Market For producers (p.52). 41 14 www.berlinale-talentcampus.de tr. tungss Entlas Events reserved for Talents are marked in black, events also open to the public are marked in magenta. thursday HAU 1 HAU 2 09:00 Eyes on the Music Presentation of the Volkswagen Score Competition. Gustavo Santaolalla. Moderated by Peter Cowie. str. In cooperation with Volkswagen Lenné (p.63). Ben-Gu The Indie Filmmaker‘s Guide to the Internet How to become an Independent Filmmaker. Arin Crumlin, Kelly Devine, Robert Greenwald, Allan Niblo, M Dot Strange. Moderated by Liz In cooperation with BRosenthal. elle vue(p.63). Skillset str. Speed Matching (general) Garage Studio Proudly PreKill Your Darlings sents: Four Flicks For Clicks Editing Master Class with Jay Anania, M Dot Strange, Susan Korda (p.64). er Str. ts o Garin Rianto Nugroho, P dam . Grahame Weinbren. Moderated Str by Liz Rosenthal (p.64). er m a tsd ThingstetoPoTake Home l KathiABildhauer, Vincenzo Bugno, Khavn de la Cruz, Marcus Forchner, Sonja Heinen, Rumbi Marlene- Katedza, Stephan Kitanov, Mira StaatsDietrichbibliothek Platz Staleva, Dorothee Wenner (p.65). ame r Str . 14:00 . rion-Str Lunch Break World Cinema Fund – How to Apply Sonja Heinen, Vincenzo Bugno. In cooperation with World Cinema Fund (p.64). Avid Media Composer Basic Training Editing Workshop. In cooperation with Avid (p.48). 10:30 H Meet the Expert (p.44). Str. Berlinale Co-Production 13:00 H LeipzigerMarket – What and Who Is It For? Avid Media Composer Leipziger Sonja Heinen, Kathi Bildhauer, Effects Editing Workshop. In cooperation with Avid MartinaPlatz Bleis. In cooperation with Berlinale (p.49). Co-Production Market (p.65).Abgeordnetenhaus Meet the Expert (p.44). Zimmerstr. r Str . Pots d Dess r Str . d Ha alter Anh Str. latz tr. Lennés Leipziger Str. Abgeordnetenhaus von Berlin b Trehe Str. Mö nstr. cke rns tr. Hallesc str . itz ew nn De es U fer Hallesc h es Str. Ufe Großbe erenstr. fer enstr . beer Obentr autstr. HAU 2 r Tem pel hofe rU HAU 3 fer damm utstr. Tem pel hofe rU HAU 3 damm Obentra HAU 2 r Mehring Möckerns tr. er HAU 1 HAU 1 Mehring bin Möckern eere Großb l Ha les ch Ufe tr. er bin Wilhelmstr. enw alde r Str. b Tre 42 Hallesc h es nstr. . Str eman Hed IdaWolffPlatz Luck Pohlstr . tr. . Str eerens we Flo tt er rg be ne hö Sc Großb tz tr. ns an em es Str De Anhalter Bahnhof pla str. fen llstr . nn Ha Groß Str. ener d Köth ba ew itz str . Ka rls rns nwa lder Strn.halter Str. Askanischer A Platz er uf ch Am cke r. tr. Dessa Luck e Links pi e ts che Str . Friedrichstr. ich Halles Mö Str. ene r Köth uer St ame Re r. tr. ns or hh Eic Pohlstr . MartinGropius-Bau elmst Wilh erstr. Niederkirchn tr. ns an em es Str Pots d Zimmerstr. MarleneDietrichPlatz Berlinale Palast tr. Staatsbibliothek Haus 2 ns r Str . Alt Wilhelmstr. an em m da ots eP es tr. S er Str IdaWolffPlatz Leipziger Platz er Str. Potsdam r. nnst Hed Ebertstr. estr . Flo ttw . rion-Str ells t Ben-Gu evu ema Voßstr. r. Bell Meet the Experts Day 1 – Saturday, Feb 9 Day 2 – Sunday, Feb 10 Day 3 – Monday, Feb 11 Day 4 – Tuesday, Feb 12 Day 5 – Wednesday, Feb 13 Day 6 – Thursday, Feb 14 Anhalter Bahnhof fen p ene ba Köth rls 36 Askanischer Platz er uf ch ngsstr. Entlastu Ka Closing Party at Adagio (basement Berlinale Palast). Supported by Volkswagen (p.65). Str. ene Köth str. Link Location Hebbel am Ufer 1–3 Am 21:00 H Friedrichstr. pi e ts MartinGropius-Bau str. ich r. elm Wilh tr. ns or hh Eic Re 44 46 47 52 56 60 63 4 43–65 Programme von Berlin erst Niederkirchn Haus 2 Closing and Award Cere mony of the Volkswagen Score Competition Berlinale Moderated by Thomas Heinze Palast and Dorothee Wenner. Supported by Volkswagen (p.65). Master class at Costume House Theaterkunst For set designers (p.63). page tr. ns an em es Str 20:00 OTHER VENUES Voßstr. 12:30 16:00 HAU 3 Black Stage Ticketing Ebertstr. 11:00 HAU 2 Second Floor auer Time The Berlinale Talent Campus #6 43 meet the expert experts at your bidding “Meet the Expert“ offers you the chance to have an individual focused conversation with filmmaking experts at HAU 2, Second Floor. The Meeting Point is at HAU 1, ten minutes prior to the appointment. “Meet the Expert“ is presented in collaboration with Skillset. sunday 10 Agnieszka Moody, Media Desk / Film Funding 12:30 h –13:10 H Find out how the MEDIA funding schemes for development, access to finance, and TV broadcasting work, and how to submit a successful application. Agnieszka Moody will also provide information on a range of MEDIA-supported professional training courses, festivals and markets in Europe. Sally Caplan , Head of Premiere Fund at the UK Film Council 13.15 h –14.00 h Sally Caplan will be free to talk about the UK Film Council‘s Premiere Fund which invests in commercial films, across the full range of budgets and genres, which offer quality and entertainment to wide audiences in the UK and worldwide. Chris Collins , Development Producer, UK Film Council’s Development Fund 16.00 h –17.00 H Chris Collins will be talking about his work as a producer, executive producer, production executive and line producer on a variety of feature films. He will also discuss his role for the UK Film Council‘s development fund. Iain Smith, Producer 16:10 h –16:50 H One of UK’s most experienced producers, you can discuss what it takes to make or break your film. Your fears and hopes in particular if you are an independent filmmaker. monday 11 Sandy Lieberson, President of production, 20th Century Fox, MGM International, Ladd Co. (W.B.), London 12:30 h –13:10 H Discuss your aspirations and prospects as filmmakers. What your plans are and how to go about them. Sandy Lieberson has produced over 20 feature films and feature docs and is also an experienced hand as a studio executive, developing and supervising the production of U.S. and European films. 44 Lenny Crooks , Head of the New Cinema Fund, UK Film Council 13.15 h –14.00 h Lenny Crooks will be talking about the New Cinema Fund, one of the most commercially and culturally successful public funds operating in Europe which aims to support filmmakers working outside of the mainstream. Charlie Bloye , Chief Executive, Film Export UK 13:20 h –14:00 H Discuss how films reach their global audiences and what happens to the money on its way back. How much should filmmakers care about “the market“? Film Export UK‘s members are the many film sales companies with offices in the UK . The discussion will also include information about how film makers can cooperate with the Goethe-Institut in South America and worldwide. as well as offer insight into festival strategies within the Korean festival network and beyond. Emma Clarke , Senior Executive, New Cinema Fund at the UK Film Council 16.00 h –17.00 h Emma Clarke will be talking about the New Cinema Fund, one of the most commercially and culturally successful public funds operating in Europe which aims to support emerging filmmakers and established filmmakers working outside of the mainstream. thursday 14 Mia Bays , Production Executive and Marketing Consultant for Film London 16.10 h –16.50 h Mia Bays will be available to discuss Film London and the BBC‘s innovative micro budget feature fund MICROWAVE, making 10 micro budget feature films over 3 years 2007-2010, with the best and most cutting edge UK film talent on their first feature films. Kelly Devine , Consultant with Renew Media 13:20 –14:00 H Kelly Devine is waiting to discuss her work with web-based initiative Reframe to digitize, preserve and make available for purchase content from independent distributors, public media organizations, archives and self-distributing film makers. She has a wide range of experience working with distributors, cable nets and filmmakers. wednesday 13 Shan Dongbing , Producer, Beijing 16.00 h –16.40 h Shan Dongbing is a producer interested in meeting Talents – directors, screenwriters, editors, DOPs and composers – who are eager to get involved with China-based film productions. Janine Marmot , Director of Film, Skillset, London 16:10 h –16:50 H Your chance to talk to a working producer on any film related subject, right from development to delivery. Janine Marmot will also be able to help you understand what Skillset has to offer filmmakers in the UK . Arin Crumley , Writer, director, producer and actor 12:30 –13:10 H The Wall Street Journal lists Arin among the top 20 new media moguls, and applauds the co-creation of the popular independent film and online video series, Four Eyed Monsters. Arin is waiting to share his experiences with other filmmakers and his suggestions on how to stay ahead of the curve. Mike Belmont/M Dot Strange , Writer, director and producer 13:20 –14:00 H Mike is keen to spread the word and help his fellow viral filmmakers by offering practical advice and talking about his own experiences as an independent filmmaker. tuesday 12 Kanako Hayashi , Festival director, TOKYO FILMeX International Film Festival, Japan 12.30 h –13.10 h Discover the core of independent cinema in Asia from one of the best experts with an in-depth knowledge of films in this region. Find out more about Asian film networks and festivals, putting into context Japanese filmmakers and the film scene. Liz Rosenthal, Programme director, Global Digital Distribution Summit, Montreal 16:00 –16:40 H Liz Rosenthal is an early advocate and pioneer of digital filmmaking and distribution. She advises international media companies, film financing organisations, filmmakers and film festivals about using cutting edge distribution techniques and new business models for independent film. Nicolai Petersen , Director of Goethe-Institut Caracas 13.00 h –14.00 h Learn about the inner workings of the Goethe-Institut and how their film programmes are organised and conducted. Hee-Jeon Kim , International Sales, CJ Entertainment, Korea 16.20 h –17.00 h Hee-jeon Kim will provide general information on international business for Korean co-productions and distribution, The Berlinale Talent Campus #6 Allan Niblo , Vertigo Films 12:30 –13:10 H Allan Niblo has lots of experiences to share in filmmaking. He also started the successful Vertigo Films in 2002 with fellow producer James Richardson, Director Nick Love and distributor Rupert Preston. David Thompson , Head of BBC Films, London 16.10 h –16.50 h David Thompson will talk about his role as Head of BBC Films, overseeing a slate of films for cinema and tv, and will also be able to discuss his role in setting up a new independent production company with a focus on film and television drama. contact the skillset stand for detailed schedule of the following experts: Phyllis Mollet , International film festival consultant Your opportunity to speak with this expert festival strategist on locating funding, navigating international film festivals and developing co-productions with other countries. Peter Buckingham , Head of Distribution & Exhibition at the UK Film Council Peter Buckingham will be discussing the range of schemes available to support the strategy of increasing the breadth and diversity of cinema-going across the UK, as well as assisting audience appreciation of UK films. Jan-Jacob Lousberg , European and International Production Executive for the UK Film Council Jan-Jacob Lousberg will be available to discuss his responsibility for sourcing projects, talent, and co-financing oppor tunities in Europe. See CVS of experts from p. 67 45 Campus Programme Sat Feb 9 Campus Programme Sun feb 10 talent registration early bird breakfast 10:00 H, HAU 2 At 10:00 the doors to HAU 2 will open for Talent registration and reimbursement of travel expenses if applicable. This is when Talents will find out more about the events and activities offered throughout the Campus. You will receive an overview of Campus projects, logistics, ticketing and above all, this is where you first meet fellow Talents. taking off – essential briefing 11:00 H, HAU 2 – repetition at 13:00 H, HAU 2 The first and most important Talent briefing will give details about the week to follow. An introduction to the team members, access to Internet, the ins and outs of using the Campus database as well as information on the Berlinale screenings will be clarified. More significantly, you will be introduced to the general programme and the wide selection it offers, also in terms of this year’s Hands-On-Trainings: the Volkswagen Score Competition, the Garage Studio, The Talent Press, the Script & Doc Station and the Talent Project Market. 11: directors meet producers and editors; Tuesday 12: directors meet writers; Wednesday 13: directors meet everyone else; Thursday 14: general. opening ceremony and the world premiere of the berlin today award short films 2008 17:00H, HAU 1 / Dieter Kosslick, Kirsten Niehuus and guests. Moderated by Peter Twiehaus. Supported by the Medienboard Berlin-Brandenburg. A welcome address by the director of the Berlin International Film Festival, Dieter Kosslick, will officially open the Berlinale Talent Campus. Director of the Berlinale Talent Campus, Dorothee Wenner, will also welcome Talents and guests, briefly introducing the theme of the 6th edition “Screening Emotions“. The World Premiere of this year‘s nominated shorts competing for the Berlin Today Award 2008 will be screened subsequently. For details on the Berlin Today Award see p.34. Of course there‘s more, and we‘re sure you‘ll enjoy the surprises awaiting you! Global Speed matching 14:30 H, HAU 2 / Big Global with Janine Marmot. In cooperation with Skillset. Networking, socialising and meeting peers from around the world are key aspects of the Berlinale Talent Campus. To set this essential experience in motion, join in the Global Speed Matching – our specialized version of speed dating. Conducted by Janine Marmot, all Talents are invited to HAU 2 to meet each other in a rapid-fire session of three-minute encounters. Bursting with excited chatter, this icebreaker is your first chance to meet, greet and exchange information with co-Talents. More focused and less frenetic Speed Matchings will continue every day at 12:30 at HAU 2 where you will have the opportunity to meet potential work partners. This year’s Speed Matching schedule is as follows: Sunday 10: directors and producers meet everyone; Monday 46 Three minute meetings at the Global Speed Matching Sat 9 HAU 1 Talent Registration Sat 9 HAU 1 Taking Off – Essential Briefing Sat 9 HAU 2 Global Speed Matching Sat 9 HAU 1 10:00 H 9:30 h, HAU 2 / Presented by Euromed Audiovisual II Programme. The early bird catches the worm: Today‘s Early Bird Breakfast is hosted by the Euromed Audiovisual II Programme and offers you a relaxed and tasty start to a promising new Campus day. Meet representatives of today‘s host organi sation as well as fellow Talents for a comfortable chat while you enjoy hot coffee and breakfast. the indie filmmaker‘s Guide to the internet – tales from the online frontier 11:00 H, HAU 2, Second floor / Liz Rosenthal. In cooperation with Skillset. Hear how independent filmmakers of feature, documentary and short films are using the Internet to market, distribute and finance their work. Presenting a variety of case studies, clips and websites, this session will give a thorough and cutting-edge overview of how the Internet is an invaluable tool for the independent filmmaker. love international 11:00 H, HAU 1 / Kate Henshaw-Nuttall, Shah Rukh Khan, Maria Schrader. Moderated by Dorothee Wenner. In cooperation with Federal Foreign Office and Berlinale Special. There are few things more pleasurable than seeing a wonderful love story on the big screen. Although love may be regarded as an eternal affair and a natural human condition, looking at films from the different parts of the world, one can see clear distinctions arising from very different cultural contexts that shape relationships from the “first sight” till “death tears them apart”. Morale, ethics, family constellations, gender relations, economics, traditions and religion – all these issues result in what the Western world likes to describe as the most private sphere of an individual. Three super stars from the genre of “love depiction” – Bollywood’s Shah Rukh Khan, Kate Henshaw-Nuttall of the Nollywood fame and German leading lady and Silver Bear winner Maria Schrader – look at today’s cinema and its purpos as a role model for “real” love stories, as well as a fulfilment of audiences’ desire for escapism and as a reflection of the world we live in – be it in India, Nigeria, Germany or elsewhere. 