“WISH I COULD EDIT LIFE AS WELL.”€¦ · 530 young filmmakers from 90 countries get together...

BERLINALE 55InternationaleFilmfestspieleBerlin

in cooperation with

“WISH I COULD EDIT LIFE AS WELL.” SUZAN HANDE GUNERI, TURKEY

MAGAZINEwww.berlinale-talentcampus.de12.–17.02.05 HAUS DER KULTUREN DER WELT

01-U4_umschlag_0105 31.01.2005 11:18 Uhr Seite 1

TALENTS 2005

PAGE 2

CIFIC

OCEAN

O

ATLANTIC

EL SALVADOR1

MEXICO12

CUBA1

LVADOR

GUATEMALA1

COSTA RICA1

HONDURAS1

PANAMA2

NICARAGUA1 VENEZUELA

1

BRAZIL6

BOLIVIA1

COLOMBIA5

ARGENTINA12

CHILE3

PERU2

URUGUAY4

UNITED STATES45

CANADA20

The Berlinale Talent Campus is an arena for know

how and inspiration, in which the world’s next

film generation moves to learn, communicate

and exchange experiences – in 2005 for the third

time.

530 young filmmakers from 90 countries get

together at the House of World Cultures and

have the great opportunity to learn from expe-

rienced professionals from all genres, cultures

and generations.

Discover the Planet Talent on the internet:

www.berlinale-talentcampus.de

PLANET TALENT

Argentine Ministry of Foreign Relations, Embassy of Brazil, Embassy of Japan, UniJapan Film, Mexican Embassy in Berlin,

Flämische Repräsentanz Wallonie-Bruxelles

We would like to thank our internatinal network for their support:


BERLINALE TALENT CAMPUS #3 PAGE 3

INDIAN OCEAN

CEAN

PACIF

UNITED KINGDOM55

NORWAY5

SWEDEN5

FINLAND6

ITALY10

GREECE6

SWITZERLAND11

NETHERLANDS8

BULGARIA5

GREECE6

BULG5

MACEDONIA1

CZECH REP.2

GEORGIA2

TURKEY8

CYPRUS1 PALESTINIAN

TERRITORY1

ARMENIA1

LEBANON4

ISRAEL11

JORDAN2

INDIA9

SRI LANKA1

BANGLADESH1

ANDS

GERMANY70

AZERBAIJAN4

AUSTRIA4

TALY10

SLOVENIA3

Y

VENIA

CROATIA4

IA

OATIA

BOSNIA1

PORTUGAL3

FRANCE18

SPAIN19

BELGIUM3

IUM

IRELAND4

SLOVAKIA1

HUNGARY12

SYRIA1

ROMANIA5

UKRAINE5

GREECE6

BU5

MACEDON1

YUGOSLAVIA10

IRAN5

CHINA3

THAILAND2

TAIWAN5

HONGKONG3

PHILIPPINES4

MALAYSIA6

INDONESIA3

SINGAPORE3

JAPAN3

KOREA1

AUSTRALIA7

RUSSIA5

SOUTH AFRICA2

SWAZILAND1

MOZAMBIQUE1

ZIMBABWE2

KENYA1

ETHIOPIA1

UGANDA2

CAMEROON1

NIGERIA4

GHANA1

TOGO1

BENIN1

NDS

ERMANY0

DENMARK5

LATVIA2LAT

LITHUANIA6

ECH REP.

TRIA

POLAND12

LATVIAESTONIA2

EGYPT3

ICELAND1

NEW ZEALAND3

Norwegian Film Development, Media Development Authority of Singapore, Embassy of Turkey

Embassy of Finland


CONTENT / FACTS & FIGURES

PAGE 4

ContentFacts and Figures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5House of World Cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6A Welcome from our Partners . . . . . . . . . . . . . . . . . . . . . . . . . 7Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Saturday 12 – Orientation Day. . . . . . . . . . . . . . . . . . . . . . . . . 11

Interview Dante Ferretti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Sunday 13 – Philosophy Day . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Working Campus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Interview Emi Wada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Monday 14 – Pre-Production Day . . . . . . . . . . . . . . . . . . . . . . 27

Interview Walter Salles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32Information For Talents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Timetable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Map of Berlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Tuesday 15 – Production Day. . . . . . . . . . . . . . . . . . . . . . . . . . 39

Shoot Goals! Shoot Movies!

– The Football Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Berlin Today Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46PLANET Documentary Award . . . . . . . . . . . . . . . . . . . . . . . . . 47

Wednesday 16 – Post-Production Day . . . . . . . . . . . . . . . . . . 49

The Making of Berlinale Talent Campus . . . . . . . . . . . . . . . . 55

Thursday 17 – Promotion Day . . . . . . . . . . . . . . . . . . . . . . . . . 57

Index of Experts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Virtual Berlinale Talent Campus. . . . . . . . . . . . . . . . . . . . . . . . 67Note of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Team / Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Facts & Figures

Most of the 530 Talents are working in more than one field:

401 direct, 225 write scripts, 106 produce, 99 are cine-

matographers, 79 edit, 47 are production designers or art

directors, 41 are sound designers or composers, 40 are

actors, and 8 are critics or journalists.

90 countries are represented at the Campus this year,which

is 6 more than last year and we hope the number only

increases.

What are the Campus alumni up to?

Several members of the Talent Campus alumni have been

making a splash on the international film scene. Here are

just a few:

LITTLE TERRORIST, the short film by 2004 alumnus Ashvin

Kumar, is nominated for Best Short Film (Live Action) at this

year’s Academy Awards.

Actor-director Mohammed Ali Naqvi from Pakistan and

Japanese director Atsushi Funahashi who met at last year’s

Campus are now jointly involved in Funahashi’s film BIG

RIVER. The project is being financed by Takeshi Kitano’s

agency Office Kitano, and has already found a distributor.

Argentinean scriptwriter Vera Eugenia Fogwill was a Talent

at the Campus in 2003, and her feature-debut, LAS MAN-

TENIDAS SIN SUENOS, will have its world premiere at this

year’s Rotterdam Film Festival.

Christopher Slaski (U.K.), a Talent last year, has since com-

posed music for Kevin Spacey’s new film BEYOND THE SEA.

These are just a few examples of young filmmakers realis-

ing their dreams.We are delighted that they stopped by at

the Berlinale Talent Campus on their way.

04-07_intro_240105.qxd 28.01.2005 14:50 Uhr Seite 4

EDITORIAL


Third time is a charm,they say.In relation to the Berli-

nale Talent Campus this phrase proves its veracity:

In just its third year the Campus has already estab-

lished itself in the awareness of World Cinema, and

this is an amazing result for our efforts. Our Talent

network for example is growing expeditiously. The

first “export“ of the Campus to Kiev in 2003 was fol-

lowed by national editions in New Delhi, India, and

the Sithengi festival in South Africa in 2004.This year,

the Campus idea will enter another continent, with

Talent Campus Buenos Aires, Argentina, being held

in April. We are very happy with these develop-

ments. The results of this burgeoning worldwide

Talent network is not just evident in the high num-

ber of applications sent in this year. It is also per-

ceivable in the acceptance of those, without whom

the Talent Campus would not work either: our

experts. These experienced “old hands“ and their

precious knowledge,which they willingly share with

the Talents, come from all over the world – this year

from five continents to be precise – and let their

know-how flow into the international stream of cre-

ativity at the Berlinale Talent Campus.

A reasonable analogy of this melting-pot of talent

in “performing arts“ can be found at the Football

World Cup. So it seemed a brilliant combination

when the Berlinale Talent Campus together with

the FIFA and the DFB Kulturstiftung announced the

short film competition “Shoot Goals! Shoot Movies!“.

The results are convincing for both the friends of

international football and of international film. We

are very proud to welcome both fractions and to

bring them together to celebrate the world pre-

miere of the Talent’s football reel on February 15.

The special focus of the Berlinale Talent Campus

this year is Production Design, and we are very

fortunate to have some highly reputed designers

joining us as experts, including Ken Adam, Nathan

Amondson, Anna Asp and Stuart Craig. A special

thanks is devoted to costume designer Emi Wada,

production designer Dante Ferretti, and director

Walter Salles, the three hosts for this year’s Campus.

I would like to wish everybody inspiring moments

at the third Berlinale Talent Campus – and I’m sure

there will be plenty of these. Considering the

intense, politically motivated, and ambitious work

samples of this year’s Talents, we can expect some

exciting films from them in the future. In some

senses, the future of the Talent Campus has already

begun: for example the opening film of the Inter-

national Forum of New Cinema at this year’s Berlin

International Film Festival,and one of the films in the

Official Short Film Selection were both made by

alumni from the first two Talent Campuses.

Congratulations!

Dieter Kosslick

Director Berlin International Film Festival

THE FUTURE HAS BEGUN

My work and my philosophy are based on passion, not on experience!

Dubravka Radonjic, Bosnia and Herzigovina


HAUS DER KULTUREN DER WELT

PAGE 6

FILM AT THE HOUSE OF WORLD CULTURES

The retrospectives of African film from

the “Festivals du Cinéma et de la

Télévision de Ouagadougou“,of Arab

cinema from the Tunis Film Festival,of

the productions from the Hong Kong

International Film Festival – these and

further cinematic highlights have all

played an important role in the House

of World Cultures’ programme from

the very start. Here in this building,

where you are now, we endeavour to

provide a framework for encounters

with contemporary artists from Asia,

Africa and Latin America. The goal:

new ideas and new productions in

both the visual and the performing

arts, in literature and the humanities.

Crucial to this work is a reflection upon

art and social developments. In this

context film plays an indispensable

role, surely a reason why the House of

World Cultures and the Berlin Inter-

national Film Festival began co-

operating at a very early stage.We are

delighted to see that this co-operation

has intensified with the founding of

the Berlinale Talent Campus.

The House of World Cultures launched

its programme in 1989. The building

where it is housed is far older, how-

ever. It was dedicated as the “Berlin

Congress Hall“ almost fifty years ago.

Its outline – the curved roof, whose

“wings“ were meant to symbolise

freedom of thought – is well known all

across the globe from millions of pic-

ture postcards.When it was designed

at the height of the Cold War, these

structural forms were intended as an

architectural statement. In the mean-

time,however,the bipolar system that

then prevailed has given way to a

world with many centres.The resulting

diversity reflects itself in our pro-

gramming, which unites a wide spec-

trum of cultures and art forms. If you

join us again this Spring, you will

encounter a broad range of interna-

tional positions reflecting and chal-

lenging established notions of beauty

– including the cinematic approaches

to the subject of Lars von Trier or

Wong Kar-wai. Our Fall programme

features the multi-faceted perspec-

tives of Southeast Asian artists –

including films by different gener-

ations of directors that deal with the

causes of terror in the region. As the

year draws to an end,we shall be hold-

ing a Film Festival which has Israel as

its focal point.

The motto of this year’s Talent Campus

“Designing Your Future” is by no

means limited to production design.

Making films, African director Wouk-

ouache tells us, means constructing a

worldview – a process which demands

the exchanging of ideas,opinions,per-

spectives,visions.We hope you find in

the House of World Cultures a plat-

form for these and other encounters.

“Making films means creating a point of view, a worldview. And this calls for continuous reflection:

thinking about how we want to make our reality visible with the medium of cinema.”

Director François L. Woukouache from Cameroon, at the House of World Cultures in Spring 2000.


PARTNERS


A WELCOME FROM OUR PARTNERSPetra Müller CEO Medienboard Berlin-Brandenburg,

Management Location Marketing

Kirsten Niehuus CEO Medienboard Berlin-Brandenburg,

Management Film Funding

Judy Counihan Director of Film, Skillset, Sector Skills Council

for the Audio Visual Industries

Paul Trijbits Head of the UK Film Council’s New Cinema Fund

Dirk Große-Leege Head of Corporate Communications

at Volkswagen AG

Following a successful start to cooperation Volkswagen

support for the Berlinale Talent Campus, which

welcomes filmmakers from 90 nations,has now entered

its second year. Our work with promising talent, began

in 1997 when the Volkswagen Sound Foundation was

established to support young musicians, and has now

been further intensified to cover the film industry as

well. The “Volkswagen Score Competition” award will

again be conferred in 2005, and representatives from

the company’s Career Development and Advanced

Design Departments will share useful knowledge with

young filmmakers. We are delighted to continue our

partnership with the Talent Campus this year and wish

participants an exciting and fascinating stay in Berlin.

The Berlinale Talent Campus brings young talents from

all over the world to Berlin for one week,where they get

to know each other, share their experience and meet

exceptional international filmmakers. This not only

builds the foundations for future closer international co-

operation and business relations but also contributes

to stimulating the exchange of ideas and views and

hence a better understanding between peoples and

cultures.

The MEDIA Programme of the European Union there-

fore supports the Berlinale Talent Campus as a major

partner and has done so since its creation in 2002.

Costas Daskalakis Acting Head of the MEDIA Programme

The strength and success of the UK film

industry hinges on the skills, talent and ideas

of the people working in it. Film is a global

marketplace with a global audience.To con-

tinue to cater for and appeal to that audience

we must remain fresh and exciting. This is

why encouraging and nurturing the next

generation, the lifeblood of our long term

growth, is so important. Through ‘A Bigger

Future, the UK Film Skills Strategy’, Skillset

and the UK Film Council are helping to

attract and retain the brightest and the best

into film careers to ensure future competi-

tiveness and productivity in the UK. We are

delighted to be supporting the next genera-

tion of filmmakers through the Berlinale Tal-

ent Campus and investing in the future of

film.

Up-and-coming talent and international co-

productions have always been a focus of the

Medienboard Berlin-Brandenburg’s activi-

ties.The Berlinale Talent Campus is a perfect

platform for both.Therefore we feel that our

support is a good investment in the future.

At the same time we are curious to see how

the three nominees of the Medienboard-ini-

tiated Berlin Today Award look at Berlin.


GLOSSARY


Working CampusAll interdisciplinary measures that bring talents together to work actively

with one another in small teams and come to a “presentable“ result of their

cooperation during the Campus. All Working Campus activities require

special application procedures and consist of the following projects:

Talent Movie of the Week

Around 20 Talents have the opportunity to team up and produce a five-

minute digital short film during the Campus-week. Four films will be

produced in all and presented at the Farewell Celebration.This year’s mentor

is Walter Salles.

Script / Doc Clinic

37 selected Talents will receive advice and guidance about the development

of their feature film scripts and treatments or documentary film ideas by

experienced script consultants and filmmakers.

Talent Project Market

The Talent Project Market gives 19 Talents the opportunity to work together

with professionals attending the Co-Production Market, and to receive

personal feedback from well-known producers about their projects in

development.

Volkswagen Score Competition

Three Talents have to create a new sound design for three short film clips.

During the Campus they are recorded in a Berlin sound studio and with the

Babelsberg Film Orchestra. This year’s mentor is Antonio Pinto. The final

results are presented at the Farewell Celebration.

The Talent Press

Eight young film critics are invited to report on the Berlinale Talent Campus

and the films at the Berlinale. All articles will be published on our website

(www.talentpress.org).

Berlin Today Award

After each Berlinale Talent Campus the Talents are asked to propose short

film concepts with reference to Berlin. The three best ideas are awarded a

budget of 50,000 Euro for production by the Medienboard Berlin-

Brandenburg and the filmindustry of Berlin-Brandenburg.

Further information on the Working Campus on pages 22–23.

The Berlinale Talent Campus in 14 terms

The Event Dictionary Focus on Production Design

Events dedicated to this year’s special theme:

Production Design.Some of the best-known

production designers explain how they

create new worlds.

Sound and Music

Events dedicated to all aspects of sound and

music in filmmaking.

Docs

Special events dedicated to new trends in

documentary filmmaking.

Berlinale Special

All Campus events relating to the official

programme of the Berlin International Film

Festival (Competition, Panorama, Forum,

Perspektive Deutsches Kino,Kinderfilm,Short

Film and European Film Market).

Acting

Events relating to methods in acting and

techniques in directing actors, as well as

career planning and casting preparations for

actors.

Cinematography

Events relating to cinematography, new

camera techniques, and the art of “painting

the screen“.

Producing

Show Me the Money: Events relating to all

aspects of producing including marketing

and funding.

Scriptwriting

Events relating to scriptwriting and deve-

lopment of stories and ideas.

08-11_glossary_240105.qxd 28.01.2005 14:52 Uhr Seite 9

www.volkswagen.de

RZ Volkswagen AG B6603 P4319 Polo Motiv „Cops“ 210x280 Berliner Talent Campus

Small but tough. The Polo.Reinforced laser-welded body, side impact protection, anti-lock braking system (ABS).

Electronic stabilisation programme (ESP) fitted as standard from 74 kW (100 PS)* including

brake assistance, ABS, electronic differential lock (EDL) and anti-slip regulation (ASR).

*Fuel consumption, l/100 km: urban: 8.9–9.0/extra-urban: 5.3–5.4/combined: 6.6–6.7/CO2 emission, g/km combined: 158–161.

Aus Liebe zum Automobil

RZ_Cops 210x280 07.01.2005 14:14 Uhr Seite 1

SUMMARY OF THE DAY SATURDAY 12th


SUM

MAR

Y OF

TH

E DA

Y

Orientation Day12:00 ≠ Campus Lounge

Talent Accreditation and Travel Cost ReimbursementThe Berlinale Talent Campus offers a lot of opportunities to

work, communicate and share ideas and experiences.

Discussions, screenings, workshops and lectures give

numerous chances to learn from renowned experts.To find out

about all these different offerings regarding the programme,

to get an overview of Working Campus projects, logistics, tick-

eting and – not to forget – to get in touch with the other par-

ticipants, the Campus Team has set up the Orientation Day.

At 12:00 the doors of the House of World Cultures open for

Talent accreditation and registration at the Talent Counter.

There we also will take care of your Travel Cost Reimbursement.

Later, at 16:30, the Ticket Counter will open and offer you the

possibility to exchange your vouchers for tickets to excur-

sions or intensive seminars.

17:00 / 18:30 ≠ Café Global, K1, K2, K3

Global Speed MatchingPresented by Skillset / The UK Film Council.

One of the most rewarding parts of the Berlinale Talent Campus is net-

working,socialising,and meeting your peers from around the world.Kick-

starting this crucial experience is Global Speed Matching – our own pro-

fessional version of speed-dating. All Talents are invited to come to the

Café Global to meet each other in a succession of rapid fire five minute

meetings. Exciting and hectic, this is your first chance to meet each

other,exchange details and break the ice.Speed Matching will continue

every lunchtime in front of the Auditorium on the Mezzanine. This will

be less frenetic and more focussed – you will get the opportunity to meet

potential cast and crew. Register at the Skillset / The UK Film Council

booth for the session that suits you.

20:00 ≠ Restaurant, Piemonte Lounge

House WarmingPresented by Regione Piemonte and

Berlinale Talent Campus.

Having survived this whole flow of informa-

tion input, it’s time for refreshment at the

Berlinale Talent Campus House Warming,

beginning at 20:00 with Italian DJ-brothers

TTV (Tobia and Tommaso Valle), free drinks

and free food. A warm welcome by Dieter

Kosslick, director of the Berlin International

Film Festival, and by one of this year’s Berli-

nale Talent Campus hosts,Dante Ferretti,will

definitely ensure that next morning everyone

will be perfectly prepared for the Campus

programme. Have fun and make yourself

comfortable at the home of the Campus: the

House of World Cultures.

15:00 ≠ Auditorium

Taking Off – Briefing for all TalentsAt 15:00 the opening and essential talent briefing takes

place to enlighten everyone.Besides the briefings con-

cerning ticketing for Campus Events or for the Berlin

International Film Festival, this programme gives an

introduction to the team members,the use of database

and internet access or the variety of meals in the lunch

break and how much they cost. Above all you will be

introduced to the general programme and this year’s

Working Campus: the Talent Movie of the Week, the

Volkswagen Score Competition, the Talent Press, the

Script and Doc Clinics and the Talent Project Market.

After accreditations and reimbursements it is time for the House Warming.

Keep your eyes on the stars and your feet on the ground.

Deborah Chow, USA

08-11_glossary_240105.qxd 28.01.2005 14:52 Uhr Seite 11

INTERVIEW DANTE FERRETTI

PAGE 12

Berlinale Talent Campus Your career began as a set

decorator in the late 60s, when you worked for, among

others, Pier Paolo Pasolini. How did you come to your

profession in general and how did you get involved with

the work of Pasolini?

Dante Ferretti I was born in Macerata, a little town in

Italy,where we had three small movie theatres.Already

as a very young boy I used to go to the movies as often

as possible. And because I spent a lot of time watching

films, I definitely wanted to work in the movies,at some

point.At that age you normally think you want to be an

actor,but that wasn’t my idea.My idea was to work very

close to the set – no matter what. So I moved to Rome

to study Fine Arts and got very deeply interested in set

design. After a few months I was finally introduced to

the art director Luigi Scaccianoce, one of the best

production designers in Italy, who offered to have me

as his assistant.The first movie we did was Pasolini’s THE

GOSPEL ACCORDING TO ST.MATTHEW,followed by THE

HAWKS AND THE SPARROWS and OEDIPUS REX. So I did

three films with Pasolini during my nine years as assis-

tant art director.My last film in that position was Fellini’s

SATYRICON.Two days after finishing it, I met Pasolini and

he asked me, if I wanted to do the production design

for MEDEA.

BTC The wordings of “art director“ and “production

designer“ seem capable to be misunderstood.Has their

meaning changed over the years?

DFThe “production designer“ is a credit invented by the

American film industry. In the years before it was called

art director and was then changed to production

designer. Whereas the art director became a kind of

assistant for the production designer. But the respon-

sibilities stayed mainly the same,it’s just a change in the

credits.