11:00 & 13:00 H Shah Rukh Khan in Om Shanti Om, part of this year‘s Berlinale Special Sun 10 9:30 H HAU 2 Early Bird Breakfast 14:30 H Sun 9 HAU 1 17:00 H Sun 9 HAU 2 Opening Ceremony and the World Premiere of the Berlin Today Award Short Films 2008 2nd fl. The Berlinale Talent Campus #6 11:00 H Love International 11:00 H The Indie Filmmaker‘s Guide to the Internet – Tales From the Online Frontier 47 Campus Programme Sun feb 10 Campus Programme Sun feb 10 Avid Media Composer Basic Training two producers sharing their secrets hot spot africa 11:00 H, HAU 3 Black stage / Editing Workshop. In cooperation with Avid. 14:00 H, HAU 2 / Iain Smith in conversation with Sandy Lieberson. In cooperation with Skillset. This basic editing workshop provides an exhaustive intro duction to the various techniques of non-linear editing with the Avid Media Composer system, the affordable, flexible, hardware-independent film and video editing solution for Mac and PC. Media Composer is the application used to create more of the world’s films, television shows, and commercials than any other editing system. Sunday 10 to Thursday 14 (excepting Tuesday 12), daily at 11:00. In conversation with Sandy Lieberson (former president of production at Twentieth Century Fox), producer Iain Smith, one of Europe’s busiest producers, explores the themes of taking risks and the balance between art and money. Using clips from selected films, Iain will discuss how these issues apply to the films he has worked on and produced. He will examine the studio system versus the independent producer and what lessons filmmakers could learn from it. Smith’s credits include Academy Award winning Charriots of Fire and Killing Fields, Ridley Scott‘s 1492, Jean Jacque Annaud‘s Seven Years in Tibet, Luc Besson‘s Fifth Element, Anthony Minghella‘s Cold Mountain, Alfonso Cuaron‘s Children of Men and Darren Aronofsky‘s The Fountain. 14:00 h, HAU 2, second floor / Peace Anyiam-Fiberesima, Don Edkins, Alby James, Nashen Moodley, Pedro Pimenta, Sophie Salbot, Selina Ukwuoma. Moderated by Michael Auret and Rumbi Katedza. In cooperation with the Federal Foreign Office. panamericana – Young latin american cinema on the move 14:00 H, HAU 1 / Fernando Eimbcke, Pablo Fendrik, Juan Pablo Gugliotta, Christian Valdelièvre. Moderated by Peter Cowie. In cooperation with Berlinale Competition. This case study focuses on two former Talents and their films. Fernando Eimbcke from Mexico, participant of the Campus in 2003, presented his first feature film Duck Season in 2004, which was shown in Cannes and numerous other festivals. His second feature Lake Tahoe is part of this year‘s Berlinale Competition. For the first time a former Talent (together with Lance Hammer‘s Ballast) is part of the Berlinale Competition. Pablo Fendrik from Argentina, Campus and Talent Project Market participant in 2006, made his first feature film The Mugger in 2007, winning awards at the Buenos Aires International Film Festival and at the Film Festival in Cuba. It was also shown in Cannes. His second feature Blood Appears, shot in October 2007, is now in postproduction. Using excerpts of their films, Pablo and Fernando, together with executive producer of The Mugger, Juan Pablo Gugliotta, and Lake Tahoe producer Christian Valdelievre, will talk about their experiences producing their first and second features in Argentina and Mexico. The two films will serve as examples of Young Latin American Cinema on the move. They will discuss the specific requirements of filming in the region, working con structively with a team under trying circumstances and with small budgets and limited production facilities. 48 The session addresses film professionals from or interested in working in Subsaharan Africa. Talents will be introduced to some of the key players present in Berlin, who will talk about their range of activities. Additionally, an overview of events highlighting African cinema at the Berlinale will be provided along with strategic advice on navigating the festival in general. Billy Elliot in 2000. The film won the BAFTA award for the Best British Production and was nominated for an Oscar. For Paramount Pictures, Daldry went to Hollywood to direct The Hours staring Nicole Kidman, Julianne Moore and Meryl Streep. With his latest film being an American-German coproduction, Daldry came to Berlin for the shooting in 2007. Based on the successful novel “The Reader” by Bernhard Schlink and set in postwar Germany, it tells the story of a man whose life has been shaped by an illicit affair during his youth. Stephen Daldry will converse with Mark LeFanu about the art of filmic adaptation of novels while retaining the emotional depth of the original material, and about the various ways of working with actors and actresses to capture the essence of the character portrals in his films. Avid Media Composer Effects training 14:00 H, HAU 3, Black stage / Editing Workshop. In cooperation with Avid. This basic editing workshop provides an exhaustive introduction to the various techniques of non-linear editing with the Avid Media Composer system, the affordable, flexible, hardware-independent film and video editing solution for Mac and PC . Media Composer is the application used to create more of the world’s films, television shows, and com mercials than any other editing system. Sunday 10 to Wednesday 13 (excepting Tuesday 12), daily at 14:00 and 17:00. Thursday 14 at 13:00. In the 2008 Berlinale Competition: Fernando Eimbcke‘s Lake Tahoe Billy Elliot: Stephen Daldry‘s first international success I n the limelight: Stephen Daldry 17:00 H, HAU 1 / Stephen Daldry. Moderated by Mark LeFanu. Sun 10 11:00 H HAU 3 Avid Media Composer Basic Training black stage Sun 10 14:00 H HAU 1 Panamericana – Young Latin American Cinema on the Move Sun 10 14:00 H HAU 2 Two Producers Sharing Their Secrets Considered today as one of the most interesting characterdriven filmmakers from England, Stephen Daldry started his career in theatre. For his 1992 adaption of “An Inspector Calls” he was highly awarded on both sides of the Atlantic. In 1997 Daldry signed in as a film director with Working Title Films. Starting off with Eight, a short film on an eight-year old football fan, Daldry hit the international cinema screens with The Berlinale Talent Campus #6 Sun 10 14:00 H HAU 2 Hot Spot Africa 2nd fl. Sun 10 14:00 H HAU 3 Avid Media Composer Effects Training black stage Sun 10 17:00 H HAU 1 In the Limelight: Stephen Daldry 49 Campus Programme Sun feb 10 3UMMER3CHOOL )$&!ISLOOKINGFOR .EW4ALENT cairo underground .EWTHISYEAR)$&!CADEMYWILLORGANISE3UMMER3CHOOL ATAILORMADETRAININGPROGRAMMEAIMEDATHELPING½LMMAKERS DEVELOPTHEIRDOCUMENTARY½LMPROJECTFORTHEINTERNATIONAL MARKET9OUCANCHOOSETOFOCUSONSCRIPTEDITINGEDITINGOR DEVELOPINGCROSSMEDIAAPPLICATIONSFORYOUR½LM *OINTHE)$&!CADEMY3UMMER3CHOOL&ORMOREINFO TAKEALOOKATWWWIDFANLIDFACADEMY 17:00 H, HAU 2 / Shadi El-Noshokaty, Hala Galal, “Kaiser“ Mohamed Fatthi Moussa, Emad Mabrouk. Moderated by Viola Shafik. In cooperation with Euromed Audiovisual II Programme. Cairo, the hotspot of the Middle East, has regained its importance over the last decade in both the amount and quality of productions to assert its position at the centre of film and art production in the Middle East. What was once the “most beautiful city in the world” in the early 1900s is now a busy crowded metropolis. Artists and filmmakers have made the hardness and chaos of the city a source of inspiration. At the same time, an increasingly globalized private sector in a world of mass media, movies and art, has paved the way for new forums. These factors have assisted artists and film makers to redefine their relationship to the political sector. )$&!CADEMY3UMMER3CHOOL !MSTERDAM*ULY $EADLINEFORENTRY!PRIL INTERNATIONAL DOCUMENTARY½LM FESTIVALAMSTERDAM )$&! .OVEMBER $EADLINESFORENTRY -AYAND!UGUST 4HE&/25- .OVEMBER $EADLINEFORENTRY 3EPTEMBER )$&!CADEMY .OVEMBER $EADLINEFORENTRY /CTOBER $OCSFOR3ALE .OVEMBER $EADLINEFORENTRY /CTOBER WWWIDFANL Some of the key players in the Cairo film scene discuss the emergence of a new cultural scene, the opening up of alter native spaces for film and art in this city teeming with millions, which has also succeeded in attracting new audiences. They will reflect on the various aspects that have led to the development of an emerging independent film and video scene despite a film industry and a conservative state-controlled cultural environment, and the extent to which film or culture in general succeeds in achieving an autonomous space for reflection and for transmitting alternatives. *AN6RIJMAN&UND $EADLINESFORENTRY *UNEAND&EBRUARY don‘t call us – we‘ll call you! 17:00 H, HAU 2, second floor / Workshop for actors and actresses. Nancy Bishop, Ilene Kahn, Derek Power. In cooperation with European Film Promotion. Actors and actresses have the most difficult goods to market: themselves. Hollywood based Ilene Kahn Power and Derek Power, heads of a multi-faceted personal management company which specialises in the representation of its clientele will share insights and offer advice to actors and actresses at the start of their career. They will discuss ways of creating an image within the highly competitive business of exploring The Berlinale Talent Campus #6 shores beyond one’s national boundaries – and what else it takes to pursue a successful strategy in getting visible. Avid digidesign workshop 17:00 H, HAU 3, Black stage / Editing Workshop. In cooperation with Avid. This basic workshop provides an exhaustive introduction to the various techniques and possibilities of Digidesign software for digital audio post-production. Sunday 10 to Wednesday 13 (excepting Tuesday 12), daily at 17:00. Dine & Shine – Talents rendezvous with berlinale guests and the berlin today award ceremony 19:30 H, ewerk / Moderated by Adrian Kennedy. In cooperation with the Medienboard Berlin-Brandenburg and the Robert Bosch Stiftung. Talents enjoy a formal sit-down dinner. Don‘t fear, it definitely won‘t get boring as the evening holds a lot in store. Not only will the winner of the Berlin Today Award be announced and awarded by jury member and mentor of the this year‘s competition round, Wim Wenders, but each table will also have a special guest of the Berlinale keeping you hooked. With each new course, a new person of fame will grace your table with his or her presence. So this could be your chance to have an in-depth conversation and exchange views with a film personality whose work has inspired and directed your own. Guten Appetit – as we say in Germany! Sun 10 17:00 H HAU 2 Cairo Underground Sun 10 17:00 H HAU 2 Don‘t Call Us – We‘ll Call You! 2nd fl. Workshop For Actors and Actresses Sun 10 19:30 H ext. Dine and Shine – Talents Rendezvous With Berlinale Guests at ewerk 51 Campus Programme mon feb 11 Campus Programme mon feb 11 early bird breakfast d‘être“ of the project, is not ready for production? Dick Ross discusses the ways in which young filmmakers can shape this relationship from concept to production, changing the attitude towards the audience from passive onlookers to active participants in the creative process. senses & Sensibilities – Documentaries for the big screen excursion to the European film market The trading floor of the Berlinale Film Festival is abuzz with activity during the European Film Market (EFM) – one of the most important annual events for the film industry. This year 430 exhibitors from 51 countries will be represented and approximately 714 films will be presented to professional visitors. Guided by Sydney Levine, founder and president of Film Finders database, Talents will have the opportunity to get an introduction to the format and the functioning of the EFM. Monday 11 / Tuesday 12 at 12:00 & 16:00. Wednesday 13 at 10:00 (for producers) and 14:00 (for directorS). Of late, documentaries are increasingly screened in movie theatres and festival slots which were traditionally, by unwritten law, reserved for “features only”. Despite this fairly recent development, there is only a very fine line that distinguishes documentaries made for TV from those made for theatrical release. Opinions on the matter are highly controversial. Four masters of documentary filmmaking – Ghanaian-born John Akomfrah, jury member for the 2008 “Best First Feature Award“ (endowed by GWFF) Dominique Cabrera, director Sandi DuBowski (producer of A Jihad For Love, featuring the Panorama), and Czech filmmaker Miroslav Janek – debate the issue using examples from their own production experience, and also reflect on the limits and ethics in documentary filmmaking, addressing questions on the “intrusion of privacy”, and making documentaries on burning issues without stepping into the “current affairs” trap. excursion to the costume house theaterkunst frogs in the pocket 12:45, meeting point: 12:30 at the entrance to hau 1 In cooperation with Theaterkunst. 14:00, HAU 2 / Dušan Makavejev in conversation with Peter Cowie. In cooperation with Robert Bosch Stiftung and Berlinale Forum. 9:30 H, HAU 2 / Presented by Avid. Today‘s Early Bird Breakfast is hosted by Avid Technology and offers you a relaxed and tasty start to a promising new Campus day. Meet representatives of today‘s host organisation as well as fellow Talents while you enjoy breakfast. heroes vs. Anti-Heroes – Success stories in Cinema 11:00 H, HAU 1 / Julie Delpy, Benjamin Gilmour, Julia Jentsch, Ralph Ziman. Moderated by Grahame Weinbren. In cooperation with Alfred Herrhausen Society, Berlinale Panorama, Berlinale Generation, Berlinale Forum. The panel ponders the identity of the contemporary cinematic hero, how we relate to him or her, both as filmmakers and as viewers. How the dark anti-hero plays on our consciousness and what we take away from a film that portrays such a character? The fiction filmmakers, Benjamin Gilmour, whose directorial debut Son of A Lion features in the Berlinale Forum, and Ralph Ziman, whose Jerusalema is part of the Berlinale Panorama, and the actresses Julia Jentsch, winner of the 2005 Silver Bear for Best Actress in Sophie Scholl – The Final Days and Julie Delpy, who has worked in over 30 films, will discuss how one finds a way to live with a character for the one of two years it takes to make a film, when the character is someone who would be impossible to relate to in real life. the heart of the matter – Emotion vs. intelligence 11:00 H, HAU 2, second floor / Dick Ross. In cooperation with SOURCES 2. In his lecture, storyteller and script adviser Dick Ross deals with the crucial relationship of the writer/filmmaker with his/ her audience. The evidence of many scripts by emerging European writers prompts him to ask if telling the story is really the paramount motivation? Or are we too preoccupied with form and structure? Having managed to get the “shape“ of the script to an acceptable level, why do we tend to rush into production, ignoring the fact that the story, the “raison 52 12:00, meeting point: at the entrance to hau 1, always 15 minutes prior to the start Sydney Levine. In cooperation with European Film Market. Theaterkunst is Germany’s largest costume house for film, television, advertising and theatre. In the 100 years of its existence, it has brought together a collection of more than 10 million items stored in three branches and the head quarters in Berlin. Today‘s general tour is open to 10 Talents. mon 11 9:30 H HAU 2 Early Bird Breakfast mon 11 11:00 H HAU 1 Heroes vs. Anti-Heroes – Success Stories in Cinema mon 11 11:00 H HAU 2 The Heart of the Matter – 2nd fl. Emotion vs. Intelligence 14:00 H, HAU 1 / John Akomfrah, Dominique Cabrera, Sandi DuBowski, Miroslav Janek. Moderated by Mark LeFanu. In cooperation with the Federal Foreign Office, Berlinale Panorama and Berlinale Forum. Dušan Makavejev, the most inventive, boisterous, and widely travelled of all 1960s filmmakers, discusses his career and its lessons for young filmmakers today. His conversation with Peter Cowie will cover the challenges involved in low-budget filmmaking, as well as political commitment, zany humour and, of course, sex on screen. The Berlinale Forum presents special screenings of Dušan Makavejev’s WR: Misterije Orga nizma (1971). This surreal documentary-fiction collision was banned on release in Makavejev’s home country and is both whimsical and bold in its blending of politics and sexuality. The film runs on Feb 9, 16:30 at Delphi Filmpalast and on February 12, 15:15 at Arsenal. The Berlinale Talent Campus #6 stargazing – three casting directors debate 14:00 H, HAU 2, second floor / Nancy Bishop, Juliette Menager, Emma Style. In cooperation with European Film Promotion. Three experienced casting directors will provide an overview of all casting related issues. They will counsel young actors and actresses on casting and the prerequisites of the film industry. Concrete advise on locating the right agent/man ager, the best way to prepare for a casting presentation, and dealing with challenges when working in smaller countries without an agency networking system will be tackled. The audience will be invited to join in the ensuing discussion. in the limelight: mike Leigh 17:00 H, HAU 1 / Mike Leigh in conversation with Ben Gibson. In cooperation with Berlinale Competition. His new film Happy-Go-Lucky runs in this year’s competition. Mike Leigh’s influence on British theatre and cinema has been present for more than 30 years. Starting with a focus on theatre, one of his plays became the script for his debut film, Bleak Moments in 1971. In 1989 he co-founded Thin Man Films to produce films as Life is Sweet in 1990, Naked in 1993, Secrets and Lies in 1996 – films that took his name far beyond the UK. In conversation with Ben Gibson, the director of the London Film School, Mike Leigh will talk about his method of improvisation. Together with the actors, Leigh embarks on the creation of characters, their personal history, and their emotional relations to each other. mon 11 14:00 H HAU 1 Senses & Sensibilities – Documentaries for the Big Screen mon 11 14:00 H HAU 2 Frogs In the Pocket mon 11 14:00 H HAU 2 Star Gacing – 2nd fl. Three Casting Directors Debate mon 11 17:00 H HAU 1 In the Limelight: Mike Leigh 53 N I P K O W P R O G R A M M Scholarships for European Audiovisual Media Professionals in Berlin Campus Programme mon feb 11 short films expand cinema 17:00 H, HAU 2 / Jeanne Faust, Shai Heredia, Matthias Müller, Ahmed Salem Abderrahmane. Moderated by Maike Mia Höhne and Stefanie Schulte-Strathaus. In cooperation with Federal Foreign Office, Berlinale Shorts and Berlinale Forum Expanded. Short films have secretly become the centre of cinematographic innovation with a potential that benefits not only the film industry but other artistic domains as well. Short films, increasingly (re-)establish themselves as a kind of experimental playing field for advanced cinema. The format is abandoning the traditional movie screens more and more to become the crossroads for art and cinema – simultaneously avant-garde pioneer and aesthetic trendsetter. Tapping into this evolution, the panel discusses the alternative ways and spaces for presenting short films, as well as the new hot spots of exhibition space for the short film scene. Followed by the panel is the Short Film Reception. short film reception 19:00 H, HAU 2, second floor / In cooperation with Berlinale Shorts and Berlinale Forum Expanded. 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 Deadline for applications 21st of April and 20th of October 2008 WITH THE SUPPORT OF Contact Kurfürstendamm 225 D - 10719 Berlin phone: +49 30 614 28 38 fax: +49 30 614 28 26 e-mail: nipkow-programm@t-online.de visit: www.nipkow.de A casual meet-and-greet reception after the short film panel will provide an opportunity for filmmaking Talents to liaise with festival delegates, distributors, and buyers of short films. Through this network, filmmakers can make the necessary connections for the exhibition and distribution of their films, as well as familiarise themselves with the market of alternative venues. In turn, short film representatives have the chance to promote their festivals or distribution companies to a pool of emerging short filmmakers. every director and producer wanting to use even the shortest clips, excerpts or scenes of whatever origin. They face the difficult question of how to legalise these, if the owner isn’t one of their closest friends. California-based Lawyer Michael C. Donaldson heads a film prone movement that aims at shedding light on even the darkest archival cellars to bring clarification and practical advice to this dangerous territory which has ruined many who were unprepared. “Fair Use” is like a road map and a bridge building initiative between filmmakers and producers – and those in possession of precious rights. talent night 22:00 H, cinemaxx 6 / Moderated by David Thompson. In cooperation with Berlinale Shorts and Berlinale Generation. The event offers a selection of Berlinale Shorts, including some directed by fomer Talents. Head of BBC Films, David Thompson, will moderate the programme and open the floor to discussion. Enjoy the long night of shorts: Meditations on a Name (Bonnie Elliott, Australia, 9'), Szmolinsky (Julius Onah, USA, 5'), Haze (Anthony Chen, Singapore, 14'18), Journey To The Forest (Jörn Staeger, Germany, 7'), Nana (Warwick Thornton, Australia, 6'), Traces (Rachel Zisser, USA, 19'), A Good Day for a Swim (Bogdan Mustaţă, Romania, 10'), Take 3 (Roseanne Liang, New Zealand, 12'). mon 11 17:00 H HAU 2 Short Films Expand Cinema mon 11 17:00 H HAU 2 Golden Key to the Archives – Golden key to the archives, the legal path to found footage 2nd fl. 17:00 H, HAU 2, second floor / Michael C. Donaldson in conversation with Mareile Büscher. mon 11 19:00 H HAU 2 Short Film Reception “Fair Use” has become a hot term – not only for lawyers specialising in film and media but more so for practically The Berlinale Talent Campus #6 The Legal Path to Found Footage mon 11 22:00 H ext. Talent Night – Short Films at CinemaxX 6 55 Campus Programme tue feb 12 Campus Programme tue Feb 12 taste It: Training and development matters of life and death – Reviews that Make or break the indie filmmaker‘s guide to the internet – adventures in self distribution: Filmmaker case studies 14:00 H, HAU 1 / David D‘Arcy, Martina Gedeck, Shaibu Husseini, István Szabó. Moderated by Peter Cowie. In cooperation with the Federal Foreign Office and the Robert Bosch Stiftung. 14:00 H, HAU 2, second floor / Arin Crumley, M Dot Strange and Lance Weiler. Moderated by Liz Rosenthal. In cooperation with Skillset. 9:30 H, HAU 2 / Presented by ifs internationale filmschule köln, NIPKOW PROGRAMM and SOURCES 2. This two-in-one deal combines the Early Bird Breakfast with presentations of three training initiatives – IFS International Film School Cologne, the NIPKOW PROGRAMM and SOURCES 2. Following the brief formal presentations, Talents are invited to breakfast with invited experts and the representatives of today’s host organisations at their respective counters. School of Film in 1953, to make his debut movie, Pokolenie, two years later. Since then he has made around 40 films, his latest, Katyń, is screening at Berlinale Palast out of competition and is nominated for Best Foreign Language Film at the 2008 Academy Awards. Wajda has made his reputation as a sen sitive and uncompromising chronicler of his country‘s political and social evolution. He is known for crafting an œuvre of work that devastates even as it informs. In conversation with Ulrich Gregor and Mark LeFanu, he will expound on the art of giving films the right mood and atmosphere of the period the film is set in, with particular reference to his latest film. berlin today award: Producers‘ Meeting 10:00 H, HAU 3, Black Stage / In cooperation with boxfish events. Supported by Medienboard Berlin-Brandenburg, Federal Foreign Office. On invitation only. For the Berlin Today Award 2008/09 five short films are to be produced under the theme of “My Wall“, to be premiered at the Campus Opening in 2009. The Producers‘ Meeting is a marriage market of sorts, where 15 preselected Talents will meet 10 producers keen on producing one of the BTA shorts. Opening with a round of brief introductions and project descriptions, Talents are offered the opportunity to present their projects in one-to-one meetings. After a day of scouting, pitching, debating and profiling, both Talents and producers will vote with whom they wish to produce their shortfilm. From that wish list, a BTA jury will select the five final Talent/ producer teams at the end of February. southern passages 11:00 H, HAU2, second floor / Hazim Bitar, Vincenzo Bugno, David Fisher, Irit Neidhardt, Abdelaziz Taleb, Jane Williams. Moderated by Cathérine Buresi and Bärbel Mauch. In cooperation with Euromed Audiovisual II Programme. The discussion will focus on filmmaking conditions specific to MEDA- countries, co-production opportunities between filmmakers in MEDA-countries and Europe, and cooperation perspectives between filmmakers within the MEDA-region. It will also examine the requirements for regional possibilities to finance, produce, market and distribute films. Guest speakers will talk about their own body of work, the programmes and initiatives they represent. The panel will also go into the local and global distribution of films with particular focus on the outlook for cooperations on an intra-MEDA regional level. I n the Limelight: andrzej wajda 11:00 H, HAU 1 / Andrzej Wajda in conversation with Ulrich Gregor and Mark LeFanu. In cooperation with Berlinale Competition. Film and theatre director, script writer and set designer, Andrzej Wajda is a major figure of world and Central European cinema, and recipient of the Oscar Award for lifetime achievement and an honorary Golden Bear for lifetime achievement at the Berlinale 2006. A student of the Cracow‘s Academy of Fine Arts, he graduated from the National Higher 56 tue 12 9:30 H HAU 2 Taste It: Training & Development tue 12 10:00 H HAU 3 Producers‘ Meeting tue 12 11:00 H HAU 1 In the Limelight: Andrzej Wajda tue 12 11:00 H HAU 2 Southern Passages 2nd fl. A fresh look at the special – and at times complicated – relationship between film professionals and their critics: the reviewers. Directors, producers and actors/actresses often fear this very sensitive area since reviews have a major influence on the life of a film – or the career of a star. Actress Martina Gedeck and director István Szabó will talk with film critics David D’Arcy and Shaibu Husseini, a current year Talent, about their own experience with the press and how good or bad reviews have affected their approach to their craft. Together they will reflect on the possible limits of film reviewing, and how it is possible to bond with those who review and make or break a film career, looking ahead to a future no longer dominated exclusively by the print media. Trail-blazing filmmakers present detailed case studies of their online distribution strategies, demonstrating how they use the Internet to connect directly with audiences to promote, sell and finance their work. Learn how to create a dynamic web presence, how to build and retain a loyal fanbase, deal with digital rights issues, and use the Internet to promote the theatrical, DVD and download release of your films. adventures in the euro-jungle – The Media Programme seen through the eyes of film practioners 14:00 H, HAU 2 / Sébastien Delloye, Arnaud Pasquali, Riina Sildos. Moderated by Franz Rodenkirchen. In cooperation with MEDIA. MEDIA , one of the most important and influential training initiatives in Europe, is one of the Berlinale Talent Campus’ main partners. Film professionals from various fields of work discuss their experiences working with MEDIA: the challen ges of coproducing in Europe, the benefits of training, the advantages of international networks. With examples from recent productions like I Am From Titov Veles (Berlinale Panorama 2008) or Irina Palm (Berlinale Competition 2007) questions of English versus other production languages, and narrating and marketing local stories for international audiences will be addressed. The panel is of special interest to film professionals from Europe interested in learning from experts what MEDIA offers to independent producers. Participants are invited to ask questions on how to apply. The Berlinale Talent Campus #6 Irina Palm, produced by Sébastien Delloye: a successful adventure in the Euro-Jungle tue 12 14:00 H HAU 1 Matters of Life and Death – Reviews that Make and Break tue 12 14:00 H HAU 2 Adventures in the Euro-Jungle tue 12 14:00 H HAU 2 The Indie Filmmaker‘s Guide to the Internet – 2nd fl. Adventures in Self-Distribution 57 Your Vision drives the project! When you know exactly what you want to achieve, trust us to help you deliver. Campus Programme tue Feb 12 the dark side of cinema 17:00 H, HAU 1 / Hiam Abbass, Newton I. Aduaka, Josef Fares, Damian Harris. Moderated by Vinzenz Hediger. In cooperation with Federal Foreign Office, Euromed Audiovisual II Programme, Berlinale Competition, Berlinale Forum, Berlinale Panorama. creativity Since the very first film ever made, film professionals as well as audiences have experienced the strength of depicting emotional extremes of the dark side – be it horror, personal trauma, alienation, oppression, death or war – these issues evoke the powerful darker emotions. On this panel, directors and actors will discuss their fascination and motivation dealing as film professionals with human behaviour and reactions of the extreme kind. Using excerpts of recent films from various regions of the world, the experts will convey their views on the necessity and desire to make cinema that reflects violent realities. Aduaka‘s film, Ezra, deals with the legacy of a child soldier in Sierra Leone, who killed his own parents, Hiam Abbass starred in Paradise Now and The Lemon Tree, two movies which portray women living “at gunpoint“ in today‘s Palestine, Josef Farres’ main hero in Leo faces a crime that has equally harsh consequences on his own life, and Harris' Gar dens of the Night, which features in the 2008 Berlinale Competition, delves into the world of child abduction. So what distinguishes the depiction of “realistic“ thrillers that deal with angst, death and crime from fantasy and horror – and also the emotions and reactions they evoke in the audience? from street cred to screen credibility – Hip-Hop and the movies Approach every new idea with complete confidence. Visit www.avid.com to learn more about Avid systems and software for independent film and video production. 