BTC Fellini’s films are characterized by a very strong and

visionary production design. What was it like working

with him?

DF He influenced me a lot. When I met him, and of

course I had loved his work before, I was assistant art

director. For me he was a genius. After finishing

SATYRICON he was very happy and content with me and

a short time later I met him at Cinecittà,where he asked

me to make his next movie ROMA, sharing the pro-

duction design with Danilo Donati, who used to make

the costumes and the set for Fellini’s films.Although that

was a great honour I just said:No. „Why not?“,he asked.

„Because I don’t want to be ruined by you. Because I’m

sure if something will go wrong, that’ll be my fault. I’m

just starting my career and getting fired by Fellini will

surely mean the end of it. Please ask me again in ten

years.“ He started to laugh and said “Okay“. So I did

many more films during the next years for Ferreri,Petri,

Comencini, Scola – all great directors for me. And then

one day, exactly ten years after, Fellini and I met again

at Cinecittà:“Dante, it’s already ten years,now you have

Being a Production Designer means much more than choosing colours, constructing backdropsor coordinating a huge crew of artists. Sometimes you may even feel like an alumnus of thefamous Actors Studio. Dante Ferretti on Pasolini, Fellini and the special quality of empathy.

METHOD DESIGNING

Dante Ferretti After studying Fine Arts in Rome,Dante Ferretti worked for nine years as an assis-

tant art director. With Pier Paolo Pasolini’s MEDEA (1969) he realised his first production with

complete responsibility for the Production Design.Today,Dante Ferretti is considered one of the best

production designers in contemporary cinema.Besides Pasolini,Federico Fellini and Martin Scorsese,

to whose work he is closely connected, Dante Ferretti has also worked with outstanding directors

such as Terry Gilliam, Brian De Palma, Anthony Minghella, Claude Chabrol and Neil Jordan.

12-13_feature_240105.qxd 28.01.2005 17:06 Uhr Seite 12

INTERVIEW


A recreation attached with small mistakes: Dante Ferretti’s

Production Design for Jean-Jacques Annaud’s THE NAME

OF THE ROSE and THE SHIP SAILS ON by Federico Fellini.

to work with me.“ So we began our

collaboration with FELLINI’S CITY OF

WOMEN.

BTC How significant was this collab-

oration to your whole career?

DF Working with Federico Fellini was

absolutely different to all other col-

laborations. He used to tell stories

about himself,and he told his dreams.

All the stories were part of his life,and

that’s why he used to put his name

before the titles: FELLINI’S CITY OF

WOMEN and so on.Working with him

meant living inside his head and I was

with him for sixteen years...

BTC Considering your filmography it

seems as if you prefer historical films

or films with elaborate production

designs. Are projects like that more

challenging for you than designing a

film with contemporary sceneries or

extremely realistic sets?

DF The trouble is they always call me

for this kind of movies – which I like of

course. BRINGING OUT THE DEAD, one

of the films I did with Martin Scorsese,

was one of those with a contemporary

look. But apart from that I always like

to be close to reality – to my reality.For

GANGS OF NEW YORK for example,tak-

ing place in the 19th Century, I did a lot

of research,because I try not to invent.

I load myself up with information and

then start to bring all this together

like a mosaic. My way to work is a bit

like method acting. I try to put myself

in the position of someone who lived

in this period, an architect or a

designer. I want to move inside this

period and try to think like somebody

who lived there. But at the same time

it’s very important to make some mis-

takes, and to put something wrong.

For me mistakes are the most impor-

tant things.Because if you see a movie

with perfect reconstructions this is

boring. If you look around: Nothing is

perfect in reality.As soon as you attach

some mistakes, it looks real.

BTC Has the era of CGI and the possi-

bility to create worlds digitally, like in

GANGS OF NEW YORK for instance,

changed your profession?

DF Generally speaking, computer

generated images do of course open

some new possibilities, although

these images also have to be created

and designed. But nevertheless I

personally like to build as much as

possible in full size. In GANGS OF NEW

YORK by the way, only six shots were

digitally made. The rest was real: the

whole neighbourhood, the harbour,

the ships – everything was built in full

size.

In the frame of the Berlinale Exhibition to

Production Design the following catalogue

was published: Ralph Eue, Gabriele Jatho (Hg.):

“Schauplätze, Drehorte, Spielräume. Production

Design + Film“. Filmmuseum Berlin – Deutsche

Kinemathek / Bertz + Fischer Verlag 2005.

148 pages, 94 pictures. 18 Euro.


UKFCTalentCampusMagazine 15.01.2005 16:37 Uhr Seite 1

SUMMARY OF THE DAY SUNDAY 13th


SUM

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Philosophy Day10:00 ≠ Theatre Successful Teams and How to Overcome Conflicts

Julia Persitzky, Astrid Schnellhardt, Sandy Lieberson, Jonathan Olsberg.

Lecture. Presented by Volkswagen Coaching.

10:00 ≠ K2 Testing Your PremiseClaire Moorsom. Lecture. Max. 15 participants.Ticket via voucher required.

Presented by the UK Film Council.

10:00 ≠ Excursion Excursion to Stanley Kubrick exhibitionGuided by Ken Adam. Max. 20 participants.Ticket via voucher required.

10:00 ≠ Excursion Excursion to Berlinale Exhibition on Production DesignMax. 20 participants.Ticket via voucher required.

11:00 ≠ Auditorium Reality and FictionWalter Salles, interviewed by Peter Cowie.

11:00 ≠ Excursion Excursion to “Battleship Potemkin“Max. 35 participants.Ticket via voucher required.

13:30 ≠ Excursion Excursion to “Netto“Max. 50 participants.Ticket via voucher required.

Presented by Perspektive Deutsches Kino.

14:00 ≠ Auditorium Designing Your Future!Jordan Scott, Dante Ferretti, Peter Schreyer and Ridley Scott,

moderated by Sir Christopher Frayling. Discussion.

14:00 ≠ Theatre Storytelling and Cultural IdentityMeenakshi Shedde, Keith Cunningham, Cristian Mungiu, moderated by

Dagmar Benke. Discussion. Presented by VEDRA and Berlin Script House.

14:00 ≠ K1 Directing Actors and Actors on DirectorsStephen Frears.Workshop. Max. 90 participants.

Ticket via voucher required.

17:00 ≠ Auditorium Directing SexCatherine Breillat, interviewed by Maren Niemeyer. Discussion.

17:00 ≠ Theatre Painting With the Camera: Christopher DoyleChristopher Doyle, interviewed by Neel Chaudhuri. Discussion.

17:00 ≠ K1 Developing the ScriptWalter Donohue, Stephen Frears. Discussion. Max. 90 participants.

17:00 ≠ K3 Successful Teamwork in MotionJulia Persitzky and Astrid Schnellhardt.Workshops. Max. 18 participants.

Ticket via voucher required. Presented by Volkswagen Coaching.

18:30 ≠ Restaurant Talent Happy HourPresented by the Medienboard Berlin-Brandenburg.

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CNC_Campus 27.01.2005 16:49 Uhr Seite 1

PHILOSOPHY DAY SUNDAY 13th



Reality and FictionWalter Salles, interviewed by Peter Cowie.

“Independent cinema, at least the kind I find more

interesting today, is rarely about characters only“,

Walter Salles recently said. “It’s about how these

characters are changed by the social and political

reality that surrounds them.“ The relationship

between reality and fiction is more than a question

of authenticity. After the screening of Walter Salles’

short documentary LIFE SOMEWHERE ELSE, which

he shot while preparing CENTRAL STATION, he will

discuss with Peter Cowie the deeper connections

between these terms.

FOREIGN LAND by Walter Salles.

10:00 ≠ Excursion

Excursions to ExhibitionsGuided by Christiane Kubrick,Ken Adam,

Jan Harlan and Ralph Eue.Max.20 participants each.


From Sunday to Thursday we offer excursions

starting at 10:00 daily.

Excursions to Stanley Kubrick exhibition:

This excursion takes you to the exhibition “Stanley

Kubrick“ in the Martin-Gropius-Bau.Participants will

be guided by production designer Ken Adam on

Sunday and Monday, by producer Jan Harlan and

artist Christiane Kubrick on Wednesday, and by

Ralph Eue,curator of the Berlinale Retrospective,on

Thursday; meeting point at Martin-Gropius-Bau,

Stresemannstraße 110, at 10:00.

Excursions to

Berlinale Exhibition on Production Design:

The second excursion heads off to the Berlinale

Exhibition “Settings – Locations – Scenes.Production

Design & Film“. Participants will be guided by a

personal or audio guide from the museum;meeting

point at Filmmuseum, Potsdamer Str. 2, at 10:00.

10:00 ≠ K2

Testing Your PremiseClaire Moorsom.Workshop. Max. 15 participants.Ticket via voucher

required. Presented by Skillset / The UK Film Council.

At an idea's earliest stage, how can you tell if it's 'got legs'? One of the

hardest things for writers to recognise is whether an idea has the poten-

tial to be developed into a strong, original script. Claire Moorsom, Lon-

don-based story editor and development consultant, will present an

interactive workshop exploring ideas at the pre-script stage, or, how to

turn an early concept into a workable premise. Looking at premises

from well-known films, and by creating new ones, this entertaining and

focussed session will look at how an early idea can benefit from think-

ing about stakes, themes, characters and the dynamic relationship

between story and character. Writers will leave the session with some

tools at their disposal to help them explore their own ideas further.

A repeat of the lecture is scheduled on Monday 14, 10:00 at K2.

10:00 ≠ Theatre

Successful Teams and How to Overcome ConflictsJulia Persitzky, Astrid Schnellhardt, Sandy Lieberson and Jonathan

Olsberg. Lecture. Presented by Volkswagen Coaching and Olsberg/SPI.

After a short compilation of movie sequences that treat conflicts during

movie shootings, Jonathan Olsberg and Sandy Lieberson will highlight

the “human factor“ in the process of filmmaking, before Julia Persitzky

and Astrid Schnellhardt analyse the development of conflicts from a

psychological and communicational point of view and explore possible

ways of preventing these conflicts from the start.

Successful Teamwork in Motion – The WorkshopsJulia Persitzky and Astrid Schnellhardt.Workshops. Max. 18 participants

each.Ticket via voucher required. Presented by Volkswagen Coaching.

Two trainers from Volkswagen Coaching offer four workshops to give a

practical introduction into the success factors that constitute effective

teams.

Further dates for the workshops:Sunday 13,17:00 at K3.Monday 14,10:00

at K3. Tuesday 15, 10:00 at K3. Wednesday 16, 10:00 at K3.

11:00 ≠ Excursion

Excursion to “Battleship Potemkin“ with Live OrchestraMax. 35 participants.Ticket via voucher required.

Presented by Berlinale Retrospektive.

In the course of the Berlinale Retrospective on Production Design a

newly reconstructed version of Sergei Eisenstein’s BATTLESHIP POTEMKIN

is screened with live orchestral accompaniment of the score by Edmund

Meisel, revised and conducted by Helmut Imig. Meeting point: 10:15 at

the Talent Counter in the House of World Cultures.


DFB_Kulturstift_Campus 27.01.2005 15:12 Uhr Seite 1



14:00 ≠ K1

Directing Actors and Actors on DirectorsStephen Frears.Workshop. Max. 90 participants.


One of the reasons that make films like DANGEROUS

LIAISONS, or THE GRIFTERS unforgettable lies in

their sharply drawn characters and the highly con-

centrated performances of the actors.

In this workshop,English director Stephen Frears will

introduce the acting and directing Talents to some

of his basic methods. He will give an overview

describing the way he generally works with actors

which primarily begins with the casting. Based on

experiences and examples from his films the whole

spectrum of Stephen Frears’way of directing actors

will be given to the attending Talent actors and

directors.

English director Stephen Frears and his way of working with actors.

14:00 ≠ Theatre

Storytelling and Cultural IdentityMeenakshi Shedde, Keith Cunningham, Amin Farzanefar,

Cristian Mungiu, David Wingate, moderated by Dagmar Benke.

Discussion. Presented by VEDRA and Berlin Script House.

Films are always made for at least two markets: a national and an

international.Filmmakers from all countries want to join this ever-

increasing globalised marketplace.Will they only be able to do so

by using a “global“ storytelling approach? Or should they stick not

only to their regional content but also to their traditions of

narrative form?


Designing Your Future!Jordan Scott, Dante Ferretti, Peter Schreyer and Ridley Scott,

moderated by Sir Christopher Frayling. Screening and discussion.

Presented by Volkswagen and RSA USA.

What the future might bring – nobody knows.What the future might

look like is something that people have ideas about. Production

designers like this year’s host Dante Ferretti have created many drafts

of the future, as did filmmaker Ridley Scott in BLADE RUNNER. Indus-

trial designers such as Peter Schreyer of Volkswagen Advanced Design

also try to turn anticipated trends into a concrete look of a possible

future. After the screening of THUNDER PERFECT MIND, a short film

Ridley Scott co-directed with his daughter Jordan Scott for a fashion

company, moderator Sir Christopher Frayling will discuss creative

tools and ways of anticipating looks.

13:30 ≠ Excursion

Excursion to “Netto“Max. 50 participants.Ticket via voucher required.

Presented by Perspektive Deutsches Kino.

The tragicomically told NETTO is the debut by Potsdam film student

Robert Thalheim about a 15-year-old boy oscillating between his

mother and father.Thalheim’s film runs in the “Perspektive Deutsches

Kino“ section of the Berlinale. This excursion heads to its screening

at the cinema Colosseum.Meeting point:12:45 at the Talent Counter

in the House of World Cultures.

Father and son, a difficult relationship in NETTO.

The most important in filmmaking isasking the questions – not necessarily

finding the answers to them.Filip Marczewski , Poland


TV5 makes it possible and invites youngtalents from around the world to par-

ticipate in the “Berlinale Talent Campus“.

Throughout February TV5 will be showing exceptional programming

dedicated to the Berlinale.

TV5 is at the Berlinale and the

Berlinale is on TV5

www.tv5.de

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tv5_berlinale05_campus_rz.qxd 19.01.2005 8:58 Uhr Seite 1




Directing SexCatherine Breillat, interviewed by Maren Niemeyer.

Discussion.

The depiction of intimacy and sex in the cinema is

as much a topic of public debate today as ever.

Various more or less accepted styles have been

established depending on story and atmosphere,

like the soft-focus photography with underlayed

saxophone music or the reluctant photographing of

blankets. In the films of French director Catherine

Breillat, such as ROMANCE or ANATOMY OF HELL,

sex represents a complex social and psychological

disposition that demands a more cold and explicit

way of being illustrated. Screening film clips from

Breillat’s SEX IS COMEDY, Maren Niemeyer

(arte/“LOLA“) talks with Catherine Breillat about her

strategies of directing sex, about its difficulties and

its possible impact on the audience.

17:00 ≠ K1

Developing the ScriptWalter Donohue, Stephen Frears. Discussion. Max. 90 participants.

They are representatives of two different approaches to working

with the script: Walter Donohue on the one hand and Stephen

Frears on the other.While script editor Walter Donohue (28 DAYS

LATER) is actively involved with the development of the script,

Stephen Frears,acclaimed and award-winning director of films like

DANGEROUS LIAISONS,does not write or even co-write scripts.So,

how does his collaboration with writers and their stories, which

he attempts to realise as films, look like? Taking some of his films

as example Stephen Frears will describe the various ways he

develops and handles a script.

Representation of dispositions: SEX IS COMEDY by Catherine Breillat.

18:30 ≠ Restaurant

Talent Happy HourPresented by the Medienboard Berlin-Brandenburg.

The first Talent Happy Hour in the Restaurant of the

House of World Cultures is dedicated to all Talents

working in Germany. Some of them will be introduced

to the guests by a screening of their work samples and

short interviews.Today’s Talent Happy Hour is attended

by Petra Müller and Kirsten Niehuus from Medienboard

Berlin-Brandenburg. After a warm welcome to the

guests and Talents coming from all over the world to

attend the Campus, some snacks and drinks will form

the perfect background for socialising.

At round 19:30 this brief but refreshing get together will

find its official end and will hopefully have marked a

comfortable end to today’s Philosophy Day.

17:00 ≠ Theatre

Painting With the Camera: Christopher DoyleChristopher Doyle, interviewed by Neel Chaudhuri. Discussion.

“I always wanted to be the Mick Jagger of cinema but I think I’m the

Keith Richards“, said cinematographer Christopher Doyle once, and

anyone who knows Chris Doyle tends to agree.Thanks to his collab-

oration with director Wong Kar-wai, Australian born Christopher

Doyle enchants the New Asian Cinema like no other cinematographer.

The dynamic photography in CHUNGKING EXPRESS or IN THE MOOD

FOR LOVE has inspired filmmakers all over the world,but also his films

for Zhang Yimou, Barry Levinson or Phillip Noyce are marked by his

expressive power.

In this programme, Du Kefeng, as Christopher Doyle is known in

China,will introduce his working philosophy.Having never attended

film school, the most important thing for Doyle in making films is

having something to say. You see it in all of his pictures, and today

you can listen to it too.

Christopher Doyle’s amazing Cinemascope-photography in HERO.


WORKING CAMPUS

PAGE 22

Talent Project Market

The Talent Project Market, in cooperation

with the Berlinale Co-Production Market,

offers selected Talents the wonderful

opportunity to get in touch with profes-

sional producers, financiers, distributors

and sales agents from all over the world.

Out of 245 applications, 19 projects were

selected by an international jury, to be

presented in the Talent Project Market.

The Talent Project Market is a 2-day-pro-

gramme taking place within the frame-

work of the Berlinale Co-Production Mar-

ket at the Berlin House of Representa-

tives. On the first day each Talent gets

“prepared” in terms of pitching, project

presentation and international co-pro-

duction markets, and receives a personal

one-on-one coaching session with an

industry professional. On the second day

the Talents participate in the regular pro-

gramme of the Berlinale Co-Production

Market, where about 300 professionals

meet to present, sell and buy projects,

attend panel discussions and case stud-

ies. As the Talent projects will be pre-

sented in the Berlinale Co-Production

Market Catalogue listing all the selected

projects, the participants of the Berlinale

Co-Production Market can request meet-

ings with the Talents in order to become

involved in their projects. Furthermore

the VFF has financed a “Highlight Pitch”in

which the pre-selected three best Talent

projects are pitched and awarded.

Talent Movie of the Week

244 young filmmakers applied for the Talent Movie of the Week and 4

scripts were chosen to be realised by teams made up of selected applicants.

From script to screen in about two weeks: this is instant filmmaking in the

spirit of the Berlinale Talent Campus. However, the fact that the concept of

the Talent Movie of the Week is more than just a crazy idea,has been proven

by last year’s participant David Uloth from Canada, the screenwriter and

director of the digital short film THE PICKUP.This Talent Movie played at the

Montreal Film Festival, has a signed contract to be distributed and won an

award to be blown up to 35mm. This year’s mentor for the four projects is

director and Campus host Walter Salles who decided,together with Karsten

Aurich and Martin Cichy from sabotage films,which projects were going into

production.

The four Talent directors and their Talent cinematographers arrived in Berlin

at the beginning of February to prepare their projects together with sabo-

tage films, the Berlin-based company which takes care of all production

aspects. After a few days of casting, deciding on locations, and getting to

know each other,the shooting began.Every team had two days to shoot with

digital camera equipment provided by Canon.The editing took another two

days using AVID Xpress, and the last two days were used for mixing and

colour grading at Cine+. On February 17 in the 17:00 session with Sandy

Lieberson, all four films will have their premieres at the House of World Cul-

tures, and the Talents will decide on the winning short film. The Campus is

more than just talking about film. It combines theory with practice, and the

Talent Movies of the Week especially aim to inspire filmmakers to just do it.

The Talent Movies of the Week:

BOM! Director:Elif Ayan (Turkey).Screenwriter:Elif Ayan.Cinematographer:

Gregory Bindschedler (Switzerland).

EXISTENT LOVE (WT). Director: Sainath Choudhury (India). Screenwriter:

Susanna Laaksonen (Finland). Cinematographer: Matheus Rocha.

LUNCH IN BERLIN. Director: Dubravka Radonjic (Bosnia and Herzegovina).

Screenwriter: Dubravka Radonjic. Editor: Frank Brandstaetter (Germany).

I HAVE NEVER BEEN TO BERLIN (documentary).Director:Debalina Majumder

(India). Screenwriter: Debalina Majumder. Editor: Susanne Schiebler

(Germany).

During the Campus week several Talents are working on numerous projects. From script writing to realising short films, creating sound designs and reviewing films – there are creative activities all around the clock.

WORKING CAMPUS

22-25_working-camp_250105.qxd 28.01.2005 14:45 Uhr Seite 22

The Script Clinic

The Berlinale Talent Campus offers chosen Talents the opportunity to get feedback

and development advice from established script consultants at the Script Clinic.

Representatives from Berlinale Talent Campus and the Berlin Script House selected 19

Talents from 10 different countries out of over a hundred applications, presenting 15

full length scripts and 4 treatments ranging in genre from quirky comedies and dark

tales, to historical features and family dramas. The Talents will meet with one of the

following script mentors for an extended one-on-one session at the clinic: Claire

Moorsom and Naomi Telford (UK Film Council), Gaby Prekop (Sources2),Walter Dono-

hue (Faber & Faber) and Franz Rodenkirchen (Script House Berlin).The Script Clinic kicks

off on Sunday February 13, with a welcome session for everybody to get acquainted,

and wraps up on Thursday February 17, with a Talent and mentor feedback session.

The Script Clinic is graciously supported by the German Federal Film Board (FFA).