17:00 H, HAU 2 / Karim Chrobog, Atif Ghani, Volker MeyerDabisch, Donald Mugisha, Fatoumata Kandé Senghor and Tyron Ricketts. Moderated by Kevin Fitzgerald and Satti R. Kuijpers. In cooperation with Federal Foreign Office, Berlinale Generation, Perspektive Deutsches Kino, Berlinale Forum. Through its musical popularity, hip-hop as a culture has had an active impact on image-making. This panel broadens the debate between filmmakers and music or festival producers ©2008 Avid Technology, Inc. All rights reserved. Avid is a registered trademark of Avid Technology, Inc. All other trademarks contained herein are the property of their respective owners. The Berlinale Talent Campus #6 to develop a deeper understanding of its influence and credibility in the film and television industry, as well as to showcase work across the global hip-hop diaspora. The event will provide a unique mix of entertainment and education, combining issues of social change, community, political critique and aesthetic commercialisation through a debate on music, culture, and filmic exploration. Together, these panelists represent the real value of hip-hop: knowledge, wisdom, freedom, justice, respect, unity, love and peace. Subsequently, Talents and Campus guests are invited to join experts at the Hip-Hop Lounge. together forever? – What You Need for a successful international co-production 17:00 H, HAU 2, second floor / Esther Bannenberg, Roshanak Behesht Nedjad, Frank Hübner. Moderated by Ido Abram. What do you need for a successful international co-pro duction? What gives projects international appeal and marketability? What strategies are suitable for which projects? What are the possibilities of co-producing with different countries? What hindrances are likely to arise and how can these be overcome? Three specialists in independent production, distribution and sales will discuss the ten projects selected for the Talent Project Market and offer advice related to your individual projects. tue 12 17:00 H HAU 1 The Dark Side of Cinema tue 12 17:00 H HAU 2 From Street Cred to Screen Credibility – Hip-Hop and the Movies. Followed by the Hip-Hop Lounge tue 12 17:00 H HAU 2 Together Forever? – What You Need for a Successful 2nd fl. International Co-Production tue 12 19:00 H HAU 2 Hip-Hop Lounge 59 Campus Programme wed feb 13 Campus Programme wed Feb 13 early bird breakfast crafting Visual Intensity between the Lines – Script station presentation Master Class Camera with Ellen Kuras. 15:00 H, HAU 2, second floor / Moderated by Alby James. In cooperation with EON Screenwriters‘ Workshop. 9:30 H, HAU 2 / Presented by Robert Bosch Stiftung and International Film Festival Sarajevo. Today‘s Early Bird Breakfast is hosted by the Robert Bosch Stiftung and the International Film Festival Sarajevo. It offers you a relaxed and tasty start to a promising new Campus day. Meet representatives of today‘s host organisations as well as fellow Talents and as special guest Stefan Arsenijevic, director of the Panorama film Love & Other Crimes, for a com fortable chat while you enjoy hot coffee and breakfast. inspiration in identifying crucial global developments and key issues in the coming times. Wonderful Town narrates the love story of a hotel owner in a Southern province town and an architect from Bangkok. It uses the strange beauty of landscapes that are slowly recovering from the tsunami as a never-seen-before backdrop. The film can be regarded as a perfect example for exploring the potential of cinematographic narratives and aesthetics that are very different from mainstream cinema. The debate strives to address various issues that are of emotional, political, and social relevance to the filmmaking of today and tomorrow. Wonderful Town is selected as an official entry to this year’s Berlinale Forum. excursion to film orchestra & HFF “konrad wolf“ 10:00 H, meeting point: 09:45 h at the entrance to hau1 / In cooperation with German Film Orchestra Babelsberg, HFF “Konrad Wolf“ and Volkswagen. Exclusively for composers and sound designers, this mini tour of Berlin’s film music world will take its first halt at the German Film Orchestra Babelsberg, where Talents will be shown around the premises of the film orchestra. The tour will take its next stop at the HFF where Talents will be guided through the various studios. Renowned sound mixer Prof. Martin Steyer and Johannes Malfatti, composer and Campus alumnus, will complement the tour with input on the working of the artists and the studios. A Q & A session with Volkswagen Score Competition’s mentor Gustavo Santaolalla closes the tour. cinema Inside the Crystal ball – Future Thoughts on Filmmaking 11:00, HAU 1 / Adytia Assarat, Wolfgang Müller-Pietralla. Moderated by Mark LeFanu. In cooperation with Volkswagen, Berlinale Forum. Aditya Assarat’s first feature Wonderful Town will serve as a case study to discuss multiple aspects relevant to the filmmaking of today and tomorrow. The young Thai director converses with futurist scientist, Wolfgang Müller-Pietralla from Volkswagen, for whom films are an important source of 60 between realities – doc station presentation 11:00 H, HAU 2, second floor / Heino Deckert, Dick Fontaine, Asako Fujioka, Ulla Simonen. Moderated by Sirkka Möller. A popular misconception is that documentary films happen just like that, once the director starts shooting. This may be true for a few exceptional cases, but most great documentaries started with careful planning, structuring and a lot of writing. The Doc Station Talents will present their documentary treatments and discuss them on stage with an international panel of documentary experts, among them distributors, funders and TV execs, chaired by documentary curator, Sirkka Möller. A unique insight into the development of documentary films and an encounter with some of the most exciting projects from around the world. wed 13 9:30 H HAU 2 Early Bird Breakfast wed 13 10:00 H EXT. Excursion to Film Orchestra & HFF “Konrad Wolf“ wed 13 11:00 H HAU 1 Cinema Inside the Crystal Ball – Future Thoughts on Filmmaking wed 13 11:00 H HAU 2 Between Realities – 2nd fl. Doc Station Presentation Ellen Kuras has a way of seeing that takes an image to its outer limits. In her years as documentary cameraperson and director of photography, she has developed a visual sen sitivity and expertise that resulted in her winning the Sundance Film Festival Jury Award and Eastman Kodak Documentary Cinematography Focus Award in 1999 for Samsara by Ellen Bruno, Best Cinematography Award at the Sundance Film Festival in 1992 for Tom Kalin‘s Swoon and in 1995 for Rebecca Miller‘s Angela. Her other films include Lou Reed’s Berlin, Neil Young: Heart of Gold, No Direction Home: Bob Dylan and I Shot Andy Warhol. Two of her latest projects, Be Kind Rewind and Shine a Light will enjoy their world premieres at the Berlinale 2008. “I truly believe that every movie has a unique look and my mission as a cinematographer is to create the look the director and producer are trying to portray through the written word,“ she says. “It is magical to be at the point in the creative process where the printed page comes to life through light in the physical world.“ In her master class, this gifted director of photography, Ellen Kuras, will give insight into her methods of creating a story’s visual world using lighting and other tools of her craft which substantiate her uncommon vision. The success of a film depends on the moment the script is woken to life. It is the first time the writer faces the people with whom he or she spent the most intimate moments: the written characters. For the actor or the actress it is the first time to slip into the skin and the personality of a stranger. Alby James, Head of EON Screenwriters’ Workshop, will pre sent a unique glimpse into the hands-on sector of the Berlinale Talent Campus: Acting Talents reading selected scenes from Script Station screenplays in development. the Language of spaces and things 14:00 H , HAU 2 / Master Class with Alex McDowell. Moderated by Peter Cowie. Can furniture really depict a hero’s biography? Do locations narrate stories and create spaces that hold the mood of a film? These are just a few challenges faced by set-designers whose contribution to filmmaking is crucial. How does all this add up to full-fledged narrative structures in this trade? Alex McDowell, the behind-the-scenes genius of our times who worked on films such as Charlie and the Chocolate Factory, Minority Report, Fear and Loathing in Las Vegas and The Crow, shares his insights on his working style using examples from many of his films. The Berlinale Talent Campus #6 Charlie and the Chocolate Factory: Set Design by Alex McDowell wed 13 14:00 H HAU 1 Crafting Visual Intensity – Master Class Camera with Ellen Kuras wed 13 14:00 H HAU 2 The Language of Spaces and Things wed 13 15:00 H HAU 2 Between the Lines – 2nd fl. Script Station Presentation 61 Campus Programme wed feb 13 Campus Programme thu Feb 14 real life emotion –Biopics and Doc Stars masterclass for set designers 17:00 H, HAU 1 / Sandrine Bonnaire, Bernd Eichinger and Stephen Frears. Moderated by Ben Gibson. Traditionally, biographical movies used to seek out the turning point that defined a life, usually a public life, with the formal atmosphere of a destiny revealed and fulfilled. Audiences seem to be increasingly tired of the simplicity of fictional characters in the key genres. One reason for docu mentary to be the emerging new form in independent cinema might be the richness of these real characters. And in fiction or documentary, biographies offer some kind of guar antee – of complexity and authenticity. The best biopics of the 21st century deal, not in destiny revealed, but more often in the mood of an unknowable subjectivity, seeking out a defining enigma. For us, identifying with the humanity of these real players creates a special emotional closeness in cinema. This panel brings together an impressive range of filmmakers dealing with real life stories in recent films like Jeanne la Pucelle (with Sandrine Bonnaire as Jeanne D‘Arc), The Queen (directed by Stephen Frears) and Downfall (pro duced by Bernd Eichinger). two NGO spokespersons, they will discuss and develop models for a constructive collaboration between filmmakers and NGOs, focusing on the domains of human rights, capitalism, globalization, and ecology. The panel seeks an open discus sion on a coactive future between NGOs and filmmakers worldwide. hands-on hd 17:30 H, HAU 2, second floor / Workshop with Grischa Schaufuß. This workshop gives a hands-on introduction to High Defi nition (HD) technologies. Adopting a practical and critical approach, the session will give participants the opportunity to learn both technique and artistic possibilities of HD filmmaking. With High Definition camera on hand, film makers can familiarise themselves with HD format selection, choice of lens, lighting, audio capture, and many more rele vant functions. Filmmakers and NGOs have long since struggled to remain afloat in the turbulent waters of global policy. This event will discuss how NGOs and filmmakers could expand their influence within societies and meet common goals. In an interactive approach, 40 Talents will engage with 6 film experts and 10 spokespersons from the NGO scene. Talents will participate in a moderated discussion with NGOs on exper iences, challenges and difficulties in their attempt at closer cooperation in the fields of research, pre-production and post-production. Divided into six groups, each with one or 62 Theaterkunst is Germany’s largest costume house for film, television, advertising and theatre. Theaterkunst’s assortment of more than 10 million items includes all periods, styles and trends, with a specialty collection of 200,000 uniforms. The impressive list of films to which Theaterkunst contributed, ranges from Fritz Lang’s Metropolis to Caroline Link’s Nowhere in Africa and Roman Polanski’s The Pianist. Today‘s Masterclass is specific only to production designer Talents and includes a guided tour through the costume house. Furthermore, Talents will visit the Uniform Department and participate in a case study involving a recent, critically acclaimed German film which costumed its characters from the vast collection at Theaterkunst. eyes on the music 11:00 H, HAU 1 / Gustavo Santaolalla and the three finalists Vasco Hexel, Conrad Oleak and Sonal Shah. Presentation of the Volkswagen Score Competition. Moderated by Peter Cowie. In cooperation with Volkswagen. “lonely hearts club“ – ngos date filmmakers 17:00 H, HAU 2 / Representatives of amnesty international, Attac, BUND, CARE, Germanwatch, Greenpeace, IPPNW, medico international, Misereor, Oxfam, Terres des Femmes. Moderated by Christian Stahl. In cooperation with Heinrich Böll Foundation, Federal Foreign Office and Euromed Audiovisual II Programme. On invitation only. 10:00 H, meeting point at 9:45 at the entrance to hau 1 In cooperation with Theaterkunst. Director Stephen Frears (The Queen) on Biopics and Doc Stars wed 13 17:00 H HAU 1 Real Life Emotion – Biopics and Doc Stars wed 13 17:00 H HAU 2 “Lonely Hearts Club“ – NGOs Date Filmmakers wed 13 17:30 H HAU 2 Hands-On HD 2nd fl. Workshop A film’s soundtrack is the blending of dialogue, music, sound effects and atmosphere. These combined elements have the power to take an audience on an emotional journey – one that allows them to become fully engaged, and totally lost in this fictive world on screen. The soundtrack has the power to hold the audience psychologically and emotionally within its grasp. Being a film composer involves so much more than being able to write music, perform, orchestrate or conduct. For film composers, the challenge is to read film narratives and create suitable compositions, creating another dimension to the visual world presented, that reach the emotional depths of the characters portrayed. All this within the parameters placed upon them by the relentless external demands of scoring a movie. The panel seeks to highlight the relevance of film scores within the contemporary discourse on cinema. Taking the The Berlinale Talent Campus #6 example of the scores created for the Volkswagen Score Competition, the three finalists and their esteemed mentor – musician, composer and winner of two Academy awards Gustavo Santaolalla – will relate their experiences of composing scores for the Volkswagen Score Competition, and reflect on the challenge involved in film scoring. The scores of the three finalists will be presented during the event. the indie filmmaker‘s guide to the internet – how to become an independent filmmaker 11:00 H, HAU 2 / Arin Crumley, Kelly Devine, Robert Greenwald, Allan Niblo, M Dot Strange. Moderated by Liz Rosenthal. In cooperation with Skillset. Traditionally, independent filmmakers have been dependent on a long line of gatekeepers that stand between themselves and an audience for their films, financiers, festivals, sales agents, distributors, exhibitors and the press. Today, the Internet enables filmmakers to reach their audiences directly and therefore offers potential for a new business model independent of gatekeepers. In this session, leading online pioneers will discuss and demonstrate a range of new services and tools available to filmmakers to help them build audiences, distribute their work and even finance their films. What should you consider before you take the DIY plunge? What are the important factors that indies should consider before choosing a service? How will the role of the distributor transform as filmmakers build direct connections to audiences and how will this change the kind of distribution deals you make in the future? thu 14 10:30 H EXT. Masterclass for Set Designers at Costume House Theaterkunst thu 14 11:00 H HAU 1 Eyes On the Music – Presentation of the Volkswagen Score Competition thu 14 11:00 H HAU 2 The Indie Filmmaker‘s Guide to the Internet – How to Become an Independent Filmmaker 63 Campus Programme thu feb 14 Campus Programme thu Feb 14 world cinema fund – how to apply various possibilities the medium offers and how one can capitalise on them. berlinale co-production Market – what and who is it for? closing and Award ceremony of the volkswagen score competition & Closing party Kill your darlings 14:00 H, HAU 2, second floor / Sonja Heinen, Kathi Bildhauer, Martina Bleis. In cooperation with Berlinale Co-Production Market. 