The Doc Clinic

This year the Berlinale Talent Campus introduces the Doc Clinic, offering chosen

Talents an opportunity to receive valuable feedback and advice on developing their

projects from established filmmakers and film industry professionals. Renowned

German Documentary filmmaker Andres Veiel and representatives from the Berlinale

Talent Campus selected 18 talents from 14 different countries.They will meet with one

of the following doc mentors for a one hour session at the clinic: Andres Veiel, David

Wingate (Sources2), Alan Hayling (BBC), Dick Fontaine (National Film & Television

School, London), Thomas Schadt (Filmakademie Baden-Württemberg) and Nenad

Puhovski (Factum Centre for Drama Art).The Doc Clinic kicks off Sunday, February 13,

with a Welcome session for everybody to get acquainted, and centres around three

exclusive Doc workshops, culminating in a Talent and mentor feedback session on

Thursday Feb 17. The Doc Clinic is also graciously supported by the German Federal

Film Board (FFA).

The Talent Press

For the second year in a row, the Berlinale Talent Campus will play host to The Talent

Press. A group of young film critics and journalists will gain valuable writing experi-

ence and insight on the business of covering a big international film festival by being

integrated into the pipelines of the Campus and the various other sections of the Berlin

International Film Festival. Over 80 aspiring writers from 40 countries applied for The

Talent Press,and with the support of Goethe Institut,Goethe Forum and FIPRESCI,eight

of them have been invited to be an active part of the Working Campus.Under the super-

vision of film critics and journalists, Meenakshi Shedde, Peter Cowie, and Derek

Malcolm,the eight Talents will write articles,reviews and interviews,covering the activ-

ities of the festival and the Berlinale Talent Campus. These articles will be published

daily on the Talent Press website (www.talentpress.org), and also uploaded onto the

websites of Goethe-Institut (www.goethe.de) and FIPRESCI (www.fipresci.org) .The first

articles will be presented on February 12 at the traditional Goethe Breakfast.

The participants at the Talent Press this year are:Steve Ayorinde (Nigeria),Zsolt Gyenge

(Hungary), Hsiang-Yao Huang (Taiwan), Dee Jefferson (Australia), Hugo Salas

(Argentina),Alexis Tioseco (Philippines),Müge Turan (Turkey) and Maria Ulfsak (Estonia).

WORKING CAMPUS


Volkswagen Score Competition

The Talent Campus always has a

strong contingent of composers and

sound designers.Before arriving here,

they are challenged to apply for the

exciting Volkswagen Score Competi-

tion.This year we invited 34 ‘sound tal-

ents’from 18 countries and they were

given the chance to download three

film clips from the Campus website in

order to provide them with new

music.The clips include an excerpt of

a feature film (GOOD BYE, LENIN! by

Wolfgang Becker), the short-anima-

tion HEARTS by Thomas Struck, and a

commercial by Volkswagen. The par-

ticipants were given time until Janu-

ary 14 to compose a music demo for

all three of the clips. The renowned

composers Antonio Pinto (COLLAT-

ERAL, CITY OF GOD), Martin Tod-

sharow (NO PLACE TO GO,ANGST) and

Prof. Bernd Wefelmeyer (HFF Konrad

Wolff ) committed themselves to

supervise this exciting contest.

Together with Antonio Pinto they

have chosen the three finalists. On

February 10,those three had the won-

derful opportunity to record their

compositions with the Deutsches Fil-

morchester Babelsberg conducted by

Bernd Wefelmeyer. Afterwards, with

the support of Cine+, Berlin (super-

vised by Volker Uri) and Elektrofilm,

Berlin, the clips go into post-produc-

tion and will finally be presented at

the Farewell Celebration on February

17.Here,the audience will experience

how the power of music can change

a scene. Christiane Krebs-Hartmann

(Volkswagen), David Watts (Dolby)

and Antonio Pinto will announce the

lucky winner, who will be invited by

Dolby for a trip to Los Angeles where

she/he will visit the best studios in

town.


INTERVIEW EMI WADA

PAGE 24

Berlinale Talent Campus How did

you get involved with costume design

and the film business in general?

Emi Wada When I was an art college

student, I started to design costumes

and sets for stage plays at first.Then in

1970, I won an audition and got the

costume design job for the American

film,MARCO.I still work on operas and

stage plays as well as films. My most

important concept is to design the

entire set of costumes for a film. As a

result, I didn’t have an opportunity to

work on other films for a while until

Akira Kurosawa’s RAN.

BTCYou worked with the some of the

most important Japanese directors,

from Akira Kurosawa to Nagisa

Oshima and Kon Ichikawa. How big is

the influence of directors like them

on your method of working and on

the meaning of your profession?

EW Mr. Kurosawa, Mr. Oshima and

Mr.Ichikawa, all understood the way I

work very well. Although everyone

had his own taste, I made good part-

nerships with each of them.

BTC The costumes of a film have to

form a consistent look with decor and

design. What does your cooperation

with the production designer nor-

mally envisage? How do you work

with her or him?

An important partner of the production designer in sharpening the consistent look and thevisual impression of a film is the costume designer. Emi Wada has been creating costumes forstage and film productions for more than 30 years – always searching for new challenges.

FIND YOUR ORIGINALITY

Emi Wada After having studied art, Japanese costume designer Emi Wada started working for the stage where

she designed costumes as well as whole sets.One of her early costume designs for films was awarded an Academy

Award in 1986. It was RAN, her first collaboration with Akira Kurosawa. Emi Wada subsequently collaborated with

directors Nagisa Oshima, Peter Greenaway and Julie Taymor. Recent films on which she did the costume design

include HERO and THE HOUSE OF FLYING DAGGERS, both directed by Zhang Yimou.


INTERVIEW


Between tradition and modernity:Emi Wada’s design for HERO,THE HOUSE OF

FLYING DAGGERS and THE PILLOW BOOK (from left to right).

EW From the first meeting, the pro-

duction designer and I always discuss

the direction of our work based on

the script.We talk it out many times as

we look at each other’s sketches, and

try to find a point of agreement in

shades of color, material and so on.

Fortunately I have always worked with

wonderful production designers.

BTC How did you get in contact with

the English director Peter Greenaway?

EW I got to know Peter Greenaway

through an introduction by the

producer of RAN. My first film with

him was PROSPERO’S BOOK.

BTC In the films with Peter Green-

away, like 8 1/2 WOMEN, you mostly

did both the costume and the

production design.How did it come to

this decision and is it an ideal combi-

nation doing both?

EW Since THE PILLOW BOOK which

was my second film with Peter Green-

away, I occasionally do production

design.There was another production

designer at first, but he did not agree

with Peter’s intention, and therefore I

ended up doing it. As for 8 1/2

WOMEN,it was decided that I do both

from the beginning.With Peter, I have

worked on 3 films and 2 operas so far.

Our artistic views are basically in

accord, and he is the one of the most

respectable artists for me.

BTC HERO and HOUSE OF FLYING

DAGGERS by Zhang Yimou are

extremely rich on a visual level,highly

aesthetic, nearly mannered. Are films

like this more challenging for you to

design than more reduced produc-

tions?

EW In HERO and HOUSE OF FLYING

DAGGERS, Zhang Yimou entirely

supported my ideas. I thought that

most historical Chinese films were

very conventional, so I wanted to add

new color, material and silhouette to

the costume design so that audiences

throughout the world will have

interests and sympathy with these

films. As a result, these two films also

won the approval of the Chinese

audience. New projects are always

challenging for me.

BTC 530 young and talented artists

from different departments in film

and from all over the world are attend-

ing the Campus. As someone like you

who has worked with some of the

most acclaimed filmmakers in world

cinema and has won several impor-

tant awards: what would be your

advise to the beginners who want

their dreams coming true?

EW Please try to show the current

world but always be aware of man’s

history. Try to find your originality as

a designer or a filmmaker. In my case,

one project always leads to the next

one. So please try to have good rela-

tionships with people. I am able to

continue working with many people’s

support.


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Xpress_Studio 10.01.2005 17:16 Uhr Seite 1

SUMMARY OF THE DAY MONDAY 14th


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Pre-Production Day10:00 ≠ Auditorium Berlinale Forum Opening Film: “Lost and Found“

With all six directors, moderated by Christoph Terhechte. Screening and discussion.

Presented by Berlinale Forum and Robert Bosch Stiftung.

10:00 ≠ Theatre The Casting Session Lina Todd, Laylee Olfat.Workshop.

Presented by European Film Promotion.

10:00 ≠ K1 The Daily Digital Soap: Pre-Production Nenad Puhovski. Lecture. Max. 90 participants.

10:00 ≠ K2 Testing Your Premise Claire Moorsom. Lecture. Max. 15 participants.

Ticket via voucher required. Presented by Skillset / The UK Film Council.

10:00 ≠ K3 Successful Teamwork in Motion Julia Persitzky and Astrid Schnellhardt.Workshop. Presented by Volkswagen Coaching.

Max. 18 participants each.Ticket via voucher required.

10:00 ≠ Excursion Excursion to Stanley Kubrick exhibition Guided by Ken Adam. Max. 20 participants.Ticket via voucher required.


14:00 ≠ Auditorium The Eternal Triangle Anna Asp, Emi Wada and Christopher Doyle, moderated by Peter Cowie.

14:00 ≠ Theatre The Making of “Eruv – The Wire“ Kati Wiesinger and Kai Wiesinger, interviewed

by Dick Fontaine. Screening and discussion. Presented by PLANET TV and FOCUS TV.

14:00 ≠ K1 Show Me the Money – A Funding Case Study David Thompson, Paul Trijbits. Lecture. Max. 90 participants.

Ticket via voucher required. Presented by Skillset / The UK Film Council.

14:00 ≠ Excursion How to Sell Your Film: Excursion to European Film Market Guided by Sydney Levine. Max. 12 participants each.Ticket via voucher required.

17:00 ≠ Auditorium Ken Adam: Film Sets Are Forever Sir Ken Adam, interviewed by Sir Christopher Frayling. Screening and discussion.

17:00 ≠ Theatre Film Marketing and Distribution Margaret Menegoz, Hengameh Panahi,

Michael Barker, moderated by Rajendra Roy. Discussion.

17:00 ≠ K1 Sound and Image – Two Legs for Walking Annabelle Pangborn, Stephen Deutsch,

Larry Sider. Lecture. Max. 90 participants. Presented by The School of Sound London,

Bournemouth University and National Film and Television School.

18:30 ≠ Restaurant Talent Happy Hour Presented by the Robert Bosch Stiftung and the Kulturjahr der Zehn.

19:30 ≠ Theatrel Production Design: What You See Is What You Get Nathan Amondson, Moritz Laube,Wim Wenders. Screening and Discussion.

Presented by European Film Academy (EFA) and AVID.

22:30 ≠ Red Carpet Talent on Red Carpet

23:30 ≠ CinemaxX 3 Talent Short Film Night Screening,discussion.Presented by Berlin International Film Festival.

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PRE-PRODUCTION DAY MONDAY 14th

PAGE 28

A film by five ex-Talents opens the Berlinale Forum: LOST AND FOUND.

14:00 ≠ Excursion

How to Sell Your Film: Excursion to European Film MarketSydney Levine. Max. 12 participants each.


The European Film Market is the huge trading floor of the

Berlin International Film Festival. About 120 business

companies from over 30 countries offer their new

productions to the international buyers.Guided by Sydney

Levine Talents have the opportunity to get an introduction

into the structure and the practice of the EFM. Meeting

point: 14:00, Restaurant, House of World Cultures.

Repeats of the excursion are scheduled from Tuesday to

Thursday each at 14:00.

10:00 ≠ K1

The Daily Digital Soap: Pre-ProductionNenad Puhovski. Lecture. Max. 90 participants.

From script writing to screening: the digital chain for film-

making has long been completed.However,developments

in the digital world continue at a rapid pace and a com-

prehensive update can only be useful. Our “Daily Digital

Soap“ offers you a constant dose of news every morning.

Today, on the Pre-Production Day, the series starts with

giving you the state of the art in digital helpers for script

development. Furthermore you will be introduced to the

latest budget administration software. To be continued...


Berlinale Forum Opening Film:“Lost and Found”Nadejda Koseva, Jasmila Zbanich, Stefan Arsenijevic,

Mait Laas, Kornél Mundruczó, Cristian Mungiu, moderated

by Christoph Terhechte. Screening and discussion.

Presented by Berlinale Forum and Robert Bosch Stiftung.

The work of six young directors from six different East

European countries is combined in the omnibus project

LOST AND FOUND to express the atmosphere of a young

generation.Five of the directors are alumni of the Berlinale

Talent Campus, who combine their talent in six vivid

episodes. LOST AND FOUND brings together feature,

documentary and animation.Although shot in six different

languages, the project impressively proves: The language

of film is universal.

10:00 ≠ Theatre

The Casting SessionLina Todd and Laylee Olfat.Workshop.


Having a successful casting session is essential to the process

of finding the best talent for your film. As an actor, you often

have only one chance to demonstrate that you are the right

actor for a part, as a director, you have the chance to discover

the actor that will bring your character to life. So what goes

on in a casting session? How should an actor prepare? How do

you turn your brief time into an opportunity to shine? And how

do you, as a director, work with an actor to discover if she or

he has what it takes to breathe life into your character? Lina

Todd and Laylee Olfat, renowned casting directors from New

York, will give very practical advice in using this time produc-

tively and successfully – namely for actors and directors.

I would like to give people dreamsby fulfilling my own dreams.

Ralph Etter, Switzerland

26-31_pre-prod_250105.qxd 29.01.05 15:52 Seite 28




The Eternal TriangleAnna Asp, Emi Wada and Christopher Doyle,

moderated by Peter Cowie. Discussion.

Production design,cinematography and costume design are more than

other departments responsible for the look of a film, which can only be

the fertile result of their common creative effort. So, how does the colla-

boration between those departments function? This programme

presents three international working masters of their trade. Costume

designer Emi Wada has worked for Akira Kurosawa,Peter Greenaway and

Zhang Yimou.Cinematographer Christopher Doyle is best-known for his

outstanding collaboration with Wong Kar-wai,while Anna Asp designed

for Bille August and Andrei Tarkovsky, as well as winning an Oscar for

Ingmar Bergman’s FANNY AND ALEXANDER.Three experienced experts

in discussion on their profession, moderated by Peter Cowie.


Ken Adam: Film Sets Are ForeverSir Ken Adam, interviewed by Sir Christopher

Frayling. Screening and discussion.

The Berlin-born production designer Sir Ken

Adam has been designing for international

films since the 1950s. After studying archi-

tecture in London, his early years in the film

business started with working as a crafts-

man and assisting the art directors of the

CRIMSON PIRATE and BEN HUR. Later Ken

Adam went on to win two Oscars for the Best

Art Direction/Set Decoration for BARRY

LYNDON and THE MADNESS OF KING

GEORGE. He created the unforgettable look

of the early James Bond features, a series he

influenced from its very beginning in 1962

with Terence Young’s DR. NO. From futuristic

films to historical pieces, musicals, fantastic

films or realistic dramas his spectrum is

extremely diverse.

Using original sketches, scribbles and film

clips,Sir Christopher Frayling,Director of the

Royal College of Art and publisher of numer-

ous books on popular culture, will interview

Sir Ken Adam on how his creations emerged,

and how he proceeds to invent the look of a

film that will stay forever in the memory of

the audience.

The Eternal Triangle:How the interaction between production design,

cinematography and costume design creates the look of a film

(HERO).

17:00 ≠ K1

Show Me the Money – A Funding Case StudyPaul Trijbits, David Thompson / Kim Magnusson. Lecture.

Max. 90 participants. Presented by Skillset / The UK Film Council.

Paul Trijbits, Head of the UK Film Council’s New Cinema Fund (MAGDALENE

SISTERS, TOUCHING THE VOID), David Thompson, Head of BBC Films (DIRTY

PRETTY THINGS, BILLY ELLIOT), and Kim Magnusson, in the Berlinale Com-

petition with ACCUSED and Oscar winning producer at Nordisk Film Pro-

duction, offer three different financial case studies of international co-pro-

ductions. Today Paul Trijbits and David Thompson will hold the first lecture

and show you where the money comes from to fill up your financial budget.

The lecture will be repeated with Paul Trijbits and David Thompson on

Tuesday 15,14:00 and with Kim Magnusson on Wednesday 16,at 14:00,each

in K3 and max. 30 participants. Ticket via voucher required.

14:00 ≠ Theatre

The Making of “Eruv – The Wire” Kati Wiesinger and Kai Wiesinger, interviewed by Dick Fontaine.

Screening and discussion. Presented by PLANET TV and FOCUS TV.

The Orthodox Jewish community in Teaneck, New Jersey, has installed an

“Eruv“,an unobstrusive overhead wire that helps evading some of the strict

laws on Sabbath to offer a more comfortable life. But this Jewish tradition

doesn’t appeal to everybody in the small town that slowly runs the risk of

getting split.

With ERUV – THE WIRE Kai Wiesinger, a successful German film actor, has

directed his first documentary.His treatment won the PLANET Documentary

Award, which meant the complete financing of the project. After the world

premiere screening, Kai and Kati Wiesinger, his sister and producer of the

film, will enter the stage for the Making-of discussion. Moderated by Dick

Fontaine, they will talk about the shooting conditions and the feelings of

an actor moving behind the camera.

(see page 47 for further details)

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17:00 ≠ K1

Sound and Image – Two Legs for WalkingAnnabelle Pangborn, Stephen Deutsch and Larry Sider.

Lecture. Max. 90 participants.Ticket via voucher required.

Presented by The School of Sound London, Bournemouth

University and National Film and Television School.

The integration of sound and image into the whole production

process is essential to ensure successful storytelling and the clear

communication of ideas. In the first part of their seminar,

Annabelle Pangborn,Larry Sider and Stephen Deutsch will explore

the strategies that filmmakers can use to integrate sound and

music with images more effectively. Using examples from their

own work,that of other filmmakers,as well as their students’, they

will show how directors must find ways of working with editors,

sound editors and composers to create soundtracks that originate

from the meaning of the film itself.

19:30 ≠ Theatre

Production Design – What You See Is What You GetNathan Amondson, Moritz Laube,Wim Wenders. Screening and

discussion. Presented by European Film Academy (EFA) and AVID.

Shooting digitally has its advantages.You are able to realise your

vision very quickly; there’s a smaller budget to finance and of

course a smaller team to handle.Wim Wenders’LAND OF PLENTY

was completely produced on DV at an average of 43 set ups per

day. But shooting digitally also has its challenges. Production

designer Nathan Amondson worked with little to no budget on

the film and ended up bringing it in under budget. He will share

practical ways of designing, making the most of location and

getting it done for next to nothing.There is also the large amount

of material that accrues that must be organised – in the case of

LAND OF PLENTY – by editor Moritz Laube. Presenting clips from

LAND OF PLENTY, Wim Wenders, Nathan Amondson and Talent

Campus alumnus Moritz Laube discuss the credo of low budget

digital filmmaking.

22:45 ≠ Red Carpet, CinemaxX 3

Invitation to the Red Carpetand Talent Short Film NightSeveral short film directors of the Official

Programme. Screening and discussion.

Presented by Berlin International Film Festival.

Thanks to a special invitation by the Berlin Interna-

tional Film Festival, this evening at 22:30 all Talents

have the opportunity to grace the Red Carpet in front

of the Berlinale Palast!

Right after this special experience a selection of the best

short films from the Panorama, the Kinderfilmfest and

the Berlinale Competition will be projected at the

CinemaxX 3, Potsdamer Platz – right across the Red

Carpet.The Short Film Night is a special programme for

Campus Talents and for the directors of the short films

and will include the screenings of THE INTERVENTION,

MILK, CHEYENNE, MIXED SIGNALS, KEROSENE CREEK,

HOW TO MAKE FRIENDS and VENT.


Talent Happy HourPresented by the Robert Bosch Stiftung

and KULTURJAHR der ZEHN.

Today’s Talent Happy Hour is dedicated to the partici-

pants of the Campus coming from the new EU acceding

countries. After a warm thank you to today’s host Dr.

Zsuzsa Breier (KULTURJAHR der ZEHN) some clips and

work examples by Talents from these countries will be

presented. Afterwards, a laid-back get together with

snacks and drinks will offer the guests and the Talents

not only a brief rest after an eventful Campus day, but

also the possibility to cosily make contacts.The most of what they got: Wim Wenders’ LAND OF PLENTY.

17:00 ≠ Theatre

Film Marketing and DistributionMargaret Menegoz, Hengameh Panahi and Michael

Barker, moderated by Rajendra Roy. Discussion.

If your goal is to have your film watched by an audience,

your work as a filmmaker is not over when your project

is “in the can“. In fact, it is important to integrate marke-

ting plans into the process of production as early as

possible.This programme with influential sales agents

and buyers will showcase marketing and promotional

strategies, featuring trailers and clips of low and high

budget films, and will present possibilities and criteria

for festivals, buyers and distributors.

26-31_pre-prod_250105.qxd 28.01.2005 14:58 Uhr Seite 31

INTERVIEW WALTER SALLES

PAGE 32

Berlinale Talent Campus How would you explain the

fact that South American cinema has generated those

extremely fresh and internationally successful films in

recent years?

Walter Salles Cinema is a direct reflection of what

happens in a country’s social and political arena. It

either registers the transformation that a society is

undergoing or it foreshadows it. The Italian Neorealism,

the French Nouvelle Vague or the Brazilian Cinema

Novo were all film movements that blossomed in a

moment when these countries were undergoing radi-

cal changes. This new wave of contemporary Latin

American cinema also aims to describe societies under-

going drastic transformations. In the recent case of

Brazil and Argentina, the 90s were the first decade

when filmmakers could express themselves freely after

25 years of military dictatorships. The new films com-

ing from these countries,but also from Mexico,centered

on the search for a national identity, and it is no acci-

dent that several of these films were road-movies. Films

made on the road allow you to map the social and

political change that a country is going through.This is

apparent in such films as Cuarón’s Y TU MAMÁ TAMBIÉN,

Pablo Trapero’s ROLLING FAMILY or CENTRAL STATION.