20:00 H, HAU 1 & 21:00 H, adagio Moderated by Thomas Heinze and Dorothee Wenner. In cooperation with Volkswagen. The Berlinale Co-Production Market is a platform for pro ducers, distributors and sales agents as well as broadcasting and funding representatives active in the field of international co-production. Every year over 30 projects are presented at the Berlinale Co-Production Market which serves as an irreplaceable tool for finding co-production partners and in realising film projects. Since the Berlinale Co-Production Market was formed five years ago, numerous projects of the Co-Production Market have been shot and screened at international festival and in cinemas. Alongside the intensive 30minute one-on-one meetings with the selected projects, participants can get informed about co-producing/financing opportunities and current trends in the international market, and also foster contacts and exchange experiences. Case Studies and other formats round out the programme. Head of the Berlinale Co-Production Market, Sonja Heinen, will introduce you to the function and the intention of the Co-Production Market and explain the application and selection process. A farewell from the Campus team and the last and final event – the announcement of the Volkswagen Score Competition winner – will bring the six-day Berlinale Talent Campus to a resounding close. The jury will disclose the winning finalist and present him or her the prize: a trip to the best sound studios in Los Angeles – sponsored by Dolby Laboratories. In celebration of a stimulating week, the party will turn informal at Berlin’s after-hours watering hole – Adagio. So don’t sap all your energy until this night is done. 11:00 H, HAU 2, second floor / Sonja Heinen, Vincenzo Bugno. In cooperation with World Cinema Fund. The Berlin International Film Festival launched the World Cinema Fund in 2004, initiated by the German Federal Cultural Foundation and in cooperation with the GoetheInstitut to support filmmakers from transition countries. Until 2007, the geographical focus was on Latin America, Africa, the Middle East and Central Asia. As of summer 2007, the World Cinema Fund expanded its focus regions: to South East Asia and the Caucasus. The aim of the Fund is to help the realisation of films which otherwise could not be produced due to the lack of a constructive film industry, i.e. feature films and creative feature-length documentaries with a strong cultural identity. Project Managers Sonja Heinen and Vincenzo Bugno will offer vital information on the fields for which support is pro vided, who is eligible for funding, the funding amount that can be availed and so on. 14:00 H, HAU 2 / Editing Master Class with Susan Korda. Imagine this: You succeed perfectly in shooting a single scene – actors, camera movements, lighting; everything works even better than you dreamt. Later while editing you suddenly realise that this beautiful scene doesn’t really fit into the dramaturgy anymore. What now? Kill your darlings, editor and filmmaker Susan Korda advises forcefully in her lecture, taking you on an inspiring tour through the editing room to explore the magic of the editor’s process. the garage studio proudly presents: four flicks for clicks 14:00 H, HAU 1 / Jay Anania, Juliane Block, Ted Chung, Alexander Frank, Victoria Hayford, M Dot Strange, Garin Rianto Nugroho and Grahame Weinbren. Moderated by Liz Rosenthal. things to take home 16:00 H, HAU 2 Four short digital films – On Time, Eddi, It Could Happen to You and The String Puppet – have been produced in the Garage Studio on four days of the Campus solely for online streaming. We celebrate the fast-track production of these flicks with an official screening on the big screen. To follow is a discussion with Talent directors of the Garage Studio on their, create their films – from shooting to editing and uploading – all in one day, and their exploration of the free world of film production for the internet proficient. Talent mentors Jay Anania, Garin Rianto Nugroho, M Dot Strange and Grahame Weinbren will discuss what it means to serve the digital production chain from casting to shooting and distribution on a completely independent level. They will expand on the 64 Celebrating a stimulating week at the Closing Party Four Flicks on the Garage Studio‘s online portal thu 14 11:00 H HAU 2 World Cinema Fund – 2nd fl. How to Apply thu 14 14:00 H HAU 1 Garage Studio Proudly Presents: Four Flicks for Clicks thu 14 14:00 H HAU 2 Kill Your Darlings – Editing Masterclass Before getting into gear for the Closing Party, all Talents who wish to take home some prized souvenirs are invited to join this session, which will give an overview of activities and opportunities that the Campus offers once you are back in your countries and get busy with your forthcoming projects. One part of the session, of special interest to Talents and alumni from Eastern Europe and those interested in working in the region, is the presentation of the Sofia Meetings and the special cooperation between the Sofia Meetings and the Campus. Information on the Campus Abroad editions and the recently founded film co-ops will also be given. Don’t miss it and bring along your notebook! The Berlinale Talent Campus #6 thu 14 14:00 H HAU 2 Berlinale Co-Production Market – 2nd fl. What and Who Is It For? thu 14 16:00 H HAU 2 Things to Take Home thu 14 20:00 H HAU 1 Closing and Award Ceremony of the Volkswagen Score Competition thu 14 21:00 H EXT. Closing Party at Adagio 65 5 index of Events A list of all Berlinale Talent Campus events including the page numbers where you find further information. page 66–79 index 67 68 74 76 78 79 Index of Events Index of Experts Index of Talents Epilogue / Note of Thanks Team and Imprint Partners A g r Adventures in the Euro-Jungle – The MEDIA Programme Seen Through the Eyes of Film Practioners (p.57) Avid Media Composer Training (p.48, 49) Avid DigiDesign Training (p.51) Garage Studio Proudly Presents: Four Flicks For Clicks (p.26, 27, 64) Golden Key to the Archives – The Legal Path to Found Footage (p.55) Global Speed Matching (p.46) Real Life Emotion – Biopics and Doc Stars (p.33, 62) b h Berlin Today Award: Producers‘ Meeting (p.56) Berlinale Co-Production Market – What and Who Is It For? (p.65) Between Realities – Doc Station Presentation (p.30, 60) Between the Lines – Script Station Presentation (p.30, 61) Hands-On HD (p.62) The Heart of the Matter – Emotion vs. Intelligence (p.52) Heroes vs. Anti-Heroes – Success Stories in Cinema (p.52) Hot Spot Africa (p.49) c Cairo Underground (p.51) Cinema Inside the Crystal Ball – Future Thoughts on Filmmaking (p.60) Closing and Award Ceremony of the Volkswagen Score Competition (p.24, 65) Closing Party (p.65) Crafting Visual Intensity (p.61) D The Dark Side of Cinema (p.59) Dine & Shine – Talents Rendezvous With Berlinale Guests (p.51) Don‘t Call Us, We‘ll Call You (p.51) e Early Bird Breakfast (p.47, 52, 60) Excursion to European Film Market (p.52) Excursion to Filmorchestra Babelsberg and HFF “Konrad Wolf“ (p.24, 60) Excursion to the Costume House Theaterkunst (p.52) Eyes on the Music (p.25, 63) f Frogs in the Pocket (p.53) From Street Cred to Screen Credibility – Hip-Hop and the Movies (p.59) i s Senses and Sensibilities – Documentaries For the Big Screen (p.53) Short Film Reception (p.55) Short Films Expand Cinema (p.55) Southern Passages (p.56) Speed Matching (p.46) Stargazing – Three Casting Directors Debate (p.53) t In the Limelight: Andrzej Wajda (p.56) In the Limelight: Mike Leigh (p.53) In the Limelight: Stephen Daldry (p.49) The Indie Filmmaker‘s Guide to the Internet (p.47, 57, 63) Taking Off (p.46) Talent Night (p.55) Taste It: Training & Development (p.56) Things to Take Home (p.65) Together Forever? (p.59) Two Producers Sharing Their Secrets (p.48) k w Kill Your Darlings (p.64) World Cinema Fund – How to Apply (p.64) l The Language of Spaces and Things (p.61) “Lonely Hearts Club“ – NGOs Date Filmmakers (p.62) Love International (p.37, 47) m Master Class for Set Designers (p.63) Matters of Life and Death – Reviews That Make or Break (p.28, 57) Meet the Expert (p.44) 0 Opening Ceremony and World Premiere of the Berlin Today Awards Short Films 2008 (p.34/35, 46) p Panamericana – Young Latin American Cinema on the Move (p.48) 66 The Berlinale Talent Campus #6 67 index of Experts Nearly 150 experienced film professionals from all backgrounds the world over visit the Berlinale Talent Campus to share their experiences with young filmmakers. A ABBASs, HIAM Israeli/Arab actress, she is best known for her roles in Satin Rouge, Paradise Now, The Syrian Bride and Free Zone. She has acted in Lemon Tree which features in the 2008 Berlinale Panorama. (p.59) ABRAM, IDO Head of Binger Filmlab, he is the former director of ineMart, the co-production market of the International Film Festival C Rotterdam. (p.59) ADUAKA, NEWTON I. Nigerian Director, his shorts include Voices Behind the Wall, Carnival Of Silence and On the Edge. His latest feature Ezra won the best film award at Fespaco African Film Festival and at the Durban International Film Festival. (p.59) AKOMFRAH, JOHN Ghanaian-born filmmaker, he came to prominence with Handsworth Songs. He helped found the Black Audio Film Collective. His digital movies include: Digitopia and Night Work. (p.53) ANANIA, JAY Director of award-winning documentaries, his recent features include Her Name Is Carla, The Visitors and Day On Fire. He teaches directing at the NYU Graduate Film Programme. (p.26, 64) international co-productions. Flying Moon films include 32 A, Comrades In Dreams and Full Metal Village. (p.59) BELMONT, MIKE/ M DOT STRANGE Writer, director and producer of the feature We Are the Strange; the film premiered at the Sundance Film Festival and won two HDFEST Deffie Awards. His lastest feature is a 3D Samurai film Heart String Marionette. (p.45, 57, 63) BEYER, KLAUS-PETER Artistic director of the German Film Orchestra abelsberg, he was the music producer of the 2001 version of Lotte B Reiniger’s The Adventures Of Prince Achmed and music composer of Conversation With A Beast. (p.60) Bildhauer, Kathi Member of the Berlinale Co-Production Market team since its first year, and manager of the Talent Project Market. Author of “Drehbuch reloaded”, her PhD thesis is on unconventional contemporary screenplays. Lecturer at German universities. (p.65) BISHOP, NANCY Casting director and founder of Nancy Bishop Casting, she has worked on Casino Royale, French Bean, Fugitive Pieces and Psych 9, and is currently involved in Solomon Kane. (p.51, 53) BITAR, HAZIM Founder and coordinator of the Amman Filmmakers ANIYAM-FIBERESIMA, PEACE Founder and CEO of Africa Movie Academy Awards, which she created to encourage the growth of the film industry in Africa, she is also executive director, Global Music Movies and More. (p.49) ASSARAT, ADITYA Thai director, he wrote and directed several short films and documentaries before his debut feature Wonderful Town, which features in the 2008 Berlinale Forum. His latest project is High Society. (p.60) AURET, MICHAEL Director of Spier Sales and Distribution, he will release Son Of A Man, the film features in the 2008 Berlinale Forum, in the UK and Ireland. Founder and Festival Director of the Cape Town World Cinema Festival until 2007, he was CEO of the Sithengi Film and T V Market and initiator of the Sithengi Talent Campus. (p.49) b BANNENBERG, ESTHER Independent consultant for the international positionning and scouting of independent films, she has a solid background in worldwide sales, distribution, acquisition, marketing and promotion, festivals and markets. (p.59) ooperative and director of the Jordan Short Film Festival, he is the C producer and director of Jordan‘s leading independent films including Sharar and Growing Up In Amman‘s Suburbia. (p.56) Bleis, martina Member of the Berlinale Co-Production Market team since its first year. Head of the Zurich Co-Production Forum since last year. (p.65) BlOYE, CHARLIE Chief Executive of Film Export UK , he has held senior sales positions at Renaissance Films and Signpost Films. Founder and managing director of Peace Arch Films, he has served as Executive Producer on five films including Our Fathers. (p.44) BONNAIRE, SANDRINE See portrait on p.33. (p.62) BRINKMANN, ANNE-KATHRIN Commissioning editor for ZDF’s ARTE THEMA , she was commissioning editor of ARTE/ZDF’s “Das kleine Fernsehspiel”. She is trained as a dramaturg and worked as assistant director for theatre projects. (p.30) BUCKINGHAM, PETER Former deputy chief executive of FilmFour, he is the head of distribution and exhibition at the UK Film Council, tasked with increasing the breadth and diversity of cinema across the UK . (p.44) BAYS, MIA Oscar winning film producer and marketing consultant, she has vast experience in distribution, marketing and sales, financing and production. As marketing consultant she was involved in the Oscar 2007 shortlisted documentary Blindsight. (p.45) vals, curator of retrospectives, and the initiator and Project Manager of the Berlinale’s World Cinema Fund. (p.56, 64) BEHESHT NEDJAD, ROSHANAK Producer and founder of Flying Moon, which focuses on features and documentaries with emphasis on BURESI, CATHÉRINE Team leader of the Euromed Audiovisual Technical assistance since 2006, she is the former chief executive of EAVE 68 BUGNO, VINCENZO Film critic and journalist, he is advisor to film festi- European Audiovisual Entrepreneurs. Previously, she was in charge of a service structure for professionals such as the Strasbourg Film Commission, Strasbourg Film Fund and the MEDIA Antenna Strasbourg. (p.56) BÜSCHER, MAREILE Berlin-based lawyer at Hogan & Hartson Raue LLP, she focuses on intellectual property matters, media and entertainment law, as well as copyright litigation and negotiation. She has lectured on the subject of art and copyright law for various institutions including the Federal Foundation of German Cinemas. Her publications include a handbook on copyright law with particular focus on the rights of performing artists. (p.55) DECKERT, HEINO Managing director of MA.JA.DE Film Production, he founded d.net in 1995, an informal union of seven European colleagues joining forces to exchange ideas and initiatives. He also lectures on production and distribution of documentaries for organisations such as EDN, Discovery Campus and Sundance Institute. (p.60) DELLOYE, SÉBASTIEN Producer and associate of the production company Entre Chien et Loup, his film credits include Irina Palm, Control X and Miss Montigny, among others. The company’s latest production Restless, directed by Amok Kollek, features in this year’s Berlinale Competition. (p.57) CABRERA, DOMINIQUE Director, screenwriter and actress, she has been making films since 1981, among others, Demain et encore demain (Forum 1998), Le lait de la tendresse humaine (2001) and Folle embellie (Forum 2004). She‘s also in this year‘s Berlinale First Feature Jury. (p.53) Delpy, Julie French/American actress and director, she has directed, written and acted in more than 30 films. Europa Europa, The Three Musketeers and Before Sunrise are just 3 names from her extensive filmography. She made her feature-length directorial debut with Looking for Jimmy, and wrote, acted, directed, edited, scored and coproduced 2 Days in Paris. (p.52) CAPLAN, SALLY Head of Premier Fund of the UK Film Council, she is the president of Icon Film Distribution. She was senior vice president of acquisitions and business affairs, Momentum Pictures, to mention one among other positions she has held. (p.45) DEVINE, KELLY Consultant with Renew Media on its new web-based initiative Reframe, she works with clients ranging from distributors to cable nets to filmmakers. She is also Artistic Director of the Global Peace Film Festival. (p.45, 63) CHROBOG, KARIM Filmmaker and the founder of 18th Street Films and Tangier Pictures, he started his career in the media industry at Time Warner‘s public policy office. His latest film War Child features in the 2008 Berlinale Generation programme. (p.57) DONALDSON, MICHAEL C. Entertainment lawyer for over 30 years, he is general counsel to the Independent Feature Project/West and the International Documentary Association. He is a speaker on copyright, film and negotiating at numerous festivals. (p.55) CLARKE, EMMA Senior Executive of New Cinema Fund at the UK Film Council, she is responsible for films Red Road, This Is England, Touching The Void, Bloody Sunday, amongst others. (p.45) DUBOWSKI, SANDI American director and producer best known for his 2001 documentary Trembling Before G-D, he is the recipient of 12 awards including the 2001 Teddy Award of the Berlinale and producer of A Jihad For Love, featuring in the 2008 Berlinale Panorama. (p.53) c COLLINS, CHRIS Development Producer of UK Film Council Development Fund, he has worked as a producer, executive producer and production executive on various films including My Summer Of Love, Brick Lane and Better Things, which awaits release. (p.45) COWIE, PETER See portrait on p.29. (p.28, 48, 53, 57, 61, 63) CROOKS, LENNY Head of the UK Film Council‘s New Cinema Fund, he has been involved in the films The Magdalene Sisters, Sweet Sixteen, Festival and Young Adam. (p.45) CRUMLEY, ARIN Co-writer, co-director, co-producer, actor of the independent film and online video series Four Eyed Monsters, the project has become a cult phenomenon and to date, the video podcast has received over two million views. (p.45, 57, 63) d DALDRY, STEPHEN With successful films like Billy Elliot and The Hours, he is considered as one of the most interesting character-driven filmmakers of the younger generation in England. His latest film is The Reader that he currently shoots in Germany. (p.49) e EDKINS, DON South African documentary filmmaker and producer of a number of documentaries including Goldwidows, The Colour Of Gold and The Broken String, he is an executive producer of the STEPS International global documentary project “Why Democracy?