Also, the films made by this generation grabbed what

was happening in these countries’streets. The sense of

urgency that permeates such films as Alejandro Iñar-

ritu’s AMORES PERROS or Fernando Meirelles and Katia

Lund’s CITY OF GOD comes from that, the desire to

question our social chaos and our internal contradic-

tions.Last,there is a connection between all these films.

They are not only about characters. They are about

how characters change when they are confronted with

the social and political reality that engulfs them.

BTC You have participated in many of those films, and

in Brazil you’re the best-known and most successful

filmmaker. Does this situation make it easier for you to

realize your visions, or more difficult because the

pressure and the expectations have grown?

WS Both, but I try not to think too much about what a

normal path in cinema could be. As a director, I try to

retain the right to explore territories that are still

unknown to me – if I didn’t believe in that, I probably

wouldn’t have directed MOTORCYCLE DIARIES, a film

about Spanish speaking Latin America,whereas I come

from the Portuguese speaking part of the continent.

And I am now going back to Brazil to co-direct a very

small film with Daniela Thomas. Daniela is a theater

writer-director with whom I made FOREIGN LAND, a

black and white road movie, in 1995.

BTC The main topic of this year’s Berlinale Talent

Campus is “Production Design”.Could you please define

your relation to production design in your work?

”Cinema is a direct reflection of what happens in a country’s social and political arena“,says director Walter Salles for whom the common meaning of the look of a film is becomingless and less important – essential is only the truth of the characters.

UN-POLLUTE YOUR VISION

Walter Salles Born in Rio de Janeiro,director and producer Walter Salles’film career started in the mid eighties

by realising some films for television. Later, he directed feature films like the road-movie FOREIGN LAND and

documentaries such as LIFE SOMEWHERE ELSE (1996), which inspired him to direct the film that made him known

worldwide: CENTRAL STATION won the Berlinale Golden Bear in 1998 and was nominated for Best Foreign Lan-

guage Film at the Oscars. Walter Salles’ most recent film THE MOTORCYCLE DIARIES won three awards at Cannes.


INTERVIEW


CENTRAL STATION (left) and THE MOTORCYCLE DIARIES (right)

by Walter Salles: registering the transformation that a society

is undergoing.

WS Well, I always try to think about a film as a whole. All the

elements that compose a film should go in the same direction

– and, as Melville used to say, if one doesn’t, you just jeopar-

dized 50% of your film. So to define what pertains to a film or

not with the production designer is as important as defining

the contours of a character with an actor.

BTC The look of a film was getting more and more important

in the recent years, because a successful look can play a huge

part in creating a label (Bruckheimer for example, but also

Jarmusch on the other hand).Does the look have any meaning

for your work?

WS For me, what is normally thought as the “look” of a film is

becoming less and less important, really. The production

designer and you should think about what can better define

the life, the logic, of a character. This is what Carlos Conti did

so brilliantly in MOTORCYCLE DIARIES. He understood that the

film should not look like a historical film, but like a modern,

urgent tale,as if that story was unfolding under your very eyes.

As if it was being captured by a documentarian’s eye.How did

we get to that? Well, based on the premise that Ernesto Gue-

vara is a modern,contemporary character. So we only shot on

location,using what nature and the filmic gods were bringing

to us. Carlos balanced delicately, invisibly in that landscape.

BTC Upto your film BEHIND THE SUN in 2001 you directed your

own scripts, while the last three productions were written by

someone else.Where do you see the difference between both

concepts for your way of directing?

WS The last two, in fact. There’s a reason for that. It takes me

between two to four years to write my own screenplays. On

the other hand, I really enjoyed the working process with José

Rivera, MOTORCYCLE DIARIES’screenwriter. It was a close col-

laboration from the start,and this allowed me to connect per-

sonally with what I was going to film. Having said that, I’m now

getting back to a story I have created, just like CENTRAL STA-

TION. Again, it is the result of more than three years of work,

a very interesting collaboration with Daniela and a first time

screenwriter,George Moura. I love to work with first time writ-

ers, by the way. This happened on most of my films, CENTRAL

STATION and MOTORCYCLE DIARIES included.

BTC At this year’s Berlinale Talent Campus you are the men-

tor of the Talent Movie of the Week, advising the young film-

makers from script to shooting.What do you expect from this

year’s projects?

WS An exchange. A mutual exploration. I have always learned

a lot from people who were starting to make films. I don’t

believe that you can actually teach cinema, but I believe that

you can eventually inspire and be inspired in these discussions.

Just like films - there are those that transmit the desire to do

more films, and then there’s the rest. I really enjoyed the

screenplays and the short films that I had the opportunity to

read and watch from the Talent Campus. There’s a very talented

generation of filmmakers burgeoning in different latitudes,

and that gives you confidence in the future of this medium.

With the proliferation of (ir)reality TV, cinema is now more

essential than ever; to help un-pollute your vision of the world,

to register what life truly is.


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Dokument 12 28.01.05 19:46 Seite 2

INFORMATION FOR TALENTS


Campus Programme and Voucher System

For the larger events, you have access with your Talent accreditation

– you do not require tickets for these.With one exception:excursions

and smaller workshops with a limited number of participants. Upon

arrival, each Talent will receive two vouchers to be exchanged for

either smaller workshops or excursions.Vouchers may be exchanged

on Orientation Day starting at 16:30 after the “Taking–Off” Briefing

for all Talents.Participation at these events is organised on a first come

first served basis. It is very important, if you wish to attend a particular

excursion or workshop, to read the programme carefully and make

your choice.

Public Events

The general public will be allowed to attend some of the larger

events beginning at 14:00.

Accreditation and Travel Reimbursement

Accreditation for all Talents to the Berlin International Film Festival

and travel reimbursements will be available at the following locations

at the given dates and times:

Feb 9 – 11 Berlinale Talent Campus Info Counter in the Kollhoff

Haus, Potsdamer Platz 1, the main site of the Berlin International

Film Festival, from 12:00 – 19:00h on Feb. 9., and 09:00 – 19:00h on

Feb. 10 and 11.

Feb 12 Talent Counter at the House of World Cultures, from

12:00 – 15:00h and 16:30 – 19:30.

Feb 14 Talent Counter at the House of World Cultures, from

12:00–15:00h (only for those who have been unable to provide

original receipts at a previous time)

Tickets to the Berlin International Film Festival

(February 10–20, 2005)

During the Campus,Talents are entitled to get free tickets to a limited

number of film screenings beginning at 18:00. Tickets for the next

day's screenings can be picked up from 08:30 at a special ticket

counter in the House of World Cultures. On the days before and after

the Campus (February 10, 11, 18, 19 and 20) you may get tickets for

film screenings during the whole day in the Kollhoff Haus.We cannot

guarantee that you will be able to get tickets to all the films you wish

to see. The earlier you arrive, the better your chances are. You will

receive a short summary of this ticketing process during accredita-

tion.

Shuttle Service

During the Campus, there will be a free shuttle bus ser-

vice running from the House of World Cultures to the

Festival Centre at Potsdamer Platz. The trip takes

approximately 10 minutes.The bus will leave from the

Potsdamer Strasse/Varian-Fry-Strasse stop (across the

Sony Centre) and from in front of the House of World

Cultures.

Public Transport

Additionally,bus number 100 runs from most locations

in the centre of the city and stops right outside the

House of World Cultures.

Food and Refreshments

The Café at the House of World Cultures will offer

Breakfast, a Lunch Menu, snacks and beverages at

affordable prices.

Accommodation Addresses

A&O Hostel Mitte (Berlin-Mitte)

Köpenicker Str. 127–129

10179 Berlin (U Heinrich-Heine-Strasse)

Telephone: +49-30-809470

A&O Hostel am Zoo (Berlin-Wilmersdorf )

Joachimstaler Straße 1–3

10623 Berlin (U Zoologischer Garten)

Telephone: +49-30-8891350

Baxpax Hostel (Berlin-Kreuzberg)

Skalitzer Straße 104

10997 Berlin (U Görlitzer Bahnhof )

Telephone: +49-30-28390955

Mitte's Backpacker's Hostel (Berlin-Mitte)

Chausseestraße 102

10115 Berlin (U Zinnowitzer Strasse)

Telephone: +49-30-28390955

The Wild Screening Room!

There will be a “Wild Screening Room” next to the

Piemonte Lounge, where Talents can show their films

on an informal basis.The formats are VHS, DVD and DV.

Talent-Hotline in case of problems: +49-30-308 737 59

Information for Talents


TIMETABLE

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SATURDAY 12th

12:00 ≠ Campus Lounge, p.11

Talent Accreditation an

Travel Cost Reimbursement

15:00 ≠ Auditorium, p.11

Taking Off –

Briefing for all Talents

17:00 ≠ Café Global, K1-3, p.11

Global Speed Matching

20:00 ≠ Café Global, p.11

House Warming

SUNDAY 13th10:00 ≠ Theatre, p.17

Successful Teams and

How to Overcome Conflicts

10:00 ≠ K2, p.17

Testing Your Premise

10:00 ≠ External, p.17

Excursions to Exhibitions


Reality and Fiction


Excursion to

“Battleship Potemkin“


Excursion to “Netto“

12:00 Lunch Break

12:30 ≠ Mezzanine, p.11

Speed Matching


Designing Your Future!

14:00 ≠ Theatre, p.19

Storytelling and

Cultural Identity

14:00 ≠ K1, p.19

Directing Actors and

Actors on Directors


Directing Sex

17:00 ≠ Theatre, p.21

Painting With the Camera:

Christopher Doyle

17:00 ≠ K1, p.21

Developing the Script

17:00 ≠ K3, p.17

Successful Teamwork

in Motion

18:30 ≠ Restaurant, p.21

Talent Happy Hour

MONDAY 14th10:00 ≠ Auditorium, p.28

“Lost and Found“

10:00 ≠ Theatre, p.28

The Casting Session

10:00 ≠ K1, p.28

The Daily Digital Soap

10:00 ≠ K2, p.17

Testing Your Premise

10:00 ≠ K3, p.17

Successful Teamwork in

Motion



12:00 Lunch Break


Speed Matching


The Eternal Triangle

14:00 ≠ Theatre, p.29

The Making of “Eruv“

14:00 ≠ K1, p.29

Show Me the Money


Excursion to European

Film Market


Ken Adam:

Filmsets Are Forever

17:00 ≠ Theatre, p.31

Film Marketing and

Distribution

17:00 ≠ K1, p.31

Sound and Image –

Two Legs For Walking


Talent Happy Hour

19:30 ≠ Theatre, p.31

Production Design: What

You See Is What You Get

22:30 ≠ Red Carpet, p.31

Talent on Red Carpet

23:30 ≠ CinemaxX 3, p.31

Talent Short Film Night

Production Design

Sound and Music

Docs

Berlinale Special

Acting

Cinematography

Producing

Scriptwriting

36-37_timetable_250105.qxd 28.01.2005 15:01 Uhr Seite 36

TIMETABLE


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TUESDAY 15th10:00 ≠ Auditorium, p.41

Larger than Life

10:00 ≠ Theatre, p.41

Legal Basics

in Film Production

10:00 ≠ K1, p.41


10:00 ≠ K3, p.17

Successful Teamwork

in Motion


Excursion to Exhibition


Excursion to

“Adam and Paul“

12:00 Lunch Break


Speed Matching


The Wizard Look: Creating

the World of Harry Potter

14:00 ≠ K1, p.42

How to Market Films

for a Younger Audience

14:00 ≠ K3, p.29

Show Me the Money



Film Market


Excursion to Volkswagen

Score Competition


Presentation:

Berlin Today Award

17:00 ≠ Theatre, p.43

“Fourteen Sucks“ at 14plus

17:00 ≠ K1, p.42

Writing – Beyond the Rules


Talent Happy Hour

20:00 ≠ Auditorium, p.43-45

Berlinale Football Evening

WEDNESDAY 16th


“Carmen in Khayelitsha“

10:00 ≠ Theatre, p.51

We’ll Fix It In the Edit!?

10:00 ≠ K1, p.51


10:00 ≠ K3, p.17

Successful Teamwork in

Motion



12:00 Lunch Break


Speed Matching


Designing the End

of the World

14:00 ≠ Theatre, p.52

The Birth of Cool

14:00 ≠ K1, p.52

Polishing Your Soundtrack

14:00 ≠ K3, p.29

Show Me the Money



Film Market


Composer and Director:

Exploring the Collaboration

17:00 ≠ Theatre, p.52

Close-Up on Agnès Godard

17:00 ≠ K1, p.53

The Food Chain

17:00 ≠ K3, p.53

The Casting Workshop


Excursion to “El Inmortal“


Awards Night 2005

THURSDAY 17th10:00 ≠ Auditorium, p.59

“Ghosts“

10:00 ≠ Theatre, p.59

Lesson in Instant

Filmmaking

10:00 ≠ K1, p.59


10:00 ≠ K3, p.53

The Casting Workshop



12:00 Lunch Break


Speed Matching

14:00 ≠ Theatre, p.61

How Did that Movie

Get Made? – Spotlight

on the Talent Movies

of the Week

14:00 ≠ K1, p.61

Packaging Your Product –

How to Promote Russian

Vampires



Film Market

17:00 ≠ Theatre, p.61

The Critics Know Best ...

17:00 ≠ K1, p.61

World Cinema Fund –

What’s It All About?


Farewell Celebration

and Farewell Party

36-37_timetable_250105.qxd 28.01.2005 15:01 Uhr Seite 37

MAP OF BERLIN

PAGE 38

Berlinale Palast

Shuttle Stop

Sony Europe

CineStar

Filmhaus im Sony Center

Shuttle Stop

Kollhoff-Haus, Potsdamer Platz 1

Grand Hyatt Berlin

Headquarters Internationale Filmfestspiele Berlin

CinemaxX

Berlinale Guest Reception, Potsdamer Platz 11

Berlinale Filmverwaltung / Print logistics,Voxstraße 3

Haus Huth

Potsdamer Platz Arkaden

DaimlerChrysler Atrium

Akkreditierung Deutsche Filmindustrie /

Accreditation German Film Industry, Linkstraße 12

The Ritz-Carlton Berlin

Landesvertretungen

Abgeordnetenhaus von Berlin /

Berlin House of Representatives (Preußischer Landtag)

Martin-Gropius-Bau

HomeBase Panorama Lounge

Haus der Kulturen der Welt

Wireless Lan Hot-Spots powered by Versatel

* by invitation only

38-43_production_260105.qxd 28.01.2005 19:54 Uhr Seite 38

SUMMARY OF THE DAY TUESDAY 15th


SUM

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Production Day10:00 ≠ Auditorium Larger than Life – Documenting Nature

Marie Pérennou,Claude Nurydsani, interviewed by Alan Hayling.Screening,discussion.

10:00 ≠ Theatre Legal Basics in Film ProductionChristiane Stützle,Charles Moore.Lecture.Presented by Hogan & Hartson Raue Berlin.

10:00 ≠ K1 The Daily Digital Soap: ProductionNenad Puhovski,Marc Shipman-Müller.Lecture.Max.90 participants.Presented by Arri.

10:00 ≠ K3 Successful Teamwork in Motion Julia Persitzky, Astrid Schnellhardt.Workshop.

Max. 18 participants.Ticket via voucher required. Presented by Volkswagen Coaching.


12:00 ≠ Excursion Berlinale Panorama: Excursion to “Adam and Paul“Max. 50 participants.Ticket via voucher required. Presented by Berlinale Panorama.

14:00 ≠ Auditorium The Wizard Look: Creating the World of Harry PotterStuart Craig.Workshop.

14:00 ≠ K1 How to Market Films for a Younger Audience Hanna Hemilä, Judith Toth,

Peter Possne, Michael Werner, moderated by Margret Albers and Thomas Hailer.

Max. 90 participants. Presented by Berlinale Kinderfilmfest / 14plus.

14:00 ≠ K3 Show Me the Money – A Funding Case Study Paul Trijbits, David Thompson. Lecture. Max. 30 participants.Ticket via voucher required.

Presented by Skillset / The UK Film Council.

14:00 ≠ Excursion Excursion to European Film MarketGuided by Sydney Levine. Max. 12 participants each.Ticket via voucher required.

14:00 ≠ Excursion Excursion to Volkswagen Score CompetitionFor sound designers and composers only. Presented by Volkswagen.

17:00 ≠ Auditorium Presentation: Berlin Today Award Six BTA-Talents, moderated by Martin Blaney. Screening and discussion.

Presented by Medienboard Berlin-Brandenburg and boxfish films.

17:00 ≠ Theatre “Fourteen Sucks“ at 14plusFilippa Freijd, Martin Jern, Emil Larsso, Henrik Norrthon, moderated by

Maryanne Redpath,Thomas Hailer. Presented by Berlinale Kinderfilmfest / 14plus.

17:00 ≠ K1 Writing – Beyond the RulesDagmar Benke.Lecture. Max. 90 participants.Ticket via voucher required.

Presented by Berlin Script House.

18:30 ≠ Restaurant Talent Happy HourPresented by Kodak and Arri.

20:00 ≠ Auditorium Berlinale Football EveningPresented by Nationale DFB Kulturstiftung WM 2006, Federal Foreign Office,

Goethe-Institut and Berlinale Talent Campus.

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Ihr Event – unsere Technik

Man merkt sofort, wo Experten am

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Seit mehr als 20 Jahren machen wir

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Als Full-Service-Dienstleister betreuen

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und Professionalität bis ins Detail.

Denn Ihr Erfolg ist unser Ziel.

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Dokument 12 28.01.05 19:48 Seite 3

PRODUCTION DAY TUESDAY 15th



Larger than Life – Documenting NatureMarie Pérennou, Claude Nurydsani,

interviewed by Alan Hayling. Screening and discussion.

Marie Pérennou and Claude Nurydsani recaptured the nature docu-

mentary for the cinema screen with stunning photography in both

MICROCOSMOS and GENESIS. Thanks to the perfectly lit macro-shots

connected by fabulous commentaries their films provide unique insights

into the worlds of the smallest creatures.Using clips from their films,Alan

Hayling from BBC will interview the filmmakers on their astonishing

achievements in documenting the world larger than life.

10:00 ≠ Theatre

Legal Basics in Film ProductionChristiane Stützle and Charles Moore.

Lecture. Presented by Hogan & Hartson Raue Berlin.

Entertainment lawyers Christiane Stützle (Hogan & Hartson Raue)

and Charles Moore (Wiggin & Co. – Solicitors, London), will give a

practical overview of all the relevant legal aspects of film pro-

duction to be considered when offering protectable works to third

parties and when realising a film project.Besides a description of

the general principles of copyright law, some case studies will be

taken to answer questions such as: how to secure an exposé,

treatment, script or any other protectable work, or which rights

need to be acquired (script, cast and crew)? This lecture adresses

scriptwriters, producers, directors and cinematographers and

equips them with all legal issues to make life easier in film business

– or at least put it on a legal basis.

The making-of life: Genesis by Marie Pérennou and Claude Nurydsani.

10:00 ≠ K1

The Daily Digital Soap: ProductionNenad Puhovski, Marc Shipman-Müller.

Lecture. Max. 90 participants. Presented by Arri.

Today,the second part of our “Digital Soap“ is dedicated

to developments in the production phase itself.Nenad

Puhovski,one of Croatia’s most influential documentary

filmmakers and producers,will give an update on tech-

nologies for production. Beginning with the digital

video and the Mini-DV-system, Puhovski will continue

with semi-professional systems,finishing with a descrip-

tion of the latest high definition cameras. Furthermore

Marc Shipman-Müller from Arri will introduce you to

ARRIFLEX D-20, a film-style digital camera. Supported

by clips proving the camera’s benefits,“The Daily Digital

Soap“ offers a lesson filled with the essentials on digital

shooting technology. To be continued...

+

12:00 ≠ Excursion

Excursion to “Adam and Paul”Max. 50 participants.Ticket

via voucher required. Presented

by Berlinale Panorama.

ADAM AND PAUL, the feature film

debut by Irish director Lenny Abra-

hamson,follows two friends through

a single day which,like every other,is

entirely devoted to the business of

scrounging around and stealing

money for drugs. Meeting point of

this excursion to screening and

discussion with the director:11:30 at

the Talent Counter.


The Wizard Look: Creating the World of Harry PotterStuart Craig.Workshop.

Stuart Craig is England’s best-known production designer.He has worked with directors

such as David Lynch, Stephen Frears, Robert Redford and Sir Richard Attenborough

and won three Oscars for Best Achievement in Production Design for GANDHI,

DANGEROUS LIAISONS and THE ENGLISH PATIENT.

Since 2000 Stuart Craig has been primarily challenged by one of the most successful

film series worldwide:the Harry Potter films,which are especially characterised by their

production design combined with computer generated special effects. In this pro-

gramme Stuart Craig will show film clips from the HARRY POTTER films to discuss issues

such as the collaboration between the design and the special effects department, or

the impact of new technologies on the design concept and its transformation.

Furthermore,Stuart Craig will present some sketches and design concepts to illustrate

the process of how Harry Potter’s cosmos came to life. During his lecture Stuart Craig

will expressly invite the audience to participate by asking questions and generating

discussions on the examples he will present.

38-43_production_260105.qxd 29.01.05 15:50 Seite 41


PAGE 42


Presentation:Berlin Today AwardKarina Griffith, Anca Miruna Lazarescu,

Cristian Mungiu, Roman Sorger, Samuli

Valkama,Tomasz Wolski, moderated by

Martin Blaney. Screening and discussion.

Presented by Medienboard Berlin-

Brandenburg and boxfish films.

Over the last nine months three selected

pairs of Campus alumni had the opportunity

to realise their Berlin-related script. Today

the recently completed films have their world

premiere as the nominated entries for the

Berlin Today Award. After each screening a

discussion will follow between the filmmak-

ers and the audience about production con-

ditions and the possibilities offered by this

competition. The programme will begin at

17:00 with ALRIGHT LOVE by Samuli Valkama

(Finland) and Roman Sorger (Austria), fol-

lowed by BUCURESTI – BERLIN by Anca

Miruna Lazarescu (Germany) and Cristian

Mungiu (Romania) at 17:40, while IF I WERE

A FISH by Tomasz Wolski (Poland) and Karina

Griffith (Canada) will start at 18:20.And don’t

miss the next competition: Apply for the

Berlin Today Award 2006!

(see page 46 or www.berlintoday.de for

further details)

14:00 ≠ K1

How to Market Films For a Younger AudienceHanna Hemilä, Judith Toth, Peter Possne and Michael Werner,

moderated by Margret Albers and Thomas Hailer.

Max. 90 participants. Presented by Berlinale Kinderfilmfest / 14plus.

Hanna Hemilä,producer of the Finnish Kinderfilmfest contribution PELIKAA-

NIMIES, Peter Possne, co-producer of the Swedish entry FOURTEEN SUCKS,

and the sales agents for Nonstop Sales Judith Toth and Michael Werner, will

discuss how production companies and agents can cooperate effectively

with each other.What can be done during production or pre-production to

market and promote films for children and young people? The panel will be

moderated by Margret Albers (director of the Children Film and TV Festival

“Goldener Spatz“) and Thomas Hailer (director of the Berlinale Kinder-

filmfest).

From top to bottom:

ALRIGHT LOVE by Samuli

Valkama and Roman Sorger,

BUCURESTI – BERLIN by Anca

Miruna Lazarescu and Cristian

Mungiu, and IF I WERE A FISH

by Tomasz Wolski and Karina

Griffith.

17:00 ≠ K1

Writing – Beyond the RulesDagmar Benke. Lecture. Max. 90 participants.


Presented by Berlin Script House.

For years and years we have been told that

the perfect form for filmic storytelling is the

one-hero-one-goal three-act-structure.

However, there are countless great and

successful films that did not force their stories

into that structure. Dagmar Benke, Script

Consultant at Berlin-based Script House and

author of the scriptwriting book “Freistil“

(Freestyle), will present some alternatives to

the classic three-act structure like the

ensemble film,passive heroes and non-linear

narration as possibilities which offer different

ways to structure your story. So break the

rules,free yourself from fitting your story into

paradigms and discover the form inside your

story.

14:00 ≠ Excursion

Excursion to VolkswagenScore CompetitionExcursion. For sound designers and

composers only. Max. 30 participants.

Presented by Volkswagen.

This excursion will lead you to the post-pro-

duction company Elektrofilm where the

three participants of the Volkswagen Score

Competition mix their samples. Together

with their mentor, Brazilian composer Anto-

nio Pinto (CITY OF GOD), they will talk about

the scores they are working on, and you will

have the opportunity to watch over their

shoulders.The final scores will be presented

at the Farewell Celebration – so two more

days to go...

Meeting point:13:15 at the Talent Counter in

the House of World Cultures.


17:00 ≠ Theatre

“Fourteen Sucks” at “14plus”Filippa Freijd, Martin Jern, Emil Larsso, Henrik Norrthon,

moderated by Maryanne Redpath and Thomas Hailer.

Screening and discussion. Presented by Berlinale

Kinderfilmfest / 14plus.

Four Swedish filmmakers in their mid twenties shot

their feature film FOURTEEN SUCKS in a period of five

weeks. This collective, known as the Dansk Skalle pro-

duced,directed,photographed and edited the film. “All

four of us have been involved in every important deci-

sion“, the directors describe their way of working.They

tell the story of 14-year-old Emma who was raped when

she passed out after drinking too much alcohol and

tries to come to terms with it. In a discussion after the

screening of FOURTEEN SUCKS,which has been invited

for the “14plus“ competition, all four artists will talk

about the pros and cons of collectively creating a film.



Alcohol and girls: FOURTEEN SUCKS.


Berlinale Football EveningPresented by Nationale DFB Kulturstiftung WM 2006, Federal Foreign

Office, Goethe-Institut and Berlinale Talent Campus.

“Shoot Goals! Shoot Movies!“ – 611 Talents from 75 countries responded

to the appeal and sent in their football short films.Documentaries,short

features, animations and experimental films: the applications showed a

huge variety in form and content and proved beyond a doubt the

popularity of football and film worldwide. And today is the day: the

football compilation with 45 selected films has its world premiere in the

very city where the 2006 FIFA World CupTM final will take place. High-

ranking guests from sports and politics will be in attendance this evening,

amongst them German football legend Franz Beckenbauer and André

Heller,the curator of the Artistic and Cultural Programme to the 2006 FIFA

World CupTM Germany – they all will be here to celebrate the work and

the passion of the filmmakers.

After the reception and the screening of the short film reel,while having

some food and drinks,there will be time to have a talk about the two most

adorable minor matters in the world which today are so lovingful

affiliated: film and football (see page 44 for further details).

Shoots moving goals: Striker Fredi Bobic of Team Germany.

Foto

:Mar

cus

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gen

hag

en


Talent Happy HourPresented by Kodak and Arri.

Center stage at the Talent Happy Hour will today

be taken by all Talents who dedicate their

creative power to the art of cinematography.

Accompanied by Christine Dorn and Thomas

Struck, the representatives of today’s hosts Arri

and Kodak, Angela Reedwisch and Thierry

Perronnet, will welcome guests and Talents

before some chosen participants present exam-

ples of their camera work. The get together will

close with some food and drinks and countless

opportunities to get in touch with each other.To

get in touch with the work of the Talents, by the

way, is even easier: the terminals at the Campus

Lounge offers access to the clips of every

accepted Talent.

You run through the entire gamut of human emotions in 90 minutes.

Sainath Choudhury, India

38-43_production_260105.qxd 29.01.05 15:51 Seite 43

SHOOT GOALS! SHOOT MOVIES!

PAGE 44

Germany is the host of the 2006 FIFA World CupTM, one of the

most celebrated events worldwide for a sport that is under-

stood globally, a sport that unites cultures.“And so does film“,

says Christine Dorn, Director of the Berlinale Talent Campus,

host of 530 filmmakers from 90 countries.“The international-

ity of the Campus with participants and experts from five

continents especially proves the universality of the film’s

language.“ That’s why in January 2004 Christine Dorn and

Dieter Kosslick met André Heller, the Curator of the Artistic and

Cultural Programme to the 2006 FIFA World CupTM,to organise

a short film competition on football. In April 2004 the Nationale

DFB Kulturstiftung WM 2006 and the Federal Foreign Office

decided to fund this great idea.

On October 15th, the application deadline ended and 611

applications from 75 countries had been received.Instantly,the

jury, headed by Thomas Struck and Alfred Holighaus sifted

through the overall outstanding submissions, including from

countries with a rather young filmmaking infrastructure like

Benin, Sri Lanka or Uganda. Finally they chose 45 short films

from 29 countries. The compilation will premiere on Tuesday

15 at 20:00, attended by guests like Franz Beckenbauer and

André Heller, and will subsequently be shown in the frame of

the official Artistic and Cultural Programme to the 2006 FIFA

World CupTM in Germany and in Goethe Institutes across the

world. Besides their invitation to this year’s Campus the

selected winners will be invited to the events of the Artistic

and Cultural Programme to the 2006 FIFA World CupTM for

one week. Right after the selection of the short films Thomas

Struck began compiling the contributions.Together with edi-

tor Dirk Grau he worked out the dramaturgy,while Jörn Hintzer

and Jakob Hüfner (Datenstrudel) created the artwork and last

year’s Volkswagen Score Competition winning Talent, Tom

A COMPILATION OF 45 GOALS

“The results of the short film competition may confidently be described as

fascinating.These films by young film artists from 29 countries provide insight

into their perceptions and fantasies surrounding the complex theme of

football. While watching and listening to the films I learned a thing or other,

and I openly admit to having felt very touched more than once.“

André Heller, Curator of the Artistic and Cultural Programme to the 2006 FIFA

World CupTM

Third composed the score.But:“All theory is grey“,as a German

striker once pointed out,“important is what happens on the

field“. So, it’s time for kick-off!

Talents on the compilation:

Argentina Leandro Waisbord. Benin Sylvain A. Adjahossi.

Brazil Roberto Seba. Canada Andrea Elaine Hoff. ColombiaFelipe Aguilar, Ixtlil Axil Parra.Denmark Jeannette Ehlers.Ger-many Leo Khasin, Marc Hermann, Manuel Bickenbach, Sören

Lang, Robin Sander, Jens Schillmöller, Lale Nalpantoglu, Mar-

lene Assmann. Guatemala Alejo Crisóstomo. Hungary Nico-

las Horvath.India Debalina,Ankur Khanna,Sainath Choudhury,

Jerrit John. Indonesia Yusuf Andibachtiar. Iran Ayat Najafi.

Israel Amir Yaniv.Kenya Kenneth Kaigua.Mexico José Manuel

Cravioto Aguillón, Alejandro Solar. Netherlands Ramon

Coelho. Nigeria Ayelotan Princess. Philippines Khavn De La

Cruz. Romania Sebastian Nesu. South Africa Llewelyn Rod-

erick. Spain Sebastian Alfie. Sri Lanka Aruna De Silva

Lokuliyana. Sweden Gustav Oldén. Switzerland Chris

Niemeyer.UgandaTecla Nambi.United Kingdom Ninian Dun-

nett, Holger Mohaupt. USA Stephen Curley, Jeffrey Saunders,

caraballo-farman.Uruguay Nicolas Ciganda.Yugoslavia Bar-

bara Tolevski.

Tuesday 15, 20:00 ≠ Auditorium

Berlinale Football Evening

The Artistic and Cultural Programme to the 2006 FIFA World Cup™ and theBerlinale Talent Campus present the world premiere of “Shoot Goals! ShootMovies!“, a compilation of 45 short films on the love and glory of football.

44-45_artikel_260105.qxd 28.01.2005 15:30 Uhr Seite 44

SHOOT GOALS! SHOOT MOVIES!


Berlinale Talent Campus Film and

football – why do they fit together that

perfectly?

Alfred HolighausThey are both played in

teams.It’s impossible to participate in any

of them by yourself. Football requires 22

players, film sometimes up to 200-300

people. You have to rely on each other

and give the pass at the right moment.

Thomas Struck Furthermore, they both

have a special length of their show, and

strangely enough, the standard is 90

minutes in both cases.

BTC And the internationality?

TS Right, that is also a point that football

and film have in common. But in both

cases it is very important to keep a local

ground.For films it is extremely necessary

to include local atmosphere, aspects and

feelings to develop a special charisma. In

the same way a football Talent needs to

grow up in the streets with a local

surrounding to become a big interna-

tional star someday.

AH That’s true. The local bond is very

important for football clubs even if the

teams sometimes mainly consist of inter-

national players. But another common

ground is that both football and film are

strongly connected with a high dose of

creativity and passion.

TS Doing one of the two without passion

means dying a slow and cold death.

BTC How did you decide on your final

selection? What was convincing?

AH The high dimension of imagina-

tion was astonishing, every story was

told differently, every story is fasci-

nating in its own way.Everything that

is possible in film is presented here on

a smaller scale. But it wasn’t planned

during the selection, it just happened.

TS On the one hand we reacted on the

gut level of course like every other

viewer. That is basic. Moreover we

wanted to represent the global range

of applications. However, the selec-

tion was not politically driven, but

based purely on the passion and

delight that the films emit.

AH Nevertheless, politics is of course

a subject in the films, like it also

belongs to sports and everyday life.

TS Sure. When you see people in one

of these films who have the problem

that they can only play football in

mine-fields,then politics is a theme of

course.

BTC Have you noticed some parallels

on the level of content or style in the

applications from all these countries?

AH I had the feeling that you really are

able to discover their cultures by

watching the films.You have the sub-

ject “football“ which is depicted by

filmmakers from different countries:

here they play barefoot, there the ball is

provisionary patched together,here they

are playing in slums,there in a prison – so

the films are telling us less about football

and more about the places where the

football takes place.

TS If you look at the applications, it is

remarkable that very few films deal with

professional football. They are films that

take place on the streets, in the mud-

fields of India or in far-flung surround-

ings.Very often children and young peo-

ple are shown.Characteristic for all appli-

cations was also that from the football-

crazy countries like France or Italy rela-

tively few good contributions were sent

in. But countries which haven’t got a big

name in football – the best example

being India – have sent in wonderful films.

But we are happy to say that the German

filmmakers obviously have a very good

relation to football.We chose six of them.

AH I even dare to make the prediction

that the German football films will per-

form better in the “Shoot Goals! Shoot

Movies“ reel than the German team at

the FIFA World Cup.

TEAM PLAYERSThe football reel “Shoot Goals! Shoot Movies!“ was assembled by TalentManager Thomas Struck, who benefited from the artistic consulting ofAlfred Holighaus, Director of the Berlinale section “Perspektive DeutschesKino“. In the following interview both explain the common ground of foot-ball and film and how this is reflected in the short film compilation.


BERLIN TODAY AWARD

PAGE 46

One third of last years’ Berlinale Talent Campus participants

applied with a digital short film project to be chosen as one

of the three nominees for the Berlin Today Award 2005. Being

nominated means getting a sponsorship worth 50.000 Euro

from the Medienboard Berlin-Brandenburg and an additional

20.000 Euro in non-cash support from the film industry in

Berlin-Brandenburg for the realisation of your short film.While

the three Berlin Today Award productions from 2004 are still

moving to festivals around the world, this year’s competition

reaches its final stage:the world premiere during the Berlinale

Talent Campus, where the winner will be selected by the new

hosts. At the end of June the jury-members and hosts of this

year’s BTA-projects, producer Maria Köpf and the directors

Hans-Christian Schmid and Michael Verhoeven,decided on the

three projects, which were produced right in time to be

screened on Tuesday 15 at 17:00 in the Auditorium.For the first

time,entries were possible only in teams of two Talents – a cre-

ative mind and a producer.The jury selected ALRIGHT LOVE by

Samuli Valkama (Finland) and Roman Sorger (Austria), a love

story in Berlin’s underground railway without dialogues.As the

second project, the jury selected IF I WERE A FISH by Tomasz

Wolski (Poland) and Karina Griffith (Canada), a documentary

about a Polish worker who lives in Berlin for nearly 20 years

and doesn’t find his way back home. BUCURESTI – BERLIN by

Anca Miruna Lazarescu (Germany) and Cristian Mungiu

(Romania) is the third project and tells the story of a Roman-

ian girl who tries to find her luck in Berlin – but struggles even

to find a place to stay to begin with.

The Berlin Today Award is a prize collectively founded by

Medienboard and the film industry in Berlin-Brandenburg

and organised by boxfish films. All three films were produced

by EIKON Media GmbH and were edited by Das Werk, Kopp-

film, Studio Berlin Adlershof and VCC Perfect Pictures. These

and the following companies belong to a group of sponsors

who support the Talents’ work during production and post-

production: Berliner Union-Film, Cine Impuls Film und Video

KG, cine plus Media Services, Electric Sun, Elektrofilm, FGV

Schmidle, Film und Video Untertitelung Gerhard Lehmann,

GWFF, Granada Produktion, Iconate Medienkonzepte,

KORTWICH, Script House, Studio Babelsberg, Tonbüro,

Unverzagt von Have,and Vienna Symphonic Library.The Berlin

Today Award is featured by Deutsche Welle, DW-TV.

After the match is before the match: Producer Roshanak

Behesht Nedjad and the directors Hannes Stöhr and Andres

Veiel, the three hosts for 2006,are already waiting in the wings

for the applications of this year’s Talents.So send in your drafts

by April 15 to the organisers at boxfish films, Berlin. Further

details at www.berlintoday.de.

Tuesday 15, 17:00 ≠ Auditorium

Presentation Berlin Today Award

Wednesday 16, 20:00 ≠ Kalkscheune – shuttle provided

Awards Night 2005

The Berlin Today Award enables Talents of the Campus torealise a Berlin-related short film script. Three films by lastyear’s Talents have been produced and will celebrate theirpremiere on Tuesday 15 at the House of World Cultures.

The three nominees for the Berlin Today Award: IF I WERE A FISH, BUCURESTI – BERLIN and ALRIGHT LOVE (from left to right).

BerlinAngelsDay On February 18 the Media City Berlin invites 50

Talents to be guided through the film studios and colleges of the media

region Berlin-Brandenburg.They will get to know its manifold creative pos-

sibilities, have exciting insights and make new capital contacts. The

BerlinAngelsDay is an initiative of the Medienboard Berlin-Brandenburg.

BERLIN BARE


PLANET DOCUMENTARY AWARD


A whole town communicates as much

about the telephone wire as through it:

Kai Wiesinger’s ERUV – THE WIRE.

The documentary project ERUV – THE WIRE by Kai Wiesinger

is the winner of the PLANET Documentary Award 2005. It was

one of more than a hundred exposés submitted by young film-

makers from all around the world,and the jury,headed by Ger-

man Oscar-winner Caroline Link, decided for Wiesinger’s pro-

ject in May 2004. Winning the PLANET Documentary Award

guarantees complete financial funding for the applied script,

so Wiesinger had already begun to shoot three months later

in Teaneck.

Teaneck is a small town in New Jersey, USA, and at first sight

it doesn’t differ from any of the other small towns around. But

there is a fine and unobtrusive difference, that has obviously

caused some smouldering conflicts between the growing

Orthodox Jewish community and other inhabitants of Teaneck.

The reason for all this hangs a few feet above their heads and

was originally installed to ease communication: It is a tele-

phone wire. But that’s one side to it: It looks like a telephone

wire and it is used as a telephone wire, but the Jewish com-

munity reinterprets it and adopts the wire as an “Eruv”. The idea

of the Eruv was invented about 2.500 years ago to avoid the

Jewish law, that forbids every Jew to work, create or even

carry anything in public on Sabbath. So the wire of the Eruv,

that can be put up around any blocks of houses, constitutes

the complete covered area as an imaginary “property“. Being

within this invisible fence makes life easier on the Sabbath and

enables Orthodox Jews to combine faith and everyday life.

“My wife’s family lives in Teaneck“, says Kai Wiesinger, explain-

ing his inspiration for the film.“Over the years I kept hearing

strange rumors about the local Jewish community who tighten

a mysterious wire around the town to use it as a kind of fence.

That sounded very strange to me.“ Curiosity is the mother of

documentaries,and so when Wiesinger got to know Ex-Rabbi

Noah who introduced him to the whole community, his plans

suddenly became concrete.

The world premiere of ERUV – THE WIRE is scheduled for Mon-

day 14, in the House of World Cultures at 14:00. Although the

film is Kai Wiesinger’s debut as a director, celebrating pre-

mieres is nothing new for him.As an experienced German film

actor he has shifted to being behind the camera,and adopted

a new subject, the documentary.“In the end it’s all one same

thing“, he says,“it’s about telling stories.“ And for the story of

Teaneck’s Eruv he tried to “keep an atmosphere of privacy“

around his protagonists.Thanks to the deep trust he received

from the members of the community he succeded and along

with his editor Benjamin Ikes he filtered an inspiring dramatic

structure out of fifty hours of collected material. The most

challenging problem for him was that “the opponents of the

Eruv were frightened to talk about their point of view in front

of the camera“,Wiesinger adds. How he nevertheless created

a way between the lines to express this point of view,Wiesinger

might explain at the Making-of discussion after the screening.

The PLANET Documentary Award is an initiative of PLANET –

The Documentary Channel and its media partner FOCUS TV.

Monday 14, 14:00 ≠ Theatre

The Making of “Eruv – The Wire“

BUSY LINE Nearly invisible but anyhow very concrete: a Jewish tradition and itsimpacts on Teaneck, NJ. The Berlinale Talent Campus presents the worldpremiere of this year’s PLANET Documentary Award winning film.

46-47_artikel_240105.qxd 29.01.05 15:49 Seite 47

FEEL IT.ORFORGET IT.FILM. THE DIFFERENCE.

You see it. More importantly, you feel it It’s the difference 10 times more

resolution makes in portraying nuance and detail. And it’s the way film’s organic

structure sees like the human eye – not like a machine. So there’s nothing

between you and your audience KODAK Motion Picture Film

Make your story one to remember www.kodak.com/go/motion

ONLY FILM SEES THE WAY YOU DO .

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WELCOME TO THE BERLINALE 2005 – COME JOIN THE KODAK TEAM IN THE GERMAN BOULEVARD AT THE EUROPEAN FILM MARKET IN THE DAIMLER-CHRYSLER ATRIUM.

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AZ_Feelorforget_210x280_CAMPUS 15.01.2005 9:50 Uhr Seite 1

SUMMARY OF THE DAY WEDNESDAY 16th


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Post-Production Day10:00 ≠ Auditorium Berlinale Competition: “Carmen in Khayelitsha“ Lucinda Englehart, Pauline Malefane,

Ross Garlani, Andiswa Kedama, Zweilungine “Zorro“ Sidloyi.

Screening and discussion. Presented by Berlin International Film Festival.

10:00 ≠ Theatre We’ll Fix It in the Edit!?Susan Korda.Workshop.

10:00 ≠ K1 The Daily Digital Soap: Post-Production Nenad Puhovski, Florian “Utsi“ Martin,

Jürgen Schopper. Lecture. Max. 90 participants. Presented by Arri.