“. (p.36, 49) EICHINGER, BERND German film producer and director, he is chairman of the supervisory board of Neue Constantin Film, also having pro duced movies independently, for example Downfall, Resident Evil: Extinction and Perfume: The Story Of A Murderer. (p.62) EIMBCKE, FERNANDO Mexican film director and screenwriter, his feature debut Duck Season won several film festival awards. This former Campus participant’s latest film Lake Tahoe is in this year’s Berlinale Competition. (p.15, 48) EL-NOSHOKATY, SHADY Artist and lecturer in the painting and drawing department in the faculty of Art Education – Hellwan University, Cairo, he has had numerous group and solo art exhibitions including at the Tate Modern, London, Mori Art Museum, Tokyo and Centre Pompidou, Paris. (p.51) D’ARCY, DAVID Art reporter and film journalist, he is a correspondent for the Art Newspaper, a contributing editor at Art & Auction and a regular critic on the “Front Row“ programme on BBC Radio. (p.57) f DE LA CRUZ, KHAVN Director of features, he is the festival director of the FARES, JOSEF Lebanese /Swedish director and writer, he has a host of films to his credit including Zoro, Kopps, Kom Då!, Jalla Jalla and most recently Leo, featuring in the 2008 Berlinale Forum. (p.57) MOV International Digital Film Festival and the founding member of the Philippine Independent Filmmakers Multi-Purpose Cooperative. His latest film The Muzzled Horse of An Engineer In Search of Mechanical Saddles features in the 2008 Berlinale Forum Expanded. (p.65) The Berlinale Talent Campus #6 69 FATTHI MOUSSA, “KAISER” MOHAMED Director, cinematographer and editor, his shorts include Elevator, Virgin Mary, Culture Wheel and Silence. He is a participant of this year’s Berlinale Talent Campus. (p.51) GEDECK, MARTINA Award-winning German actress, her filmography comprises over 50 productions including The Good Shepherd, The Lives Of Others, Mostly Martha, Life Is All You Get and Rossini. (p.57) Faust, Jeanne German artist, she has had numerous solo and group exhibitions in Germany and abroad at festivals and galleries such as Centre Pompidou, Filmfestival Rotterdam, Videonale Bonn, camden arts center, London, among others. (p.55) GHANI, ATIF Producer and writer with a strong background in i ndependent film production and marketing, his film portfolio includes The Family Portrait, The White Darkness and Yasmin’s Song as line production manager. (p.59) FENDRIK, PABLO First-time director of El Asaltante, he was invited with the film project to the 2007 Cannes Critics’ Week and selected for Films in Progress 11. He participated in the Berlinale Talent Project Market with El Asaltante in 2004. (p.48) GIBSON, BEN Director of the London Film School, he has commissioned and produced films by Terence Davies, Derek Jarman, John Maybury, Gurinder Chadha and many others as an independent producer and head of production at the British Film Institute. (p.53, 62) FIGGIS, MIKE See portrait on p.27. (p.26) GILMOUR, BENJAMIN Co-writer and first-time director, he made Son Of A Lion which had its world premiere at the 12th Pusan International Film Festival. Son Of A Lion features in this year’s Berlinale Forum and Berlinale Generation. (p.52) FISHER, DAVID Director of Greenhouse, which operates in the framework of the EU‘s Euromed Audiovisual II Programme, it is a development project for feature-length documentaries made by Mediterranean (MEDA) filmmakers. (p.56) FITZGERALD, KEVIN DJ and co-founder of the popular radio show “all @ one point“ on KPFK 90.7FM in Los Angeles, he spent much of his life involved in hip-hop music and culture. He has directed numerous documentaries and is the founder of the Hip-Hop Film Festival, a travelling festival on the US West Coast. (p.59) FONTAINE, DICK Head of documentary at NFTS in London, he has made over 40 films during a career in independent film and video. He coruns Grapevine Pictures, a company specialising in documentary, music and original drama. (p.30, 60) FREARS, STEPHEN Academy award nominated film director, his film portfolio includes My Beautiful Laundrette, Dangerous Liaisons, The Grifters, Dirty Pretty Things, Mrs. Henderson Presents and his latest, The Queen. (p.62) GREENWALD, ROBERT Filmmaker and political activist, he is the director and producer of Iraq For Sale: The War Profiteers and Outfoxed: Rupert Murdoch’s War On Journalism. His company Brave New Films uses moving images to educate, influence and empower viewers to take action around that matter. (p.63) Gregor, Ulrich Film critic and promoter of independent, international cinema, he is the chairperson of Friends of German Cinema and the former director of the Berlinale Forum. (p.56) GUGLIOTTA, JUAN PABLO Producer of El Asaltante by Pablo Fendrik and of Las Vides Posibles by Gugliotta Sandra; the latter was supported by the World Cinema Fund. His latest project is La Sangre Brota (Blood Appears) by Pablo Fendrik, a co-production with France and Germany, currently in postproduction. (p.48) h HÖHNE, MAIKE MIA Programme curator of Berlinale Shorts, she is also a freelance writer, director, curator and photographer. Among others, she wrote, directed and produced Eine einfache Liebe, was director and production designer of Fin de siglo and, most recently she has been script supervisor for Innere Werte. (p.55) HÜBNER, FRANK Producer and executive producer, he has produced Imaginary Heroes, Whale Rider, and was executive producer of Stander, Spartan and Riding The Bullet. He was associate director of Closing The Ring, released in late 2007. (p.59) HUSSEINI, SHAIBU Performing artist, cultural worker and film journalist, he writes on the arts and movies for Nigeria’s “The Guardian“. He also runs two weekly columns (Celebrity and Moviedom) in “The Guardian“. He is a participant of this year’s Talent Press. (p.28, 57) j JAMES, ALBY Head of Development at EON Screenwriters‘ Workshop, he is a leading scriptwriting tutor, and Head of Screenwriting at the Northern Film School in Leeds and established a script development and training programme in South Africa for the film and television industry. Alby is on the selection panel for the Berlinale Talent Campus’ Script Station and the World Cinema Fund at the Berlin International Film Festival. (p.30, 49, 61) JANEK, MIROSLAV Czech film director, writer, editor and producer, he made nearly forty short films before immigrating to the USA in 1979. Returning to the Czech Republic, he shot and directed documentaries for television. His film Vierka was awarded as best Czech documentary at the International Documentary Film Festival Jihlava. (p.53) Jentsch, Julia German actress, her first prominent screen role was in the 2004 cult film The Edukators. She garnered further attention playing the title role in the 2005 film, Sophie Scholl – The Final Days, for which she won the best actress award at the European Film Awards and at the German Film Awards, as well as the Silver Bear for best actress at the Berlinale. Her other films include Schneeland, Downfall and I Served the King of England. (p.52) KIM, HEE-JEON Responsible for international sales at CJ Entertainment, Korea‘s leading entertainment company, their film portfolio includes Musa: The Warrior, Memories Of Murder and I’m A Cyborg, But That’s Ok, winner of the 2007 Alfred Bauer Prize at the Berlinale. (p.44) KITANOV, STEFAN Director of Sofia International Film Festival, he is also a producer whose most recent productions are Gucha (presented at Berlinale Panorama in 2007) and Which Way Today. He is a member of the European Film Academy. (p.65) KORDA, SUSAN Teacher at NYU Tisch School of the Arts, she has worked as a writer, director and editor on documentary and narrative films including Swimmers, For All Mankind, Trembling Before G-D and her own One Of Us. (p.64) KUIJPERS, RAHMAN SATTI Screenwriter and multi-media producer, he wrote his first feature script with the financial support of the UK Film Council and the European development funding from SOURCES 2. He co-founded cyberNomads, a community grassroots website that archives and documents Afro-German history. He was a participant of the first Berlinale Talent Campus in 2003. (p.59) Kuras, Ellen Cinematographer, she has a vast portfolio of films i ncluding Shine a Light and Be Kind Rewind, which celebrate their international premieres at the 2008 Berlinale. She also wrote, directed, shot and produced the documentary The Betrayal. (p.61) l LEFANU, MARK Film critic, curator and teacher based in Denmark, he is the author of “The Cinema of Andrei Tarkovsky“ and the study of the films of Kenji Mizoguchi, “Mizoguchi and Japan“. He has contributed articles on film to the periodicals “Positif“ (Paris), “Sight & Sound“ (London), and is a member of the European Film Academy. (p.53, 56, 60) LEIGH, MIKE English film and theatre director, he has made the films Naked, Secrets and Lies and Vera Drake, among others. His latest film Happy-Go-Lucky, is part of this year‘s Berlinale Competition. (p.53) FRIEDMANN, JULIAN Publisher and editor of the “Scriptwriter” magazine and a leading consultant for film and TV scriptwriting, he has lectured over the world on scriptwriting and published the book “How To Make Money Scriptwriting“. (p.30) HARRIS, DAMIAN Director, writer, actor, he wrote and directed his feature directorial debut The Rachel Papers, followed by Deceived, Bad Company and Mercy. His latest Gardens of the Night will feature in the Berlinale Competition. (p.59) FUJIOKA, ASAKO Working with Yamagata International Documentary Film Festival, Japan, she established and ran New Asian Currents, a programme of films by emerging Asian documentary filmmakers until 2003, and continues to work with Asia. (p.60) HAYASHI, KANAKO Festival director, Tokyo FilMeX International Film Festival, which showcases the best contemporary independent cinema Asia, she was a member of the 2002 Berlinale International Jury and in last year’s jury for the Manfred Salzgeber Prize of the Panorama Section. (p.44) KAhN, ILENE Producer and founder of her company Kahn Power Pictures, which produced the award-winning Stalin for HBO, she was the Executive Producer on Gia, which won 3 Golden Globes and 6 Emmy nominations. In her ten-years as Vice President of HBO Pictures, she supervised the development and production of over 60 films. (p.51) HEDIGER, VINZENZ Film critic for a major Swiss newspaper during the 90s, he is presently a professor of film and media studies at the Ruhr University Bochum, Germany. Until end 2004, he was on the board of trustees of the Swiss cultural foundation Pro Helvetia, responsible for visual arts and the cinema. (p.57) KANDÉ SENGHOR, FAToUMATA Senegalese artist, activist and former Campus participant, she uses film, photography, performance, radio and writing to address issues revolving around modernism. Her filmography includes the documentaries True School, Diola Tigi and Dona Maria Cabral. (p.59) LINSSEN, DANA Worked in a cinema during her philosophy studies, she worked as a film critic for the Dutch daily newspaper “NRC Handelsblad“ in 1997 and is editor-in-chief of the Dutch independent film monthly “De Filmkrant“ since 1998. (p.28) HEINEN, SONJA Head of the Berlinale Co-Production Market and Project Manager of the World Cinema Fund, both are initiatives of the Berlinale and dedicated to international co-productions. (p.64, 65) KATEDZA, RUMBI Zimbabwean filmmaker, writer, arts director and past festival director of the Zimbabwe International Film Festival, she has a portfolio of 5 films. Former Talent of the Campus, she is the initiator of the Film Co-op in Harare, Zimbabwe. (p.49) LOUSBERG, JAN-JACOB European Executive at the Film Council, he andles the task of sourcing projects, talent and funding in Europe. h Previously, he was a London-based story editor and acquisitions and development executive for Fine Line Features. (p.45) KHAN, SHAH RUKH India’s most favoured Bollywood actor, he started his career in the TV serial Fauji which won him instant success. His most popular films include Dilwale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai, Kabhi Khushi Kabhi Gham, Veer Zaara and Asoka. His latest work, Om Shanti Om features in the 2008 Berlinale Special. (p.47) m g GALAL, HALA Egyptian documentary filmmaker, she is one of the founders of the independent production company Semat. Her film Women’s Chit Chat has been critically acclaimed and deals with generations of feminists in Egypt. (p.51) GANZERT, ERNST-LUDWIG Producer and CEO of EIKON Media in Berlin, he has produced more than 30 documentaries including Jailbirds and Maison De France and the features Zores and Under The Ice, among others. (p.30) GAZDAG, GYULA Writer and director of award-winning feature films in cluding A Hungarian Fairy Tale, Lost Illusions, Banquet and The Resolution, his latest film Cobblestone will release this year. He is a professor at the Faculty of Film, Television and Digital Media at UCLA and serves as the Artistic Director of the Sundance Filmmakers Lab. (p.30) 70 HENSHAW-NUTTALL, KATE See portrait on p.37. (p.47) HEREDIA, SHAI Founder and director of Experimenta, the only international festival for experimental cinema in India, she has showcased Indian experimental films at the Tate Modern, London, Images Festival, Toronto, Cinema Nova, Brussels and Lightcone Paris, to mention a few. (p.55) k The Berlinale Talent Campus #6 LEVINE, SYDNEY Prior to founding Film Finders, she served as Vice resident of Acquisitions for Republic Pictures and before that for P Lorimar. Her contacts have resulted in the acquisitions My Beautiful Laundrette, Letter To Brezhnev and Tampopo. (p.52) LIEBERSON, SANDY Chairperson, Film London, he has been a major gure in the film industry in Europe and America since the 1960s. He fi was first vice president of International Pictures and Marketing and later president of production at Twentieth Century Fox. (p.44, 48) MABROUK, EMAD Egyptian editor and assistant director on a number of films, he has worked on The Violence And Sarcasm, The City Report, and Night and Day. This year‘s Talent, he directed the short film Since the 9th before completing his most recent The Dead Won’t Mind. (p.51) 71 MAKAVEJEV, DUŠAN Serbian film director famous for his groundbreaking films of Yugoslav cinema, he won numerous awards including the Silver Bear for his documentary Innocence Unprotected. His filmography includes Man Is Not A Bird, Love Affair and WR: Mysteries Of The Organism, which will enjoy a re-release at 2008 Berlinale Forum. (p.53) MALCOLM, DEREK Film historian and critic with “The Guardian“ for several decades, he is also the author of “A Century of Films“. President of the British Federation of Film Societies and the International Film Critics’ Circle, he is at present Honorary President of FIPRESCI. He currently writes for the London “Evening Standard“. (p.28) MARMOT, JANINE Director of Film at Skillset, she has produced films such as Institute Benjamenta, I Could Read The Sky and Made In Heaven. She is currently developing a slate of feature films through her company Hot Property Films. (p.44, 46) MAUCH, BÄRBEL Producer and founder of Bärbel Mauch Film, she has considerable experience in production and distribution as well as with film festivals in Germany, France and Africa. She has produced Faro la reine des eaux (Premiere: Berlinale 2007), and currently in preparation is L’aventutier among others. (p.56) MCDOWELL, ALEX Award-winning production designer for Minority MOODY, AGNIESZKA Director of the UK Media Desk, hosted by the UK Film Council, it is the information office for the MEDIA Programme and offers support and advice to UK applicants applying to the MEDIA Programme. (p.44) MUGISHA, DONALD Director, producer and writer, he co-authored and co-produced the digital feature Divizionz, his first foray into making a full-length film. The film of this former Talent will celebrate its world premiere in the 2008 Berlinale Forum. (p.15, 59) MÜLLER, MATTHIAS Artist working in film, video and photography, he is also a curator and organiser of numerous avant-garde film events such as the “Found Footage Film Festival“, “Ich etc.