10:00 ≠ K3 Successful Teamwork in MotionJulia Persitzky, Astrid Schnellhardt.Workshop. Max. 18 participants.

Ticket via voucher required. Presented by Volkswagen Coaching.

10:00 ≠ Excursion Excursion to Stanley Kubrick exhibitionGuided by Christiane Kubrick, Jan Harlan. Max. 20 participants.Ticket via voucher required.


14:00 ≠ Auditorium Designing the End of the WorldRoland Emmerich, interviewed by Peter Cowie. Screening and discussion.

14:00 ≠ Theatre The Birth of CoolAsano Tadanobu, interviewed by Stephan Holl. Screening and discussion.

14:00 ≠ K1 Polishing Your Soundtrack – Post-Production Annabelle Pangborn, Stephen Deutsch,

Larry Sider.Workshop. Max. 90 participants. Presented by The School of Sound London,

Bournemouth University and National Film and Television School.

14:00 ≠ K3 Show Me the Money – A Funding Case Study Kim Magnusson. Lecture.

Max. 30 participants.Ticket via voucher required. Presented by Nordisk Film.

14:00 ≠ Excursion Excursion to European Film MarketGuided by Sydney Levine. Max. 12 participants each.Ticket via voucher required.

17:00 ≠ Auditorium Composer and Director: Exploring the CollaborationAntonio Pinto,Walter Salles, interviewed by Peter Cowie. Screening and discussion.

17:00 ≠ Theatre Close-Up on Agnès GodardAgnès Godard. Lecture. Presented by Kodak.

17:00 ≠ K1 The Food Chain – From Idea to PitchJudy Counihan. Lecture. Max. 90 participants. Presented by Skillset/The UK Film Council.

17:00 ≠ K3 The Casting WorkshopLina Todd, Laylee Olfat.Workshop. For actors only. Presented by European Film Promotion.

17:00 ≠ Excursion Berlinale Forum: Excursion to “El Inmortal“Max. 50 participants.Ticket via voucher required. Presented by Berlinale Forum.

20:00 ≠ External Awards Night 2005Presented by Medienboard Berlin-Brandenburg and boxfish films.

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Scholarships for EuropeanAudiovisual Media

Professionals in Berlin

WITH THE SUPPORT OF

NIPKOW

PROGRAMM

Further studies for qualified applicants in the fields ofFilm, television and video financing, production, marketingand distributionNew technologies (multimedia, interactivity)TV computer design and computer graphics

Deadline for applications 25th of Marchand 15th of September 2005

Contact

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

Beauftragter der Bundesregierungfür Angelegenheiten der Kultur und der Medien

With the support of the MEDIA PLUS PROGRAMME of the European Community

Edu ca t i on and c u l t u r e A p rog ramme o f t he EU

POST-PRODUCTION DAY WEDNESDAY 16th



Berlinale Competition:“Carmen in Khayelitsha”Lucinda Englehart, Pauline Malefane, Andiswa Kedama

and Zweilungine “Zorro”Sidloyi. Screening and discussion.

Presented by Berlin International Film Festival.

Mark Dornford-May has set his screen adaptation of Bizet’s

opera “Carmen” in a South-African township. The film has

been made entirely in the country’s official language Xhosa.

In this South-African directorial debut, the title role is

played by the international opera star Pauline Malefane,

who is herself from Khayelitsha. Together with her co-

actors and the producer she will enter the stage for a dis-

cussion after the screening.

10:00 ≠ K1

The Daily Digital Soap: Post-ProductionNenad Puhovski, Florian “Utsi“ Martin and

Jürgen Schopper. Lecture. Max. 90 participants.

Presented by Arri.

The post-production of a film is considered to be the

area of filmmaking that was fundamentally conquered

by digital technology. In the mid 90s digital editing

began to revolutionise post-production, and the field

of special effects also reached new horizons thanks to

digital developments.

In a lecture by Croatian filmmaker and producer Nenad

Puhovski you will get a complete survey of the state of

the art in digital post-production technology,from pro-

cessing visual effects in “Flame“ to working with the

most popular editing systems like AVID or Final Cut

Pro.Digital Intermediate is currently the hottest subject

in motion picture post-production and has, for some

time now, become reality at Arri in Munich. Creative

director Prof. Jürgen Schopper will report on the “digi-

tal workflow“, followed by Florian “Utsi“ Martin, digital

color supervisor,who will talk about his experiences cre-

ating digital intermediates using as illustration from

Helmut Dietl’s recent feature film VOM SUCHEN UND

FINDEN DER LIEBE. Tune in again...

CARMEN IN KHAYELITSHA by Mark Dornford-May.

10:00 ≠ Theatre

We’ll Fix It In the Edit!?Susan Korda.Workshop.

Susan Korda will open young filmmaker’s eyes to the magic of the

editor’s process. This essential lecture aims to inspire producers,

writers,directors and editors to discover more cinematic solutions

to their storytelling problems.

Susan Korda will begin with examples of how films have been

“saved” in the editing room. Using examples and back stories

from films like BONNIE AND CLYDE,THE CONVERSATION,JAWS,or

ANNIE HALL, she will show how creative solutions came out of cre-

ative messes. From lack of coverage to missing script pages, sin-

gle-shot scenes throwing rhythms off to thin story; it all has been

fixed in the editing room.

The second part of the seminar will address the common stum-

bling blocks – from writing all the way to post – that lead to lack

of coverage, uninteresting story and boring exposition and

rhythms.Young filmmakers tend to lose all the magic when they

get into the editing room. There is so much focus on detail and

repetition, they find themselves cutting for logic, not story, and

they lose all sight of where the emotional currents are.

Of all the crafts that go into making a film, editing is the only art

born of the medium itself. These seminars and feedback tutori-

als will enlighten the storyteller and deepen his or her under-

standing of how to meld filmed moments – shot by shot, scene

by scene – into rich cinematic experiences.

Filmmaking is my life and I’m eager to bring back some enchantment to our reality and discover the poetry all around us.

Maiana Bidegain, France

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PAGE 52

The end of the world as we know it by Emmerich’s: THE DAY AFTER TOMORROW.

14:00 ≠ K1

Polishing Your Soundtrack –Post-ProductionAnnabelle Pangborn, Stephen Deutsch,

Larry Sider.Workshop. Max. 90 participants.

Presented by The School of Sound London,

Bournemouth University and National Film

and Television School.

In this second part of their soundtrack seminar

Annabelle Pangborn, Larry Sider and Stephen

Deutsch will explain the post-production

process of a film’s soundtrack: the main proce-

dures,the role of each person involved,how pre-

production and shooting affects post-produc-

tion, and how the creative process must be

adapted to commercial practice to function

effectively on any size production from shorts

and experimental films to features.

14:00 ≠ Theatre

The Birth of CoolAsano Tadanobu, interviewed by Stephan Holl.

Screening and discussion.

Journalists have described him as a cross between Johnny Depp and

Toshiro Mifune, a mixture that brought him immense stardom and a lot

of work: At 31 he has already appeared in more than forty feature films.

Asano Tadanobu,best-known for his role in Takeshi Kitano’s ZATOICHI and

his collaborations with Takashi Miike and Shunji Iwai, is considered

Japan’s most important contemporary film actor with performing cool-

ness as his trademark.After having collected some directing experience

shooting several commercials,Asano Tadanobu will today present his cin-

ema directing debut at the Berlinale Talent Campus. TORI is a compila-

tion of five short films, each inspired by dreams he has had. Asano

Tadanobu is also the frontman for the band “Mach 1.67“, a performing

artist and model – a broad spectrum of creative experiences to discuss.

Film distributor and Asian film specialist Stephan Holl will interview the

multi-talented Asano Tadanobu on aspects of his production and on the

Japanese filmbusiness in general.


Designing the End of the WorldRoland Emmerich, interviewed by Peter Cowie.


Provoked by aliens, Godzilla or some ghastly natural dis-

aster – the apocalypse is a constant factor in the films of

Roland Emmerich, this year’s Berlinale Jury President.Spe-

cial effects epics like INDEPENDENCE DAY or THE DAY

AFTER TOMORROW are fueled by affectionately detailed

shots and a tremendous amount of destruction. Roland

Emmerich is regarded as a director who is always looking

for new ways to create his illusions. Interviewed by Peter

Cowie and accompanied by film extracts Roland Emmerich

will offer insights into his bag of tricks which have helped

him design the end of the world.

17:00 ≠ Theatre

Close-Up on Agnès GodardAgnès Godard. Lecture. Presented by Kodak.

The role of the cinematographer is intrinsic to the quality of the image.

Even at a very early stage in her career, Agnès Godard became involved

with films like Wim Wenders’WINGS OF DESIRE,now highly respected for

the strength of its imagery. From her humble beginnings as a focus

puller and assistant camera operator,Agnès Godard had grown into one

of the most reputed French cinematographers working today (awarded

with a César in 2001 for BEAU TRAVAIL). In this intimate session, she will

use references to her photography in films like Denis’BEAU TRAVAIL and

FRIDAY NIGHT, and Erick Zonca’s THE DREAMLIFE OF ANGELS, to discuss

her role and experiences in filmmaking.

Not easy, but someone has to do it: Japanese actor and direc-

tor Asano Tadanobu on being cool and his new film TORI.

48-53_post-prod_260105.qxd 28.01.2005 15:44 Uhr Seite 52



Rhythm and tune: Antonio Pinto and Walter Salles collab-

orated on BEHIND THE SUN.

17:00 ≠ K1

The Food Chain – From Idea to PitchJudy Counihan. Lecture. Max. 90 participants.

Presented by Skillset / The UK Film Council.

The journey of a film idea runs along the great greedy assem-

bly line which is the film industry’s“food chain“, from creation,

through the initial pitch to a producer, then to the pitch to a

director,financier,sales agent,distributor,marketing executive,

exhibitor and, finally: to the audience at the box office. Judy

Counihan,Director of Film,Skillset London,takes a completed

film on this journey to demonstrate the process as well as the

way a pitch changes and retains its original shape as it goes

through the food chain. A highly effective session which will

demonstrate how the “real world“ treats precious ideas – for

better or for worse, in the marriage of art and money!


Composer and Director: Exploring the CollaborationAntonio Pinto and Walter Salles, interviewed by Peter Cowie. Screening and

discussion.

Composer Antonio Pinto and this year’s Campus host director Walter Salles have

worked together on five productions including CITY OF GOD (which was not

directed but produced by Walter Salles).How important and how useful is it for

the collaboration to know each other very well? In which situations is the

rhythm of a scene geared to the music and – the other way round – when must

the music subordinate to the rhythm of the pictures? Using extracts from their

films like BEHIND THE SUN or CENTRAL STATION moderator Peter Cowie will take

a look at the secret of this successful creative combination.

17:00 ≠ K3

The Casting WorkshopLina Todd, Laylee Olfat.Workshop.

For actors only. Max. 15 participants.


In this comprehensive workshop Lina Todd and Laylee

Olfat, two renowned casting directors from New York, will

give practical advice on having a successful casting session.

This concentrated session will include topics like: prepa-

ration of material for auditions, taping scenes with feed-

back,meetings with directors,critiques on headshots,CVs,

demo tapes and show reels.

The actors are to be given the skills and confidence to

have a successful audition and to turn the brief time in the

audition room into a moment to shine.The participants will

be given several scenes from films to prepare. Afterwards

they will be filmed and the results individually discussed.

A repeat of the workshop is scheduled on Thursday 17,

10:00 at K3.

20:00 ≠ Kalkscheune

Awards Night 2005Presented by Medienboard Berlin-Brandenburg and

boxfish films.

This evening the second Berlin Today Award will honour

one of the three short films which were produced during

the last year by alumni of the Campus 2004 and the Cam-

pus 2003. The jury which voted for the winner consists of

the three new hosts of the project who will accompany this

year’s chosen Talents through all phases of production.

After the awarding ceremony some drinks and food

smooth the way into a long Berlin night.

A shuttle is provided from the House of World Cultures.

17:00 ≠ Excursion

Excursion to “El Inmortal”Max. 50 participants.Ticket via voucher required.

Presented by Berlinale Forum.

EL INMORTAL is the story of a family that was torn apart by the

war in Nicaragua,which split up the brothers and placed them

on opposite sides. The end of the armed conflict allowed the

family members to return to an impoverished country.As they

attempt to overcome the memories of war wounds, of the

deaths that burden their recollections, of the guilt and the

mutual hatred, they are confronted by a disintegrating social

fabric that continues to drive them apart.The screening is fol-

lowed by a discussion with director Mercedes Moncada

Rodríguez who grew up in Spain and Nicaragua. Having lived

in Mexico for the last nine years, she made her debut in 2003

with the documentary LA PASIÓN DE MARÍA ELENA.

The excursion heads to CineStar 8,Sony Centre.Meeting point:

16:30 at Talent Counter in the House of World Cultures.

48-53_post-prod_260105.qxd 29.01.05 15:48 Seite 53

Professional development and training:

Three-month process coached by experienced script advisors!

European screenwriters and teams of writers, producers or directors developing

a feature film project or a full length creative documentary are kindly invited

to apply!

Each workshop includes:

• a seven-day session, intensive work in small groups with international colleagues

• a three-month re-writing period supervised by the script advisors involved

• a second session of one day per project as individual or group consultation

Application deadlines:

1st March 2005, workshop in Rovaniemi/Finland, June 2005,

realized with the support of POEM – the Northern Film & Media Centre, Oulu

and LEO – Lapland Centre of Expertise for the Experience Industry, Rovaniemi.

Requested: feature film projects and creative documentaries.

1st June 2005, workshop in Italy, November 2005

realized with the support of Associazione F.E.R.T., Turin.

Requested: feature film projects.

SOURCES 2 at the Berlinale Talent Campus:

Consultation – Analysis – Advice for selected projects! SOURCES 2 Script Check with

Gaby Prekop at the Script Clinic and David Wingate at the Doc Clinic.

Please visit the SOURCES 2 stand at the Berlinale Talent Campus

or contact the SOURCES 2 office close to Potsdamer Platz!

SCRIPTDEVELOPMENTWORKSHOPS

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

[email protected] • www.sources2.de

With the Support of the

PLUS Programme of the European Community

Anz.Sources-TalentCampus05 07.01.2005 15:28 Uhr Seite 1

THE MAKING OF


When you are on your way through the House of World

Cultures,or busy with one of the Working Campus projects,and

you suddenly get the feeling of being watched: It is no reason

to get nervous. Up to four camera crews are moving from

event to event, from project to performance and up and down

the hallways in order to document the whole Berlinale Talent

Campus.

The Making Of is organised by Germany’s international broad-

caster “das Fernsehen der Deutschen Welle“ (DW-TV), official

co-partner of the Berlinale Talent Campus 2005. Responsible

for this documenting project are DW-TV producers Melanie

Matthaeus and Bettina Kolb who try to cover the most impor-

tant and most interesting scenes and activities during the six

Campus days. Their team consist of 16 DW-TV trainees from

Berlin (journalists and digital media designers) who are divided

into four TV crews.One of these crews has already been on the

road since February to follow all pre-production activities of

the Talent Movies of the Week, whereas a second team closes

in on the work of the three sound designers at the Volkswagen

Score Competition. The other teams swarm out in the House

of World Cultures to collect atmospheric material, quotes and

event highlights.Canon supports the project by providing the

Mini-DV cameras including equipment, while the material is

sponsored by Sony.

Every evening in the office of the DW-TV team at the House

of World Cultures the entire day’s material is viewed,selected,

digitalised and edited on AVID Media Composer into a 5–8

minute-long “Daily“.

Beginning from the Philosophy Day these quick, direct and a

wee bit cheeky summaries are screened every day at 14:00 in

the Auditorium and Theatre, and are repeated between 16:00

and 17:00 in the Campus Lounge and the Wild Screening

room. Furthermore, at the end of the week the DW-TV crew

produces its wrap up “Making of Talent Campus“ – the defin-

itive documentary of an unforgettable week,marking the best

moments, collecting voices and preserving extraordinary

experiences. It will be shown on Thursday, February 17, in the

frame of the Farewell Celebration.

So the next time you have the feeling of being watched in the

House of World Cultures: Don’t panic, it’s DW-TV – or someone

who wants to get in touch with you. But that’s another story.

DW-TV IS WATCHING YOU!

Around 80 events and lectures in six days, 530 Talents from all overthe world, activities nearly 24 hours a day – impossible to be aware ofeverything. But there is no need to: thanks to the Making Of.


Flawlessperformance

show after show…DTS products provide high-quality surround sound playbackplus extra features and functionality not offered by competingproducts. And all DTS products use the same patented CD-ROM technology to deliver a single-print solution for cinemas.

One film print + DTS system = Easy programming and playback (no re-plattering needed).

©2005 DTS Inc. All Rights Reserved

XD10 Cinema Media PlayerAn innovative hard-drive based unit for digital sound playback

up to 10 channels, plus enhanced video for alternative content

and preshow. Upgrade with DTS-CSS functionality.

.

XD10P Cinema Audio ProcessorWhen connected to the XD10 media player, the XD10P forms a

complete end-to-end 8-channel playback system for a total

digital audio presentation.

CSS Cinema Subtitling SystemThe industry's leading solution for delivering foreign language

subtitles, open captions and audio description, using a single

film print.

For additional information:

Phone: +44 (0) 118 934 9199Email: [email protected]: www.dtsonline.com

www.voes lauer.com

The water for dining.

The water with the added twist.

Dokument 12 28.01.05 19:54 Seite 4

SUMMARY OF THE DAY THURSDAY 17th


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Promotion Day10:00 ≠ Auditorium Berlinale Competition: “Ghosts”

Christian Petzold, interviewed by Thomas Bauermeister.


Presented by Berlin International Film Festival and German Federal Film Board.

10:00 ≠ Theatre Lesson in Instant FilmmakingMike Figgis. Screening and discussion.

Presented by the European Film Academy (EFA).

10:00 ≠ K1 The Daily Digital Soap: Digital DistributionBjörn Koll, David Pope, Kees Ryninks, Patrick von Sychowski.

Lecture. Max. 90 participants.

Presented by CinemaNet Europe and DTS.

10:00 ≠ K3 The Casting WorkshopLina Todd, Laylee Olfat.Workshop. For actors only.


10:00 ≠ Excursion Excursion to Stanley Kubrick exhibitionGuided by Ralph Eue.

Max. 20 participants.Ticket via voucher required.


14:00 ≠ Theatre How Did that Movie Get Made? – Spotlight on the Talent Movies of the WeekAll Talents participating in the Talent Movies of the Week,

moderated by Sandy Lieberson.

Presented by sabotage films.

14:00 ≠ K1 Packaging Your Product – How to Promote Russian VampiresMarcel Mohaupt.

Presented by ifs internationale filmschule köln and Twentieth Century Fox.

14:00 ≠ Excursion Excursion to European Film MarketGuided by Sydney Levine.

Max. 12 participants each.Ticket via voucher required.

17:00 ≠ Theatre The Critics Know Best...Dai Jinhua, Michel Ciment and festival guests, moderated by Peter Cowie.

Presented by FIPRESCI and Goethe-Institut.

17:00 ≠ K1 World Cinema Fund – What’s It All About?Sonja Moerkens,Vincenzo Bugno.

Presented by the Berlin International Film Festival

and the German Federal Cultural Foundation.

20:00 ≠ Auditorium Farewell Celebration and Farewell PartyThe Farewell Celebration is presented by the Berlinale Talent Campus,

DW-TV, sabotage films and Volkswagen.

The Farewell Party is presented by Skillset / The UK Film Council.

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ifs internationale filmschule köln Werderstrasse 1 50672 CologneT +49 221 920188-0

ifs-booth at the Berlinale Talent CampusHouse of World Cultures

and

ifs-event for talents:Packaging Your Product - How to Promote Russian Vampires

Case Study on promotion design and marketing strategies for the russian production ‘Night Watch’

Thursday, 17 February

w w w. f i l m s c h u l e . d e

I n s p i r e R e a l i t y

Az_ifs_talent_campusXXX2_Q4 17.01.2005 11:16 Uhr Seite 1

PROMOTION DAY THURSDAY 17th



Berlinale Competition: “Ghosts”Christian Petzold, interviewed by Thomas

Bauermeister. Screening and discussion.

Presented by Berlin International Film Festival

and German Federal Film Board.

1989.A three-year-old girl is abducted in Berlin and

never found again. Since then her French mother

has traveled to Berlin once a year desperately look-

ing for her daughter. One day she meets Nina, a

drifter on the streets of Berlin, and is deeply con-

vinced that Nina is her lost daughter.German direc-

tor and writer Christian Petzold, who has won the

German Film Award in Gold for THE STATE I AM IN,

will answer questions from Thomas Bauermeister

after the screening.

10:00 ≠ K1

The Daily Digital Soap: Digital DistributionBjörn Koll, David Pope, Kees Ryninks and Patrick von

Sychowski. Lecture. Presented by CinemaNet Europe

and DTS. Max. 90 participants.

What are the challenges the digital evolution demands from

the market, and what opportunities are offered by cheaper

digital copies displacing celluloid? Kees Ryninks (The Nether-

lands Film Fund) and Björn Koll (Edition Salzgeber) will present

CinemaNet Europe, a project which operates 182 cinemas in

eight European nations. This pan-European network of digi-

tal cinemas is the largest of its kind and presents one new

European documentary every month. David Pope of DTS will

introduce the DTS-CSS Cinema Subtitling System,while Patrick

von Sychowski from Unique Digital will offer a worldwide

overview on digital networks and initiatives.

Drifting spirit: Christian Petzold’s GHOSTS.

10:00 ≠ Theatre

Lesson in Instant FilmmakingMike Figgis. Screening and discussion.

Presented by the European Film Academy (EFA).

In 2004 director Mike Figgis held an EFA Master Class in

Ljubljana offering the participants the very special oppor-

tunity of shooting a 90-minute film with score in just one

week. Creative filmmakers from all over Europe and from

different areas of filmmaking took part in this ambitious

project that was given a further thrill by scheduling a pub-

lic screening on the last day.The crucial question during the

week turned out to be: how to combine vision and craft.

Today’s programme will include a screening of the film

which resulted from this Master Class as well as a discus-

sion afterwards about details of the shooting and the

effects it had on the participants.

Mike Figgis filming during the EFA Master Class.

Sometimes I think life would be much easier if I just strapped

a camera to my head!Georgi Banks-Davies, UK

56-61_promotion_260105.qxd 29.01.05 15:45 Seite 59

HOGAN&HARTSON RAUE LLP

For further information on how our film, entertainment and media law team can assist you :

Prof. Dr. Peter Raue [email protected]. Christoph Wagner [email protected] Stützle [email protected]. Mareile Büscher, LL.M. [email protected]

We would be happy to welcome you at our workshops for scriptwriters, directors and producers at the BERLINALE TALENT CAMPUS 2005:

Doc Clinic, Workshop II, Legal Basics in Documentaries, Monday, February 14, 2005, 10 a.m.

Legal Basics in Film Production, Tuesday, February 15, 2005, 10 a.m.

WASHINGTON, DC NEW YORK BALTIMORE NORTHERN VIRGINIA

MIAMI DENVER BOULDER COLORADO SPRINGS BERLIN BRUSSELS

BUDAPEST LONDON MUNICH MOSCOW PARIS PRAGUE WARSAW

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COPYRIGHT

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Potsdamer Platz 110785 BerlinGermany

phone: (+49-30) 726 115 - 322fax: (+49-30) 726 115 - 102

What you ever wanted to know about:

Film & Entertainment Law

RZ Anzeige 4.0 19.01.2005 11:15 Uhr Seite 1

PROMOTION DAY THURSDAY 17th


Russian Vampires in Timur Bekmambetov’s NIGHT WATCH.

17:00 ≠ Theatre

The Critics Know Best ...Dai Jinhua, Michel Ciment and festival guests, moderated

by Peter Cowie. Presented by FIPRESCI and Goethe-Institut.

The critics know best – or do they? There are certainly a multitude

of opinions,but sooner or later everyone working creatively must

at some point deal with criticism.Where there is an audience,there

are positions, views, taste and – where the ideal film critic is con-

cerned – a special knowledge resulting from the experience of

watching numerous films.So maybe they know best,but are they

always right? Peter Cowie, film historian and former international

publisher of Variety, will moderate this programme and will

welcome Chinese film theorist and critic Dai Jinhua,the president

of the international film critics federation (FIPRESCI), Michel

Ciment, and filmmaking guests from the Berlinale.Together they

will discuss the meaning of their profession and their impact for

the film business.

17:00 ≠ K1

World Cinema Fund – What’s It All About?Sonja Moerkens,Vincenzo Bugno.

Presented by the Berlin International Film Festival

and the German Federal Cultural Foundation.

In cooperation with the German Federal Cultural Foundation the

Berlin International Film Festival has set up the World Cinema Fund

to support filmmakers from transition countries with an annual

budget of 500.000 Euro. The World Cinema Fund will provide

support in the fields of production and distribution of films which

otherwise could not be produced. Today’s programme offers a

case study of one of the first funded projects and gives all

necessary information on access to the funding programme.


Farewell Celebration and Farewell PartyThe Farewell Celebration is presented by the

Berlinale Talent Campus, DW-TV, sabotage films

and Volkswagen.The Farewell Party is presented

by Skillset / The UK Film Council.

At the Farewell Celebration the DW-TV team will show

the ultimate Making-Of Berlinale Talent Campus 2005.

Furthermore,the participants of the Volkswagen Score

Competition and the Talent Movie of the Week will

present their results. All Talents will vote for the best of

four digital movies. Afterwards the Farewell Party will

demand the last energy of all Talents and will perfectly

top off an exciting Campus week. Let’s party!

14:00 ≠ Theatre

How Did that Movie Get Made? – Spotlight on the Talent Movies of the WeekAll Talents participating in the Talent Movies of the Week,

moderated by Sandy Lieberson. Presented by sabotage films.

During the Campus week several Talents are given the chance to

realise their previously submitted idea for a short film. With this

year’s host Walter Salles acting as mentor and supported by the

Berlin based production company sabotage films, four digital

short films have been produced.Interviewed by English producer

Sandy Lieberson the participants of the Talent Movie of the Week

report on their experiences during the stressful weeks, that will

reach its crescendo tonight when the Talents vote for the winner

at the Farewell Celebration.14:00 ≠ K1

Packaging Your Product – How to Promote Russian VampiresMarcel Mohaupt. Lecture. Presented by ifs interna-

tionale filmschule köln and Twentieth Century Fox.

The debut feature NIGHT WATCH by Timur Bekmam-

betov was a Russian box office sensation: with over

four million visitors in the first month it was the first

domestic production that seriously struck back against

Hollywood.Its look is geared to Hollywood ideals mixed

up with national elements and the Russian promotion

ran the same strategy – with huge success. One of the

art directors of the film will join Marcel Mohaupt, mar-

keting director of Twentieth Century Fox, in providing

an insight into the international marketing strategy

and the promotion design for NIGHT WATCH.

56-61_promotion_260105.qxd 28.01.2005 15:56 Uhr Seite 61

INDEX OF EXPERTS

INDEX OF EXPERTSAdam, Sir Ken (p.17,29) Production designer and mastermind

behind the sets of many James Bond films and Stanley

Kubrick’s DR. STRANGELOVE. An Academy Award winner for

THE MADNESS OF KING GEORGE and BARRY LYNDON.

Amondson, Nathan (p.31) Production designer who has col-

laborated on the last three features by Wim Wenders.Has also

worked as a storyboard artist,and had a brief acting job in India

as the villain of a Hindi soap opera.

Arsenijevic, Stefan (p.28) Award-winning short filmmaker

from Belgrade.His short film (A) TORZIJA received the Golden

Bear at the Berlinale 2003 and an Oscar Nomination for Best

Short Film.

Asano, Tadanobu (p.52) Actor, musician, director and artist

who enjoys somewhat of a cult status in Japan. He has a

reputation for choosing edgy and challenging roles, and won

Best Actor at the 2003 Venice Film Festival for Pen-ek Rata-

naruang’s LAST LIFE IN THE UNIVERSE.

Asp, Anna (p.29) Swedish art director who designed many of

Ingmar Bergman’s later films, winning an Oscar for FANNY

AND ALEXANDER. Has worked extensively with Danish film-

maker Bille August, including on PELLE THE CONQUEROR.

Barker, Michael (p.31) Co-President of SONY Picture Classics,

and a member of the Entertainment Media and Technology

Dean’s Advisory Board at the Stern School of Business, New

York University. He has been involved with some of the most

successful independent films of the last two decades.

BAUERMEISTER, THOMAS (P.59) AS FREELANCE CREATIVE

PRODUCER,DRAMATURG AND ACQUISITION CONSULTANT HE

IS MEMBER OF THE BOARD OF THE GERMAN FEDERATION FOR

SCRIPT WRITERS AND PROFESSOR AT THE KHM COLOGNE.

BENKE, DAGMAR (P.19, 42) SCRIPT CONSULTANT, AUTHOR

AND LECTURER WHO HAS TAUGHT DRAMATURGY AT THE

BERLIN FILM AND TELEVISION ACADEMY (DFFB). SHE IS NOW

A CONSULTANT WITH BERLIN SCRIPT HOUSE AND BOARD

MEMBER OF VEDRA, THE GERMAN ASSOCIATION OF DRA-

MATIC ADVISORS.

BREILLAT, CATHERINE (P.21) PARIS-BASED FILMMAKER WHO

HAS BECOME WELL-KNOWN FOR HER DISTINCTLY PERSONAL

FILMS ON SEXUALITY AND GENDER TROUBLE,SUCH AS Fat Girl

and ROMANCE. She is also a best-selling novelist.

Ciment, Michel (p.61) A prolific writer, lecturer,and long-time

director of the influential French film journal, Positif. He is

President of the international film critics association FIPRESCI

the author of a number of books and French delegate for the

Berlin International Film Festival.

Counihan, Judy (p.53) Director of Film at Skillset, and in

charge of “A Bigger Future“ – a joint initiative with the UK Film

Council. Her career as producer spans 18 years, winning the

Foreign Language Oscar for both ANTONIA’S LINE and NO

MAN’S LAND.

Cowie, Peter (p.17, 29, 52, 53, 61) The former international

publishing editor for Variety magazine, and author of many

influential books on cinema, including the recently published

Revolution; The Explosion of World Cinema in the Sixties. He

is consultant to the Berlinale Talent Campus.

Craig, Stuart (p.41) Three-time Oscar winning production

designer (for GANDHI, DANGEROUS LIAISONS and THE ENG-

LISH PATIENT), who has designed all of the Harry Potter film

adaptations so far.

Cunningham, Keith (p.19) Script writer who successfully

lectures on storytelling, genres and dramaturgy.

Dai Jinhua (p.61) Professor of Comparative Literary and

Cultural Studies at Peking University,and adjunct professor at

Ohio State University. She has published prolifically on film,

popular culture and women’s literature.

Dansk Skalle (p.43) Swedish filmmaker collective (Filippa

Freijd, Martin Jern, Emil Larsso and Henrik Norrthon) whose

FOURTEEN SUCKS runs in the 14plus competition of this year’s

Berlinale Kinderfilmfest.

Deutsch, Stephen (p.31, 52) Composer who has over thirty

scores for theatre, film and television to his credit, including

Peter Barnes’ Olivier Award-winning play “Red Noses“. Since

2002, he has led the Composing for Film and Television MA

course at the National Film and Television School (UK).

Donohue, Walter (p.21) Publishing film editor for Faber &

Faber,and has collaborated with John Boorman in bringing out

the seminal series “Projections“. Also a story editor on Sally

Potter’s THE TANGO LESSON and Peter Greenaway’s A ZED AND

TWO NOUGHTS.

62-65_experts_280105.qxd 31.01.2005 11:31 Uhr Seite 62

INDEX OF EXPERTS


Doyle, Christopher (p.21, 29) Enigmatic Australian-born cin-

ematographer who has collaborated with some top Asian

filmmakers including Chen Kaige, Zhang Yimou and Wong

Kar-wai on films such as IN THE MOOD FOR LOVE for which he

received the Technical Grand Prize at the Cannes Film Festival

in 2000.

Emmerich, Roland (p.52) German-born director,and the Pres-

ident of the International Jury at Berlinale 2005. His student

film THE NOAH’S ARK PRINCIPLE opened the Berlinale in 1984,

and he has subsequently directed high-profile blockbusters

such as INDEPENDENCE DAY and THE PATRIOT.

Farzanefar, Amin (p.19) Film and culture publicist specialising

in the Middle and Near Eastern cinema.

Ferretti, Dante (p.12, 19) Italian production designer and art

director who designed most of Pasolini’s films of the 1970s,and

also worked on some of Federico Fellini’s later films. An eight-

time Oscar nominee, Ferretti now works consistently with

Martin Scorsese, and is a host at this year’s Campus.

Figgis, Mike (p.59) British-born filmmaker who often also

composes the music for his films.His credits include INTERNAL

AFFAIRS and LEAVING LAS VEGAS for which he received two

Oscar nominations.

Fontaine, Dick (p.29) Head of Documentary Direction at NFTS,

London.He has directed and produced innovative and exper-

imental fiction features, documentaries and groundbreaking

music films with the likes of The Beatles and Art Blakey.

Frayling, Sir Christopher (p.19, 29) Director of the Royal

College of Art, and Chairman of Arts Council England. Sir

Frayling is well-known as a critic,historian and award-winning

broadcaster, and has published on arts, popular culture and

design.

Frears, Stephen (p.19, 21) British director who won interna-

tional recognition for the acclaimed films, THE HIT and MY

BEAUTIFUL LAUNDERETTE in the eighties. His subsequent

credits include DANGEROUS LIAISONS and THE GRIFTERS (for

which he received an Academy Award nomination for Best

Director).

Godard, Agnès (p.52) French cinematographer who began as

a camera assistant on Wim Wenders’ PARIS, TEXAS. In recent

years she has worked as a director of photography with Agnès

Varda, Peter Handke and Claire Denis, winning a César award

for her work on Denis’ BEAU TRAVAIL.

Hayling, Alan (p.41) Head of Documentaries at BBC, and pre-

viously the Director of Development at Mentorn, an inde-

pendent British-based television corporation company. He

worked with Michael Moore on the early stages of BOWLING

FOR COLUMBINE.

HEMILÄ, HANNA (P.42) FINNISH PRODUCER OF THE BERLI-

NALE KINDERFILMFEST CONTRIBUTION Pelikaanimies.

Holl, Stephan (p.52) Specialist in Asian films and head of

Cologne-based distributor REM – Rapid Eye Movies, that

started in the 90s to explore and discover Asian films for a Ger-

man audience.

Koll, Björn (p.59) Producer, Managing Director of Salzgeber,

and the Director of Vertical Strategies, a training programme

for marketing and promoting low budget films.

Korda, Susan (p.51) Has worked as a writer, director and edi-

tor on documentary and narrative films including TREMBLING

BEFORE G-D and her own,ONE OF US.She also teaches at NYU's

Tisch School of the Arts and the International Film School,

Cologne

Koseva, Nadejda (p.28) Bulgarian director who debuted with

a contribution to the omnibus film LOST AND FOUND, open-

ing film of this year’s Berlinale Forum.

Laas, Mait (p.28) Estonian filmmaker and animator whose

film, THE WAY TO NIRVANA won the Grand Prize at the 47th

Oberhausen International Short Film Festival.

Laube, Moritz (p.31) Directing student at the DFFB,Berlin and

alumnus of 2004. Has edited two feature films for Wim Wen-

ders (ODE TO COLOGNE and LAND OF PLENTY).

Levine, Sydney (p.28) Founder and President of Film Finders,

an independent feature film acquisitions, tracking and festi-

val programming database.

Lieberson, Sandy (p.17, 61) Occupies the Chair at Film Lon-

don, and advises a wide range of projects dedicated to the

development of talent in the film and media industries. For-

merly the president of production at 20th Century Fox.

Magnusson, Kim (p.29) Chairman of the Danish Producers’

Association,and Managing Director of the Nordic Film and TV

Drama production companies. Produced the Oscar-winning

short film ELECTION NIGHT. His film ACCUSED is in this year’s

Berlinale Competition.

Malcolm, Derek (p.23) Best known as the highly respected

and long-standing film critic with The Guardian,and author of

A Century of Films.He is also an Honorary President of FIPRESCI

(The International Federation of Film Critics).


INDEX OF EXPERTS

PAGE 64

Martin, Florian “Utsi“ (p.51) Digital Colorist who – among

other films – supervised the digital coloring of the LORD OF

THE RINGS trilogy.

Menegoz, Margaret (p.31) President of Unifrance, an organ-

isation committed to promoting and distributing French

cinema worldwide. As the head of Les Films du Losange, she

has produced award-winning films by directors such as Eric

Rohmer, Barbet Schroeder and Michael Haneke.

Mohaupt, Marcel (p.61) Marcel Mohaupt is Marketing

Director of Twentieth Century Fox.

Moore, Charles (p.41) He is a lawyer at Wiggin & Co.– Solicitors

in London.

Moorsom, Claire (p.17) Freelance story editor and script con-

sultant whose clients include the UK Film Council.

Mundruczó, Kornél (p.28) Hungarian filmmaker who has

made several award-winning shorts and documentaries. In

2002, his film PLEASANT DAYS received a nomination for Dis-

covery of the Year at the European Film Awards.

Mungiu, Cristian (p.19, 28) Romanian director and Talent at

last year’s Campus. His debut feature film OCCIDENT has had

a successful run at many international festivals, winning sev-

eral awards.

Niemeyer, Maren (p.21) Has worked as a journalist for several

German television stations.Covered both the Gulf War in 1991,

and the war in Kosovo in 1999 as a war reporter. Moderates

ARTE womens’ magazine “Lola“.

Nuridsany, Claude (p.41) Paris-born filmmaker who, with his

partner Marie Pérennou, interrupted an academic career to

conduct research into living phenomena.Famous for devising

special scientific camera equipment to shoot the ground-

breaking films MICROCOSMOS and GENESIS.

Olfat, Laylee (p.28, 53) Has worked in the film industry since

1987, and as a casting agent since 2001. Her first feature, the

acclaimed ROGER DODGER, garnered a Best Actor for Camp-

bell Scott from the National Board of Review.

Olsberg, Jonathan (p.17) Chairman of Europe’s leading film

industry strategy consultancy, Olsberg|SPI; runs the indepen-

dent British film production company, Dakota Films and is

also producer for Berlin-based EuroArts.

Panahi, Hengameh (p.31) President of Celluloid Dreams, a

world sales agency that handles a wide range of titles such as

Takeshi Kitano’s HANA-BI.As a producer,she has been involved

with both European and Asian projects.

Pangborn, Annabelle (p.31, 52) Sound designer, composer

and singer who has created soundtracks for a variety of gen-

res, including shorts,animation and dance films,where the role

of music is especially crucial.

Pérennou, Marie (p.41) Paris-born filmmaker who, with her

partner Claude Nuridsany, conduct research into living phe-

nomena. Famous for devising special camera equipment to

shoot the groundbreaking films MICROCOSMOS and GENESIS.

Persitzky, Julia (p.17) Occupational psychologist, who has

been working for Volkswagen Coaching GmbH since 2001,cov-

ering topics such as assessment centers, management train-

ing, team development.

Petzold, Christian (p.59) German filmmaker whose produc-

tions established him as a major figure on the film festival

circuit. His feature credits include WOLFSBURG (winner of the

FIPRESCI award at Berlinale 2003) and THE STATE I AM IN.

Pinto, Antonio (p.42, 53) Composer who has garnered an

international reputation with his work on some of the most

successful and influential Brazilian films of recent years.

Pope, David (p.59) Director of Business Development for CSS

and Pre-Show at DTS (Digital Theatre Systems, Inc.).

Possne, Peter (p.42) Producer at Swedish Sonet Film, co-

producer of FOURTEEN SUCKS.

Prekop, Gaby (p.23) Screenwiter, script editor, and a board

member of SOURCES2. Has also been an associate producer

on SUNSHINE and MEETING VENUS, both by István Szabó.

Puhovski, Nenad (p.28, 41, 51) Croatian filmmaker and

founder of the FACTUM Documentary film project. He has

directed almost 250 TV productions, and several documen-

taries. He holds the chair of New Technology at CILECT.

Rodenkirchen, Franz (p.23) Script consultant, author, and

the director of the consulting branch of Berlin Script House.

He specializes in the area of dramaturgical consulting.

Roy, Rajendra (p.31) Director of Programming for the Hamp-

tons International Film Festival. Previously served as the Film

and Media Arts Program Manager at NY’s Guggenheim.

Ryninks, Kees (p.59) Head of Documentaries for the Nether-

lands Film Fund,and initiator of the DocuZone project in 2001

Salles, Walter (p.17, 32, 53) Brazilian director of CENTRAL

STATION (nominated for a Foreign Language Oscar, and win-

ner of the Golden Bear in 1998) and MOTORCYCLE DIARIES.

Also a co-producer of the acclaimed CITY OF GOD, Mr. Salles

is one of the hosts of this year’s Campus.


INDEX OF EXPERTS


Schadt, Thomas (p.23) Freelance documentary filmmaker

and photographer, and founder of his own production com-

pany,Odyssee-Film.His award-winning documentaries include

DER KANDIDAT and BERLIN SYMPHONY.

Schnellhardt, Astrid (p.17) Studied Strategic Communication

and Planning, and has been working for Volkswagen Coach-

ing GmbH since 2002, covering topics such as assessment

centers, and management training.

Schopper, Jürgen (p.51) Visual Effects Consultant (INDEPEN-

DANCE DAY) AND CREATIVE DIRECTOR AT ARRI, MUNICH.

Schreyer, Peter (p.19) Designer with German automakers

Volkswagen.He received the prestigious German Design Prize

in 2003 for helping to push the auto industry in new directions

with his sporty and innovative designs.

Scott, Jordan (p.19) London-born filmmaker who has

directed music videos, commercials, and public service

announcements for Project Exile – a government-funded pro-

gramme that advocates for gun control.

Scott, Ridley (p.19) Renowned British filmmaker whose work

includes the highly influential science fiction classics BLADE

RUNNER and ALIEN. Has been nominated for a Best Director

Academy Award on three occasions.

Shedde, Meenakshi (p.19) Freelance critic and film consul-

tant in India. She was formerly an assistant editor with Times

of India, and is an international delegate for the Berlinale

Forum.

Shipman-Müller, Marc (p.41) Marc Shipman-Müller is respon-

sible for tthe Technical Camera Marketing at Arri.

Sider, Larry (p.31,52) Co-founder of the School of Sound and

Head of Post-Production at NFTS in London. As a sound edi-

tor and designer,his work has crossed between documentary,

drama and animation.

Stützle, Christiane (p.41) Associate for the law firm, Hogan

and Hartson Raue. Her practice focuses on intellectual prop-

erty and media and communications law.

Sychowski, Patrick von (p.59) Head of Strategic Business

Development at Unique Digital Ltd. He is a leading authority

on digital cinema, founding and editing E-Cinema Source.

Telford, Naomi (p.23) Development Executive at the UK Film

Council.

Thompson, David M. (p.29) Head of BBC Films, the Corpora-

tion's cinematic arm that has been involved with prominent

British films of recent years, including BILLY ELLIOT and DIRTY

PRETTY THINGS.