“ and various touring programmes. His films and videos have been screened in major film festivals worldwide. (p.55) MÜLLER-PIETRALLA, WOLFGANG Head of Future Affairs, Volkswagen, he joined the environmental protection department at Volkswagen in 1992, where he introduced a sustainable environmental management system. Since 2003, he holds a key position in setting-up Volkswagen’s future studies group. (p.60) n MENAGER, JULIETTE Casting director and costume designer, she has NEIDHARDT, IRIT Co-founder and programme director (until 1999) of Israelische und Palästinensische Filmtage Münster, she taught at the School for Oriental and African Studies and at the Morley College. She is head of the German distribution company mec film which focuses on cinema from the Middle East. (p.56) worked on such films as The Nativity Story, The Trail, Alexander, The Dreamers and Sotto Falso Nome, among others. (p.53) NIBLO, ALLAN Cameraman, director and producer, his first film as pro- Report and The Terminal, his film credits also include Fear And Loathing In Las Vegas and Charlie And the Chocolate Factory. His latest project is Wes Anderson‘s The Fantastic Mr. Fox. (p.61) MESSEL, ESTHER van Chief Executive of First Hand Films, Zurich and Berlin, for world sales of documentaries and fiction films, she was the head of distribution at Warner Bros. Israel. She is a lecturer and consultant to various organisations such as EAVE Brussels, IDFA Forum Amsterdam, Cinemart Rotterdam, Eurodoc Paris, among others. (p.30) MEYER-DABISCH, VOLKER German actor and director for film and t heatre, his latest documentary love, peace & beatbox features in the 2008 Berlinale Generation and Perspektive Deustches Kino. He has also directed the short film Zwirbels Traum and the documentary Kohleladen Özdemir. (p.59) MÖLLER, SIRKKA She has been working for film festivals since 1988. She programmed the Sheffield International Documentary Festival 20012006 and worked in documentary distribution. She is a freelance film curator, documentary consultant and a regular jury member and moderator at international film events. (p.30, 60) MOLLET, PHYLLIS Film festival consultant involved in the European Film industry, she is a member of the European Film Academy, secretary general and founding director of the European Producers’ Club and FIAPF‘s director of communication and festivals. She is the founder and executive director of Chalachitra Europe, a company that promotes and develops cinematographic relations between India and Europe. (p.44) MOODLEY, NASHEN South African film critic, journalist and programmer, he is currently the manager/programmer of the Durban International Film Festival. Since 2005 he has been a programming consultant for the Dubai International Film Festival, responsible for the Cinema Of Africa programme. (p.49) 72 ducer was the critical and box office hit Human Traffic. He co-founded Vertigo Films in 2002; the company’s productions include The Football Factory, The Business and Outlaw. (p.45, 63) NUGROHO, GARIN RIANTO Indonesian filmmaker, he directed two short films and 15 documentaries before his feature, Love Is A Slice Of Bread. His film credits include Letter To An Angel (Forum 1994) and The Moon Dances... (Forum 1996), among others. He is a member of this year‘s NETPAC Jury. (p.64) p PASQUALI, ARNAUD Head of the sector for MEDIA Promotion (Markets & Festivals) – MEDIA Training MEDIA programme of the European Union and for the Education, Audiovisual & Culture Executive Agency (EACEA). (p.57) PETERSEN, NIKOLAI Director of the Goethe-Institut in Caracas, enezuela, he was previously head of cultural programmes at the V Goethe-Institut Johannesburg where he played a crucial role in the cooperation between the Berlinale and the Sithengi Film and Television Market. (p.44) PIMENTA, PEDRO One of the major players in film co-productions in South Africa, he is the director of DOCKANEMA – a Documentary Film Festival in Maputo. His film portfolio includes Marracuene, Fools, Zulu and Love Letter, among others. (p.49) POWER, DEREK As a talent manager based in West Hollywood, he is a specialist in the representation of Eurocentric talent. Among the many he has helped guide through his company, The Derek Power Company, are Ben Kingsley, Greta Scacchi, Robert Dornhelm and Jennifer Rae Welsh. (p.51) r erlinale Forum, she is a co-founder and member of the Board of B Kinothek Asta Nielsen in Frankfurt. (p.55) RABARTS, MARTEN Artistic director, Binger Filmlab, he is a producer, screenwriter and script editor. As head of studies at Amsterdam’s Maurits Binger Film Institute, he was instrumental in the realisation of the film series Project 10 – Real Stories from a Free South Africa, which premiered at the Forum in 2004. (p.30) SHAFIK, VIOLA German film scholar and filmmaker, she has directed documentaries including Iraqi Artists In Germany and The Lemon Tree. She is also the author of the books “Arab Cinema: History and Cultural Identity“ and “Popular Egyptian Cinema: Gender, Class, and Nation“. (p.51) RICKETTS, TYRON Afro-German actor and musician, he has acted is umerous critically acclaimed German films such as Kopf oder Zahl, n Barfuß, Kanak Attack and Afro Deutsch. He was singer and frontman for “Mellowbag“ with two successful hip-hop albums. (p.59) shan, dongbing Active in Chinese Independent filmmaking, he has produced the films Crosscurrent, The Square, The Sons, Crazy English and City Paradise. President of Big One Films which focuses on film production and distribution in China. (p.45) RODENKIRCHEN, FRANZ See portrait on p.31. (p.30, 57) SILDOS, RIINA One of the founders of the Tallinn International Film F estival – the Black Nights Film Festival, she started her own production company Amrion in 2003. A production from her cache, Lotte From Gadgetville premiered at the Berlinale 2003. She is one of the founders and organisers of Baltic Event Co-Production Market. (p.57) ROSENTHAL, LIZ Founder and director of Power the Pixel which organised their first Digital Distribution Forum for Independents at last year’s London Film Festival, she is the founder of Earthly Delights Films, one of the producers of The Trouble With Men And Women, and the co-creator and producer of the online animation project, Marsipan. (p.26, 44, 47, 57, 63) ROSS, DICK Scriptwriter, consultant, he won the European Script Prize for The Red Apple Tree. He is also the director and producer of The Late Liz, the producer of The Cross And the Switchblade, and is a board member of SOURCES 2. (p.52) ROY, RAJENDRA Chief Curator, department of film, The Museum of odern Art (MOMA), he will oversee the museum‘s 22,000 film archive. M Previously, artistic director at the Hamptons International Film Festival, he has previously worked at the Guggenheim Museum. (p.61) SIMONEN, ULLA Finnish producer and consultant for Avek – Promotion Centre for Audiovisual Culture, Finland, her filmography includes Between Two Countries, Don’t Worry It’s Just A Phase, The Future Is Not What It Used To Be and Kiltit Tytot. (p.30, 60) SMITH, IAIN Producer of more than a dozen feature films, his film credit include Academy Award winning Chariots Of Fire, Killing Fields, Fifth Element, Children of Men, and many more. He is currently completing adaptation of the graphic novel, Wanted. (p.44, 48) s STAHL, CHRISTIAN Managing director of “Medienagentur für Sendungsbewusste” in Berlin, he conducts trainings for people working in the media world, plans and moderates podium discussions, events and conferences, and assists in conceptualising conferences. (p.62) SALBOT, SOPHIE Producer of the films Samba Traoré, Le cri du cœur, and Kini & Adams for the production company Les Films de la Plaine, she then founded her own production company, Athénaïse. Rêves de poussière is the first full-length feature film from Athénaïse. (p.49) STEYER, MARTIN German sound mixer, he has worked on numerous critically acclaimed films including Das Herz ist ein dunkler Wald, Meine schöne Bescherung, Yella, The Last King of Scotland and Requiem, among others. (p.60) SALEM, ABDERRAHMANE AHMED Director of “La Maison des cinéastes“ in Mauritania and the director of “La Semaine Nationale du Film“, his film credits include Taxi-Démocratie; Un Homme, Une Tente, Un Drapeau and Mon Nouakchott. (p.55) STYLE, EMMA Casting director, she has worked for the films Oh Happy Day, Mansfield Park, Hogfather and Scenes of A Sexual Nature. She is currently involved in production The Colour of Magic. (p.53) SANTAOLALLA, GUSTAVO See portrait on p.25. (p.60, 63) SCHAUFUSS, GRISCHA Director of photography and producer, he offers production services for corporate, documentary and commercial films. He conceptualised Two Revolutions 1848/1989, and worked on Die Häuser des Mr. Wong, among others. (p.62) SCHLEEF, HEIDRUN Freelance scriptwriter since 1996, she has written and co-written numerous scripts for renowned directors in Italy. Her past projects include Un soleil trop tard, Mare Nero, Il Caimano, Ciao, Riparo and L‘uomo di Vetro. She has been working at SOURCES 2 since 2003. (p.30) SCHRADER, MARIA Well-known German actress, screenwriter and director, she has acted in the films Stille Nacht, Aimee & Jaguar, for which she won the Silver Bear at the 1999 Berlinale, Rosenstraße and Schneeland to mention just a few. Liebesleben, her directorial debut, will be screened at the German Films section of the Berlinale 2008. (p.47) SCHULTE-STRATHAUS, STEFANIE Curator at the Freunde der Deutschen Kinemathek e.V./Kino Arsenal in Berlin, and a programmer at the The Berlinale Talent Campus #6 SZABÓ, ISTVÁN Critically acclaimed Hungarian filmmaker, he directed the award-winning films Father, Lovefilm and 25 Fireman‘s Street. His signature film trilogy consists of Mephisto, Colonel Redl, and Hanussen. He made a switch to English-language films with Meeting Venus, Sunshine, Taking Sides, and most recently Being Julia. (p.57) t TALEB, ABDELAZIZ Director, producer and one of the leading visual igital artisits in Morocco, he is also the co-director of the collective d Taleb cherche midi and founder of the Videokaravaan project. He is a former participant of the Berlinale Talent Campus. (p.56) THOMPSON, DAVID Head of BBC Films, the Corporation’s cinematic arm involved with high profile British films of recent years including the hugely successful Billy Elliot, Mansfield Park, Notes On A Scandal, Scoop, Maybe Baby and Dirty Pretty Things. (p.44, 55) TODSHAROW, MARTIN Film composer, he has composed music for Max Frisch – Geschichte einer Stimme, Nothing But Ghosts, Minotaur and Under the Ice. He is a lecturer at the film academy Ludwigsburg, the DFFB Berlin and the HFF “Konrad Wolf“ in Potsdam-Babelsberg. (p.60) 73 u a UKWUOMA, SELINA Development Executive EON Screenwriters‘ Work shop, she has helped, among others, to develop Boy A, featuring in the 2008 Berlinale Panorama, Cuba Pictures’ first film to go into production. She also tutors on the MA in Screenwriting and Producing at the University of Westminster. (p.30, 49) Abeil Lluna Achim Gabriel Adam Mohammad Rahmat Adams Emma Adeleye Mike-Steve Aduwo Bolanle Akay Emre Alihodzic Senad Ameresekere Asitha Ames Natalia Amini Babak Anastasopoulos Angela Aoun Rachel Archer Nuno Assmann Simon Attal Bernard Au Man Kit Jevons Aydin Dilek V VALDELIèVRE CHRISTIAN Producer, founding partner of Futura Producciones (which changed its name to Lulú Producciones in 2004) and Titán Producciones, he co-produced Sex, Shame and Tears, and is the producer of Duck Season and Lake Tahoe, Fernando Eimbcke’s first two features, the latter features in the 2008 Berlinale Competition. (p.48) w WAJDA, ANDRZEJ Legendary Polish film director, he is one of the most prominent members of the Polish Film School. He has made around 42 films including Kanal, The Promised Land and The Maids Of Wilko, among others. His latest Katyń, is screened at Berlinale Palast out of Competition this year. (p.56) WEINBREN, GRAHAME Experimental filmmaker, his documentaries and experimental films and interactive cinema installations have been screened at festivals, on television and in museums and cinemas. He is the editor of the “Millennium Film Journal“, a journal of avant-garde film, video and works in other image technologies, New York. (p.26, 52, 64) WEILER, LANCE Award-winning writer and director, he is recognised as a pioneer for the way he makes and distributes his work. His first feature The Last Broadcast is currently distributed in over 20 countries. His recent feature Head Trauma had its world premiere at the LA Film Festival in 2006. (p.57) WILLIAMS, JANE Head of Industry office, Dubai International Film F estival, Dubai Technology and Media Free Zone, she set up DIFF’s Industry Office in 2006. In 1998, she became the head of training at the Maurits Binger Film Institute in Holland. She has also worked for the Cinemart and Hubert Bals Fund at the International Film Festival Rotterdam, the Balkan Fund and the Thessaloniki International Film Festival. (p.56) WINGATE, DAVID Board member and a SOURCES 2 script advisor for feature and documentary projects, he is a consultant and dramatic advisor, script advisor and teacher in several European countries. As dramatic advisor his credits include Fucking Åmål, Lucky People Centre International and recently, Day Break and The Souvenirs Of Mr. X. (p.30) z ZACHAREK, STEPHANIE American film and music critic, she is a senior writer and film critic for Salon.com. Her writing on books and pop culture has also appeared in “The New York Times“, the “Los Angeles Times Book Review“, “Entertainment Weekly“ and “Sight and Sound“, among others. She is a member of the National Society of Film Critics. (p.28) ZIMAN, RALPH Writer and director, he began his career as a news and documentary cameraman in South Africa. He is one of the most sought after directors of music videos and was awarded for his work with Faith No More. His debut feature film Heart And Minds received worldwide critical acclaim. His latest work Jerusalema features in the 2008 Berlinale Panorama. (p.52) 74 b Baigazin Emir Baldoza Ivy Rose Balulu Rafael Bass Jenna Bawardi Ossama Beak Natalie Behbahani Negar Bello Jide Benfaidoul Abdellatif Benito Marie Benkhaldoun Houda Berger Philip Bernard Alessandro Bichis Adelina Bihito Musafiri Biniadaki Nancy Blanchard Ira Block Juliane Bloom David Blum Sarah Bodmer Bianca Bonneville David Borowski Ewa Botkay Courcier Louise Bougleux Alberto