Todd, Lina (p.28, 53) New York-based casting director and

development executive whose credits include YOU CAN

COUNT ON ME and NICHOLAS NICKLEBY. In 2001 she created

the Rising Star programme at the Hamptons International

Film Festival.

Toth, Judith (p.42) Sales agent at Nonstop Sales, a Swedish

sales agency having three films at this year’s Berlinale Kinder-

filmfest.

Trijbits, Paul (p.29) Head of the New Cinema Fund at the UK

Film Council, supporting award-winning projects such as

TOUCHING THE VOID and BLOODY SUNDAY.

Veiel, Andres (p.23) German filmmaker who has made a mark

with award-winning documentaries such as BLACK BOX BRD

(European Film Award). His latest film, ADDICTED TO ACTING

received the Panorama Audience Award at last year’s Berlin

International Film Festival.

Wada Emi (p.24, 29) Japanese costume designer who been

associated with filmmakers like Peter Greenaway and Zhang

Yimou. Won an Academy Award for her costumes in Akira

Kurosawa’s RAN and is one of this year’s hosts for the Campus.

Wenders, Wim (p.31) Director of THE SKY OVER BERLIN, THE

END OF VIOLENCE, and PARIS, TEXAS, all of which won the

Golden Palm at Cannes. His recent film is LAND OF PLENTY.

Werner, Michael (p.42) Sales agent at Nonstop Sales, a

Swedish sales agency having three films at this year’s Berlinale

Kinderfilmfest.

Wiesinger, Kati and Kai (p.29, 47) Kai Wiesinger, German

actor-turned-director who has starred in successful films such

as COMEDIAN HARMONISTS. He has won the PLANET

Documentary Award for his directorial debut, ERUV – THE

WIRE, produced by Kati Wiesinger’s Arranque Film.

Wingate, David (p.19) Script advisor and board member with

SOURCES2,working with fiction and documentary projects.He

has also made a feature and several short films in Norway.

Zbanic, Jasmila (p.28) Bosnian artist and filmmaker, who

has received widespread acclaim for her video work and the

documentary film, RED RUBBER BOOTS.


JJaann SSCCHHUUEETTTTEE,, PPeetteerr SSEEHHRR,, JJuulliiee MMEEIINNKKEENNFFIILLMMAAKKAADDEEMMIIEE BBAADDEENN--WWÜÜRRTTTTEEMMBBEERRGGMMaatthhiillddeennssttrraassssee 22007711663388 LLUUDDWWIIGGSSBBUURRGGGGEERRMMAANNYY

www.filmakademie.de

MMaarrcc NNIICCOOLLAASS,, CChhrriissttiinnee GGHHAAZZAARRIIAANNLLAA FFEEMMIISS

66 rruuee FFrraannccooeeuurr7755001188 PPAARRIISS

FFRRAANNCCEE

www.femis.fr

PROMOTION 2004 – 2005MARIA BLICHARSKA, POLAND - SÉBASTIEN CHALMETON, FRANCE - VANESSA CISZEWSKI,FRANCE - DELPHINE CROZATIER, FRANCE - ANAÏS DUPUIS, FRANCE - SOPHIE LEBRETON,FRANCE - DAMIEN MC DONALD , FRANCE - UK - RUSTA MIZANI, GERMANY - FALK NAGEL,GERMANY - SARAH NAGEL, GERMANY - MIKOLAJ POKROMSKI, POLAND - MARTARAVANI, ITALY - MICHAEL REICHENBERG, AUSTRIA - ELENA VON SAUCKEN, GERMANY -HÉLÈNE SEGOL, SWEDEN - SARITA SHARMA, GERMANY - JOANA VOGDT, GERMANY -DAVID ZUPNIK, FRANCE

PROMOTION 2003 – 2004JENNY ALTEN , GERMANY - MARTIN BLANKEMEYER, GERMANY - CATHERINE BODE, GERMANY - JOAN BORRELL MAYEUR, SPAIN - LEONIE-CLAIRE BREINERSDORFER, GERMANY- LAURE CAILLOL, FRANCE - FRANÇOIS CHOQUET, FRANCE - AGNÈS DURVIN, FRANCE -ROMAN FASCHING, AUSTRIA - TAMAS JOO, HUNGARY - MONIKA KACZMAREK, POLAND -JOACHIM KNAF, GERMANY - RENÉE KOUDSTAAL, NETHERLANDS - MONICA MELE, ITALY -CASSIA SAKAROVITCH , FRANCE - AGATA USIDUS, POLAND - HANNEKE VAN DER TAS,NETHERLANDS - FABIEN WESTERHOFF , GERMANY

PROMOTION 2002 – 2003JULIEN AUGER - OTTAVI, FRANCE - CARLO AVVENTI, ITALY - ALEX BODEN, ENGLAND -CHRISTOPHE BRUNCHER, FRANCE - JESSICA LANDT, GERMANY - KATI LYDING, GERMANY -PHILIPP MOSSER, AUSTRIA - KATHARINA MOSSER, GERMANY - RHIAN O'BYRNE,ENGLAND - MALIKA RABAHALLAH, FRANCE - FRANCA RAINER, AUSTRIA - NICOLERINGHUT, GERMANY - GAELLE RUFFIER, FRANCE - SVEN SCHNELL, GERMANY - CHRISTERVON LINDEQUIST, GERMANY

PROMOTION 2001 - 2002DANIELA BARSCH, GERMANY - ANNE BERTHEAU, FRANCE - CARSTEN BÖHNKE, GERMANYROBERT CIBIS, GERMANY - WILLIAM FRANCK, FRANCE - INGA JURGENSEN, GERMANY -MATTHIAS LUTHARDT, GERMANY - CAROLINE NOKEL, GERMANY - ERIKA RETTIG-MICHAELS,GERMANY - JULIAN SCHWANTES, FRANCE - AGNES TRINTZIUS, FRANCE

L’ATELIER / MASTERCLASSA one-year programme actively training since 2001

a new generation of young European producers

La Femis_GermF 20.01.2005 15:16 Uhr Seite 1

VIRTUAL BERLINALE TALENT CAMPUS


The terminals in the Campus Lounge offer various possibilities to research and find information on all particpating Talents.

As you open the doors of the House of World Cultures you enter an area

packed with information on display in the exhibition booths. Furthermore,

the Berlinale Talent Campus Lounge invites you to discover the virtual

reality of Planet Talent. Several terminals have been installed in the huge

foyer with access to the Berlinale Talent Campus online database. Since last

year, a worldwide community of film Talents has been established on the

internet. Every invited Talent is offered the chance to present herself/him-

self with all the important facts from curriculum vitae to filmography and

of course the one-minute film with which they applied to the Campus.With

information on more than 1.500 filmmaking Talents from all over the world,

the Virtual Berlinale Talent Campus offers a high substantial pool of

communication between young artists.

Additionally,our website www.berlinale-talentcampus.de also functions as

a virtual film school: highlights from the programme at last year’s edition

of the Berlinale Talent Campus are presented online. Also a selection of the

2005 programme will be available online in the form of tele-lectures and

transcripts.Moreover the terminals will give you access to the daily editions

of The Talent Press publication.So everyone is invited to be part of the Virtual

Berlinale Talent Campus from February 12 – 17 in the Campus Lounge, but

also from back home: the community never sleeps, and the database is

constantly being updated by the Talents themselves.

In addition to the terminals, Apple computers with internet access are

available for all visitors at the Berlinale Talent Campus Lounge – so it is easy

to communicate with those back home ...

Exhibitors at the

Berlinale Talent Campus Lounge

The Berlinale Talent Campus Lounge

is open between 10:00 and 20:00h.

The following exhibitors are present-

ing their programmes and activities:

Apple, AVID, DTS, ifs internationale

filmschule köln, Maurits Binger Film

Institute, Media Business School

(Madrid), Medienboard Berlin-

Brandenburg/Berlin Today Award,

NIPKOW PROGRAMM,Skillset / The UK

Film Council and SOURCES2.

The Piemonte Lounge

In addition to the Campus Lounge,

the Film Commission Torino Piemonte

and Lavazza are sponsoring a Chill Out

Lounge in which the Talents can relax

and chat with new friends, or just sit

back and collect their thoughts. This

lounge will be a non-smoking area

and will offer free Lavazza espresso!

LOUNGE TIME! Besides all the activities you are confronted with at the Campusthere is still more to discover: an exhibition of institutions, virtualservices and the chill-out area. Discover our Lounges!

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Planet Talent is alive after three years of consistent

work since June 2002! In 2005, we invite for the

third time,530 young filmmakers from 90 countries

to get together at the House of World Cultures.

For one week, we become world citizens, without

considering colour, religion, political, social or eco-

nomic background. We just come together for our

common passion: making films and documenting

the reality of our lives in our countries.

We sincerely hope that you,as Talent,guest,partner

or sponsor,feel this fresh,ground-breaking and opti-

mistic spirit.After February 2005,we will have 1.500

alumni from 100 countries under the umbrella of the

Planet Talent network of collaboration and

exchange.

Apart from the 98 experts and moderators from 24

countries who come to teach at the Campus, we

would like to thank our partners, event partners,

sponsors and supporters.

Without your financial and intellectual support and

trust, the Planet Talent would not exist!

Christine Dorn

Director of the Berlinale Talent Campus

NOTE OF THANKS

PAGE 68

APPLE Stephan Buchmann,Gerald Golisch.ARRI Franz Kraus,

Antonio Exacoustós and Paul Ivan.ARTE Maren Niemeyer for

moderating “Directing Sex“. ARTEVENT André Heller and

Robert Hofferer for supporting “Shoot Goals! Shoot Movies”

right from the beginning. AVID Michael Dalock-Schmidt.

AVISTURA Iris Stark and Ralf Mittelbach for the cool screen-

ing room and the editing system for “Shoot Goals! Shoot

Movies!”. BBC David Thompson and Alan Hayling for being

with us. BERLINER PILSNER Bettina Pöttken. CANON Bet-

tina Steeger.CNC Catherine Colonna and Xavier Merlin for real-

ising the French Connection. DEUTSCHE BAHN Gabriele

Handel-Jung and Melanie Diehl for the train vouchers.

DEUTSCHE WELLE Rainer Traube,Melanie Matthäus,Bettina

Kolb and Fred Oelschlegel for the Campus Dailies and the

Campus Diary. DOC CLINIC Andres Veiel, Thomas Schadt,

David Wingate, Alan Hayling, Dick Fontaine and Nenad

Puhovski for mentoring doc ideas.DOLBY Ioan Allen,Graham

Edmonson and Hubert Henle for funding the new award for

the VW Score Competition. DTS Michael Krauth and Anne-

mieke Groeneveld. EUROPEAN FILM ACADEMY Marion

Döring,Bettina Schwarz and Pascal Edelmann for always being

spontaneous with us in terms of event planning.EUROPEANFILM MARKET thanks for the excursions Beki & Karen &

Tilmann & Michael. EUROPEAN FILM PROMOTION Renate

and Karin for bringing in Lina Todd. FEDERAL FOREIGNOFFICE Ludwig Linden, Matthias Ohnemüller, Guy Féaux de

la Croix and Gisela Streubel for the ongoing funding of all our

ideas. FILM COMMISSION TORINO PIEMONTE Marco

Boglione, Angelo Acerbi and Giorgio Fossati for the wonder-

ful Piemonte Lounge, the wine and the music from Italy.

FIPRESCI Klaus Eder, Meenakshi Shedde, Joseph Schnelle,

Derek Malcolm for “The Talent Press“.FRENCH EMBASSY IN

DISCOVER THE PLANET TALENT!

66-71_art+thanks_260105.qxd 28.01.2005 16:05 Uhr Seite 68

NOTE OF THANKS


BERLIN AND BUREAU DU CINEMA. Anne Schesch and

Laurence Lochu-Louineau gaining all the French experts for

us. GAHRENS + BATTERMANN Michael Kugel. GERMANACADEMIC EXCHANGE SERVICE Dorothea Fitterling.

GERMAN FEDERAL FILM BOARD Peter Dinges, Christine

Berg and Thomas Bauermeister for intensifying our coopera-

tion.GOETHE FORUM.Christoph Bertrams for supporting The

Talent Press.GOETHE-INSTITUT Prof.Dr.Jutta Limbach,Detlef

Gericke-Schönhagen and Christoph Mücher for showing

“Shoot Goals! Shoot Movies” around the world.

GOROL&PARTNER Stephan Gorol & Leonie Wuerfel & Ronald

Schulze & Alexander Bette:You rock the Campus! HAMPTON’SFILM FESTIVAL Rajendra Roy for moderation and the actors

lunch.HOGAN HARTSON RAUE BERLIN Prof.Dr.Peter Raue,

Christiane Stützle and Dr. Mareile Büscher for hosting our

party and the two events.HOUSE OF WORLD CULTURES Dr.

Hans-Georg Knopp, Doris Hegner, Shaheen Merali, Becky Ann

Gilbert and Mr.Volkery for the cool location and the patience.

HUGO BOSS. Claudia Schmidt for the wonderful college

sweaters, which keep us warm. INTERNATIONALE FILM-SCHULE KÖLN Miriam Edinger, Alexandra Ohlsen and Mar-

cel Mohaupt. KULTURJAHR der ZEHN Dr. Zsuzsa Breier for

the Talent Happy Hour.KODAK Klaus-Georg Hafner for Agnès

Godard and the Talent Happy Hour. MARTIN GROPIUS BAUGereon Sievernich and Maja Keppler for the access to the

Stanley Kubrick Exhibition. MEDIA BUSINESS SCHOOLMADRID Hugo Lasarte and Ana Laguna. MEDIA TRAININGViviane Reding, Costas Daskalakis and Judith Johannes for

their trust in us. MEDIENBOARD BERLIN-BRANDENBURGPetra Maria Müller, Kirsten Niehuus, Frank Stehling, Karen and

Christiane for their outstanding support: Berlin Today Award,

Berlin Angels Day and the Talent Happy Hour.MITTE’S BACK-PACKER HOSTEL Martin for hosting our Talent.NATIONALEDFB KULTURSTIFTUNG WM 2006 Dr. Volker Bartsch,

Monique Jajo, Gerrit Haaland and Raju Sharma for financing

“Shoot Goals! Shoot Movies!”. NEUBACHER BERLIN Antonia

for the great design.NIPKOW PROGRAMME Uta Ganschow.

PLANET TV James W.Wells and Oliver Proebst for the PLANET

Documentary Award and Kai and Kati Wiesinger for sharing

“Eruv – The Wire” with us. PRADA and RSA USA Ms Prada,

Verde Visconti, Jules Daly and Fran McGivern for bringing in

Jordan and Ridley Scott. RETROSPECTIVE Connie Betz and

Ralph Eue for the wonderful collaboration in terms of pro-

duction design.ROBERT BOSCH STIFTUNG Frank Albers and

Josef Krieg for their support and the Talent Happy Hour.

SABOTAGE FILMS Karsten Aurich, Martin Cichy, Kathrin

Isberner for producing the Talent Movies of the Week.SCRIPTCLINIC Gaby Prekop, Claire Moorsom, Naomi Telford, Franz

Rodenkirchen and Walter Donohue for mentoring scripts and

SCRIPT HOUSE BERLIN Dagmar Benke and Jürgen Seidler

for supporting the Script Clinic. SCHOOL OF SOUND Larry

Sider,Annabelle Pangborn and Stephen Deutsch for two great

workshops. SEASIDE PICTURES. Dirk Grau for editing the

football compilation. SERVE-U Phillip Sünderhauf for check-

ing the database. SKILLSET Judy Counihan, Gary Townsend,

Rachel Duke, Helen North and Luke Savage for their tremen-

dous support. SONY Ursula Boedeker and Anke Illigen.

SOURCES2 Dr. Renate and Marion Gompper for supporting

the script clinic every year.TALENT PROJECT MARKET Sonja

and Kathi for rocking this project with us! T-SYSTEMS Jörg

Brüggen, Ronald Bär and Carsten Busch. TV 5 Frédéric

Mitterand, Fabrice Grandhomme and Arnaud Genestine for

bringing in Talents and providing the Talents with 700 bags.

THE UK FILM COUNCIL LONDON Paul Trijbits, Tina & Ian &

Jo & Emily & Sally for their outstanding – and Sandy Lieberson

for being with us in the third year, helping us tremendously

on the programme. VEDRA Blanca Dahms for organising the

discussion on cultural identities.VFF Dr.Johannes Kreile,Prof.

Dr.Norbert Flechsig and Prof.Dr.Georg Feil for supporting the

Talent Highlight Pitch. VÖSLAUER Jörg Ebner for the ener-

gizing water from Austria.VOLKSWAGEN AG Christiane Krebs-

Hartmann,Dirk Große-Leege,Steffen Schier,Thomas Rotter and

Martina Neumayer for their trust, for the Volkswagen Score

Competition, the Campus Diary and the beautiful German

“Autos“.VOLKSWAGEN COACHING Sabine Schönberg, Julia

Persitzky and Astrid Schnellhardt for Talents on teamwork.

VOLKSWAGEN SCORE COMPETITION Antonio Pinto for

his committed mentorship, Prof. Bernd Wefelmeyer for super-

vising, Volker Uri and Christian Colmorgen from Cine Plus

Media Services, Klaus-Peter Beyer for providing the Deutsche

Filmorchester Babelsberg, Martin Todsharow, Michael Reuter

from Elektrofilm for the mix and Wolfgang Becker from X-

Filme for GOODBYE, LENIN! – thanks to all of you for this sup-

port.20sec.net Jens Rietdorf and Robert Wagner for the web-

site and the programming. BERLIN INTERNATIONAL FILMFESTIVAL Dieter Kosslick and his team – Karen, Johanna,

Andrea and Benny, especially the delegates for spreading the

word about us abroad, Dagmar & Yolanda, Agnes and Kathrin

for handling our industry sponsors, Johannes and Wolfgang

for their trust, the section heads Thomas, Alfred, Wieland and

Christoph for their cooperation, Heike & Sabine for the

publications and finally the multi-national members of the

CAMPUS TEAM Betti, Birgit, Christine, Debora, Friederike,

Marjorie, Sorrel, Steffi, Valeria, Andrew, Neel, Nick, Marcus,

Tommy, Oli, Philipp, including Peter Cowie’s ongoing advice –

you are the best team we ever had…!

66-71_art+thanks_260105.qxd 29.01.05 15:43 Seite 69

TEAM AND IMPRINT

Berlinale Talent Campus Team 2005Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christine DornTalent Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas StruckFinance & Administration Manager . . . . . . . . . . . . Christine Tröstrum Programme Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . Friederike BeckSponsorship Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Betti PabstProduction Assistant. . . . . . . . . . . . . . . . . . . . . . . . . . . Sorrel JardineFinance and Administration Intern. . . . . . . . . . . . . Jan Philipp SchulzeReception. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steffi HofmaierTalent Administration. . . . . . . . . . . . . . . . . . . . . . . . . . Marjorie Bendeck, Nick RouxTalent Project Market . . . . . . . . . . . . . . . . . . . . . . . . . . Kathi Bildhauer, Martina Bleis, Sonja MoerkensGuest Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jana DaedelowOnline Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marcus ForchnerIndustry Sponsorship Berlinale . . . . . . . . . . . . . . . . Dagmar ForelleEditor Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Oliver BaumgartenPress Coordinator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Televisor – Birgit Mangold, Michael P. AustSelection Comittee . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marjorie Bendeck, Valeria Richter, Andrew Amondson, Neel ChaudhuriIT Project Management . . . . . . . . . . . . . . . . . . . . . . . 20sec.net – Jens RietdorfIT-Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . serve-u – Phillip Sünderhauf, Andreas BuchholzEvent Agency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gorol & Partner – Leonie Würfel, Stephan GorolGraphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rosendahl Grafikdesign – Anja Rosendahl, Lars BorngräberCover Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Antonia Neubacher

ImprintCirculation 6.000 Advertising Berlinale Talent Campus Betti Pabst Editorial Office Oliver Baumgarten, Neel Chaudhuri,

Christine Dorn Cartography Runze & Casper, Berlin Photography Berlin International Film Festival, mai.foto – Ute Langkafel,

Frank Paul, Filmarchiv Schnitt Verlag, Köln and all cooperation partners, distributors and filmproductions Design Rosendahl

Grafikdesign Print Office Druckhaus Berlin-Mitte Publisher Berlinale Talent Campus, Potsdamer Straße 5, 10785 Berlin, phone:

+49 30 259 20 515, fax: +49 30 259 20 519, e-mail: [email protected], www.berlinale-talentcampus.de, an initiative

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

The Berlinale Talent Campus Team (from left to right):

Row in the back: Jan Philipp Schulze, Valeria Richter,

Kathi Bildhauer, Sorrel Jardine, Marjorie Bendeck,

Betti Pabst, Nick Roux, Steffi Hofmaier, Marcus Forchner,

Friederike Beck. Row in front: Andrew Amondson,

Neel Chaudhuri, Christine Dorn, Thomas Struck,

Christine Tröstrum

70_imprint_270105.qxd 29.01.05 15:55 Seite 70

In Cooperation with

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of Kulturveranstaltungen des Bundes in Berlin GmbH,

in cooperation with MEDIA Training, Medienboard Berlin-Brandenburg, Skillset, the UK Film Council and Volkswagen.

Co-Partner

Supporter

01-U4_umschlag_0105 28.01.2005 14:48 Uhr Seite U3

www.berlinale-talentcampus.de

“I try to observe and explore the place where inner states and outer realities meet.” Itamar Mendes-Flohr, Israel


“WISH I COULD EDIT LIFE AS WELL.”€¦ · 530 young filmmakers from 90 countries get together...

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