Boulifa Fyzal Boyle Amanda Brameshuber Sebastian Brice Eteki Assoua Achille Brog Tal Brugger Melanie Burduli Vano Butterbach Till Buzabo Consodyne c Çagdas Özgür Carroll James Ceacero Ruiz Carlos Cevasco López Paula Mercedes Ceylan Omer Chainani Soman Chakrabarti Suchandrika Chan Ruth Cho Benjamin Chung Ted Clelland-Stokes Sacha Coen Vincent Cole Graeme Collette Jean-Julien Copikova Michaela Costa Rui Counet Jean Crowe Ben Cruz Sergio Cziraki Gergely d Daiyrbekov Aibek Daly Rebecca Darvas Csanad Davis Keith d‘Ayala Valva Sebastiano de los Reyes Clarissa Debeljuh Matija Dejaegher Koen Demouilpied Hutch des Forets Jean Diabang Brener Angele Dickson Leach Hope Dietrich Markus Dike Nonso Dinulescu Maria Djapo Adis Dolinsky Julieta Dymek Mateusz index of talents 350 young filmmakers and film creatives from all over the world come together at the sixth Berlinale Talent Campus. Here they are, the Talents of 2008. González Zaffaroni Luis Green Kirsten Grolitsch Flora Grudziecki Bartosz Guerrero Rodrigo Gustafsson Elisabet Gutiérrez Julia Sabina h Hajredini Driton Halls David Bradley Hammou Sharon Hamzeh Koussay Harris Jonathan Hasan Najaf Hayes Zara Hayford Victoria Hellsgård Carolina Hentschel Anke Herrera Torres Gabriel Hespanha Tiago Hexel Vasco Hirano Midori Ho Kok Tai Rich Hoai Nam Tran Hotz Julie i-J Eder Kathrin Eglitis Didzis El Pasha Maged Esteban Alenda Cesar Ewing Suzi Fallucchi Stephan Fay-Berquist Ria Ferdek Pawel Flotron Alice Fortner Bryce Frank Michael Frank Alexander g Gandotra Rahul Gant Roberto Gelashvili Omar Gergely Zoltán Gerstein David Giappiconi Laure Ginel Rafael Gjokovik Marko Göltenboth Peter Gomez de Vargas Jose Gonzales Erika González Ana Valeria l Laka Patience Lale David Lalovic Ivana Langis Anastassios Lass Jakob Lassoued Anis Lavaquial André Leescu Catalin Lehmann Leonard Leite Ricardo Lesclaux Emilie Leskinen Miikka Lewicka Karolina Liimatainen Kirsi Marie Lin Chun-Ni Lindeen Marcus Lobo Frederico Lorenos Maria Kathrina Lovas Balazs Luz Gonçalo Müller Franziska Muñoz Alvaro Murata Katsura n Ichim Ada-Maria Iglesias Vigil Jose Enrique Ikic Ivan Iregbu Chinedum Ismailova Saodat Jaber Hicham Jacimovic Milos Jacques Bugingo James Paulette James-Larsson Lisa Javitch Arielle Jbawi Somar Joens Boris Jones Morris Ewan Jordan Yashira K Kambandu Malingose Kang Juli Karim Othman Khazai Kash Khoury Firas Kim Kihyun Kim Kyoungmook Klingler-Ioannides Kriton Klüh Svenja Koblik Kedar Eran Korsgaard Lea The Berlinale Talent Campus #6 Rogers Chris Roth Chris Ruggiero Maria Laura Ruiz Irina Ruszev Szilvia Trinidad Arvin Trocker Ronny Tur Moltó Jorge u Najafi Sara Neal Kelly Neykova Svetla Ni Fhaolain Aine Niebe Rick Nikolaeva Asya Nilthamrong Jakrawal Nkazi Muya Novak Yasmine Nuudi Kristjan-Jaak o Oberrainer Robert Olderdissen Hanno Oleak Conrad Olszowska Martyna Onel Melisa Orderson Kurt Orion Kai Osikoya Bolawole Otero Javier Owusu Akosua Adoma e-F Kotecka Monika Kotian Nayantara Kovacevic Nenad Krabs Melanie Kraljevic Eva Krynke Julia m P Mabrouk Emad Madhavan Manesh Madsen Sven Daniel Vinge Magkanari Maria Malikov Isa Manjate Rogério Marcuson Emily Mardari Viorel Marron Kevin Martel Caroline Mason Bryan Mcgarrigle Darach Mckenzie Carey Minnix Tommy Moder Johanna Möller Beatrice Monestiez Julien Moore Lucy Mor Assaf Moreno Sabrina Moro Miriana Mósesdóttir Dögg Moussa Kaiser Mohamed Moustakis Yiorgos Mtingwa Hamis Muchena Nyaradzo Müller Dominique Pavlovskaya Natalia Pekun Didem Perez-Pabon Natalia Petrovic Magdalena Petrovic Dragan Philipson Stephen Piazza Antonio Pirveli Rusudan Piskorzynski Filip Pors Katrin Pullen Ben Pululu Makela Luyeye Pykäläniemi Toni r Rafei Rania Raghuram Alka Ramadan Mohamed Rasheed Ahmed Rath Rachel Rattini Martin Reese Enno Relayze Chiang Jonatan Richards Leigh Rijneke Ricky Rodriguez Gabino s Sakova Martina Salas Rodriguez Juan Miguel Saleh Omar Sandemo Sindre Sanner Lindsay Schettino Giuseppe Schmitt Vincent Schmoller Ezequiel Scott-Wilson Charlotte Sekulovic Nikoleta Sempi Tobia Shah Sonal Shaibu Husseini Shalaby Neveen Shekhar Mayank Shirazi Raha Sievers Rasmus Sikavica Miroslav Silva Joana Slot Marleen Soudjian Khajag Stålskjær Osen Hilde Stefanidou Erifili Stotz Eva Streiber Gregor Sumit Rezwan Shahriar Susman Dan Syczynski Filip Sys Renée t Tadic Marija Tanios Wassim Taurisia Meiske Tawengwa Patience Tayler James Taylor Nigel Teirlinck Nathalie Thandi Anthony Tierney Sarah Titova Elena Tjipura Vivid Kapukirue Tocinovski Kamka Todorov Nikolay Todorovic Dennis Toft Jacobsen Esben Toledo Piza Tonacci Daniel Tran Aline Trencsenyi Klara Uggadóttir Isold Uraiqat Isam Uricaru Ioana Url Vanessa v Van Maele Govinda Vela Vargas Paola Vera Carlos Verdugo Gabriel Victoria January Vidrascu Diana Vidyarthi Jatin Vinevicius Justinas Vouaux-Massel Ugo Vray Julien W Wagner Jan Walka Claire Wang Yumeng Wang Lillian Wang Chia Wei Wang Wei Jen Wee Derek Wernke Christine Westin Jennifer Whitwham William Wilkinson Nick Wilson Christopher Winstanley Chelsea Wittock Zoé Wong Joyce Y-Z Yoko Breeze Vuyisa Yokoyama Shogo You Mi Zack Maya Zafari Mohammad Mehdi Zaggia Valentina Zagorchinov Dian Zaraket Ali Zimrani Makafui Zoka Negar 75 epilogue stay tuned our sincere thanks to: ALFRED HERRHAUSEN SOCIETY Wolfgang Nowak, Ute Weiland and Jessica Barthel. ARRI Fritz Sammer. ARTE Hans-Robert Eisenhauer, Kathrin Brinkmann. It was an exciting year for the Campus – and a thoroughly “emotional“ process – getting ready to welcome 350 Talents and more than 100 experts in Berlin. This year’s focus centres on emotions as cinema’s finest asset – and we sincerely hope that everyone joining us at the sixth edition will experience some of those special moments which touch the heart: maybe while listening to a persona in the limelight whose films you’ve always admired or maybe as you figure out the “missing link“ in the puzzle of putting together your next project or when you happen to meet a new soul mate with whom you decide to stay in touch or on learning something from somebody that truly encourages and inspires you. After all, filmmaking is a highly emotional process, which is probably why so many people are attracted to the world of cinema at a professional level. This despite the fact that emotions in this business are sometimes hard to bear as everyone involved is well aware. Usually, an emotional upheaval results when reality strikes the dream factory and forces film professionals to overcome obstacles of versatile shades and shapes. Hopefully, the Campus will provide you with some useful professional tools in dealing with the difficult aspects of filmmaking. Entering its sixth year, the Campus is in the very happy phase of seeing the fruits of its labour taking shape in a way and at a pace we hadn’t anticipated. A sizeable number of former participants are returning to the Berlinale; their films now part of the festival program – selected by independent juries. Many more former participants keep us updated on their film projects and a whole array of community activities xisting and functioning independently in all corners of the e world. We cherish this networking; it makes us proud and is our source of inspiration and motivation to develop the Campus and its through-the-year activities even further. The recent relaunch of our website was our main contribution to this growing community. The Campus #6 marks the beginning of an experiment to develop a professional platform on our website, and this needs your input and feedback in order to become – hopefully within the one year construction period – a full-fletched virtual Campus with major opportunities waiting to be discovered by young filmmakers, to find team members in exciting new ventures or to get projects into the next stage of production, and to promote your finished films internationally. We hope you will enjoy your stay at the Campus so much, that you’ll stay tuned long after Berlin. AUSWÄRTIGES AMT (FEDERAL FOREIGN OFFICE) Dr. Frank-Walter Steinmeier, Dr. Andreas Görgen, Martin er, Ludwig Linden, Harald Schindler and Michael Kröner. AVID Technology Michael Dalock-Schmidt and Veronika Lode. BACCOS Lars and Ante. BERLINER PILSNER Bettina Pöttken, Harro Fischer and Dirk Streich. BOXFISH FILMS Christiane Steiner, Philipp Graf, Karen Rudolph, Kathrin Wirth, Kerstin Heckenrath, Andrea Ruhl and Ricarda Disla. Dr. Bernd Pirrung. SOFIA INTERNATIONAL FILM FESTIVAL GOETHE-INSTITUT MANILA Richard Künzel. GAHRENS & BATTERMANN Michael Kugel. GEROLSTEINER Stefan Kitanov, Mira Staleva. SOURCES 2 Renate and Marion Gompper. Stefan Göbel and Karsten Hoffmann. GOROL & PARTNER Stephan Gorol, Anne Reckmann and Leonie Würfel. Sonja Heinen and Dr. Kathi Bildhauer. TALENT PROJECT MARKET TOP-IX HEINRICH BÖLL FOUNDATION Torino e Piemonte Internet Exchange Silvano Giorelli. Barbara Unmüßig, Peter Siller, Jan Engelmann, Simone Schmollack, Monica Reddig and Angelika Wieland. Susanne Franke, Birgit Raabe, Nikola Fölster. TYPE FACE Anja Joos. THEATERKUNST HEBBEL AM UFER (HAU 1-3) U.S. EMBASSY BERLIN Matthias Lilienthal, Sonja Hildebrandt, Elisabeth Knauf, Kirsten Hehmeyer, Matthias Schäfer and the entire HAU team for their cool location. Peter Claussen and Wolfgang Brandt. VITA VERDE Philip Friedberg. VOLKSWAGEN Stephan Grühsem, Heike Lichte, Christiane Krebs-Hartmann, Maren Weißner, Wolfgang Müller-Pietralla and Marco Kentsch. HFF – ACADEMY FOR TV AND FILM “KONRAD WOLF“ Prof. Dieter Wiedemann, Paul Howson, Gil Satwant and Elke Ritt. CANON Bettina Steeger. Prof. Martin Steyer, Prof. Lothar Holler and Holger Lochau. Matthias Behrens. DEUTSCHE WEINE HOGAN HARTSON RAUE BERLIN Monika Reule and Thomas Klaas. DEUTSCHE WELLE Rainer Traube, Melanie Matthäus, Bettina Kolb, Fred Oelschlegel and the DEUTSCHE WELLE Trainees. Prof. Peter Raue and Dr. Mareile Büscher. Jens Rietdorf and Robert Wagner. HOUSE OF WORLD CULTURES Dr. Bernd Scherer, Shaheen Merali and Doris Hegner. DEUTSCHES FILMORCHESTER BABELSBERG HUGO BOSS Klaus-Peter Beyer and the musicians. Philipp Wolff and Claudia Schmidt. Dr. Rainer Rother and Christa Schahbaz. DOLBY Hubert Henle and Julian Pinn. EON SCREENWRITERS’ WORKSHOP Alby James, David G. Wilson and Selina Ukwuoma. EUROPEAN FILM ACADEMY Marion Döring, Bettina Schwarz and Pascal Edelmann. EUROMED AUDIOVISUAL II PROGRAMME Safaa Kaddoui, Catherine Buresi and Milojka Saule. EUROPEAN FILM MARKET Beki Probst, Karen Arikian, Wolfram Lutz, Michael Hinz and Sydney Levine. EUROPEAN FILM PROMOTION Renate Rose and Karin Dix. ewerk Katrin Behrens, Katajun Fakhoury. ifs internationale filmschule köln Simone Stewens, Alexandra Ohlsen and Miriam Edinger. LONDON FILM SCHOOL Ben Gibson. MANFRED DURNIOK FOUNDATION Michiko Teramoto. MEDIA TRAINING PROGRAMME OF THE EUROPEAN UNION Aviva Silver, Costas Daskalakis, Arnaud Pasquali and Pauline David. MEDIENBOARD BERLIN-BRANDENBURG Kirsten Niehuus, Petra Maria Müller and Rangeen Horami. MoMA THE MUSEUM OF MODERN ART NEW YORK Rajendra Roy. NIPKOW PROGRAMME Uta Ganschow. L‘Oréal Paris Heike Leder. PAKT / g rafische gestaltung Sonja Jobs and Sylvia Böhm. ROBERT BOSCH stiftung Frank Albers. FFA – GERMAN FEDERAL FILM BOARD SCRIPT HOUSE BERLIN Peter Dinges and Katja Jochum. FIPRESCI Klaus Eder. Franz Rodenkirchen and Jürgen Seidler. FRENCH EMBASSY Mirsad Purivatra and Emina Ganic. Jean d‘Haussonville, Anne Tallineau, Carole Lunt and Eliane Herment. GOETHE-INSTITUT Prof. Dr. Jutta Limbach, Dr. Hans-Georg Knopp and Detlef Gericke-Schönhagen. 76 SPECIAL THANKS TO Peter Cowie, Liz Rosenthal and Mark LeFanu. BRITISH COUNCIL DEUTSCHE KINEMATHEK – MUSEUM FÜR FILM UND FERNSEHEN Dorothee Wenner, Director Berlinale Talent Campus GOETHE-INSTITUT CARACAS Nikolai Petersen. GOETHE-INSTITUT JOHANNESBURG The Berlinale Talent Campus #6 SARAJEVO FILM FESTIVAL SERVE-U Phillip Sünderhauf and Andreas Buchholz. SKILLSET Janine Marmot, Dan Simmons, Emily Bullock, Claire Doughty and Sandy Lieberson. WAVE-LINE 20SEC.NET KBB – KULTURVERANSTALTUNGEN DES BUNDES IN BERLIN GMBH Dr. Thomas Köstlin, Charlotte Sieben, Johannes Emig, Marianne Bialek, Susanne Grünberg, Petra Hemprich and Stefan Martin. BERLIN INTERNATIONAL FILMFESTIVAL Our colleagues at the Berlin International Film Festival: Johanna Muth, Karin Hoffinger & Daniela Weber, Bernadette Kamp, Hendrike Schwarze & Juliane Grieb. Johannes Wachs and Wolfgang Janßen for… Everything! Anne Gebhardt, Sabine Kaszemeik, Kerstin Iskra and Eva Simhart for beeing the good fairies. The section heads Alfred Holighaus, Christoph Terhechte, Maike Mia Höhne, Thomas Hailer and Wieland Speck and their teams. Vincenzo Bugno. Dagmar Forelle, Jolanda Darbyshire, Kathrin Schafroth, Alex Steffen and Tim Gutzeit for handling our industry sponsors. Markus Hönle, Gunnar Gilgen and Irena Akopjan; Dominique Green, Alexis Grivas and Nikolaj Nikitin for strategic expert approach; Anne Marburger, Melanie Hanschur and Sabine Buske for the good communication, Frauke Greiner for being with us at even odd hours; Rainer Chemnitius. For support and advice: Ulrich and Erika Gregor. And: Dieter Kosslick! CAMPUS TEAM 2008 Andrea, Anna, Christina, Christine, Debora, Ivana, Jana, Janne, Johanna, Kathi, Lira, Maria, Marcie, Marcus, Marjorie, Maya, Melanie, Merle, Oli, Rubaica, Suse and Stefan. 77 team and imprint berlinale talent campus 2008 Imprint Director Event Agency Dorothee Wenner Gorol & Partner – Stephan Gorol, Anne Reckmann, Leonie Würfel Finance & Administration Manager IT Project Management Christine Tröstrum Circulation 5.000 Cartography Runze & Casper, Berlin Andrea Rieder IT Technology Programme Support serve-u – Phillip Sünderhauf, Andreas Buchholz Photography Berlin International Film Festival, David von Becker, Peter Himsel, Alexander Janetzko, mai.foto – Ute Langkafel, Filmarchiv Schnitt Verlag, Köln, and all cooperation partners, distributors, film productions Melanie Sevcenko Cover Design Assistant Finance & Administration Antonia Neubacher Christina Janitz Graphic Design Assistant Sponsorship Anna Schnabel Talent Administration Pakt, Sonja Jobs Design Antonia Neubacher (Cover Design), Pakt, Sonja Jobs Consultants Print office Conrad GmbH Peter Cowie, Sandy Lieberson Marjorie Bendeck, Lira Lousinha, Maria Casas, Johanna Baier, Marcus Forchner the berlin international film festival Director Dieter Kosslick Selection Commitee Marjorie Bendeck, Ivana Ivišić, Marcie Jost, Stefan Pethke Festival Manager Johannes Wachs Hands-on-training Head of Sponsorship Marcie Jost, Janne von Busse (Volkswagen Score Competition), Liz Rosenthal, Debora Neumann, Susanne Mann (Garage Studio), Merle Kröger (Doc & Script Station), Dr. Kathi Bildhauer, Sonja Heinen (Talent Project Market), Oliver Baumgarten, Rubaica Jaliwala (The Talent Press), Christiane Steiner, Maria Casas (Berlin Today Award) Dagmar Forelle In cooperation with Editorial Office Oliver Baumgarten, Rubaica Jaliwala, Dorothee Wenner 20sec.net – Jens Rietdorf Programme Assistant The Berlinale Talent Campus wishes to thank its partners Co-Partner Publisher Berlin International Film Festival Berlinale Talent Campus Potsdamer Straße 5, 10785 Berlin Phone: +49 30 25 92 05 15 Fax: +49 30 25 92 05 19 Email: info@berlinale-talentcampus.de www.berlinale-talentcampus.de Supporter an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH. Guest Manager Jana Daedelow, Ivana Ivišić Online Editor Marcus Forchner Magazine Editors Rubaica Jaliwala, Oliver Baumgarten Press Coordinator boxfish films – Christiane Steiner, Philipp Graf, Kathrin Wirth 78 The Berlinale Talent Campus Team 2008 (from left to right) – In the Back: Debora Neumann, Maria Casas, Lira Lousinha, Christiane Steiner, Melanie Sevcenko, Kathi Bildhauer, Jana Daedelow, Marcie Jost. Middle Row: Katja Mathan, Christine Tröstrum, Dorothee Wenner, Andrea Rieder, Marcus Forchner, Marjorie Bendeck, Rubaica Jaliwala. Front Row: Stephan Pethke, Johanna Baier, Christina Janitz, Ivana Ivišić, Kathrin Wirth. The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH, in cooperation with MEDIA – Training programme of the European Union, Auswärtiges Amt, Medienboard Berlin-Brandenburg, Skillset and UK Film Council and Volkswagen.
