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Racconti #2 BLS - SCRIPT LAB

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Content Welcome to RACCONTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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FAQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 BLS – Production preparation funding . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Creative Advisors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Guest Lecturers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Project Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 RACCONTI #2 Jury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Participants & Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

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Welcome to RACCONTI Does the industry need another script-development program and, moreover, one that takes place in the seclusion of the mountains? True, a screenwriter can travel the globe from his or her desk – but it is usually solitary travel. We would like to change that. RACCONTI is a new script-development program for professional screenwriters who look beyond the confines of their national markets, and want to develop projects for co-productions with the help of international experts and in creative exchange with colleagues from neighboring countries. This cross-cultural aspect is essential to the program. Behind RACCONTI is the film-funding program of BLS Südtirol – Alto Adige, which sees itself as a mediator between the Italian and German-language markets. The program’s long-term goal is to develop scripts, through ongoing exchange, that can be realized as co-productions between Italy and Germany or Austria and that are set in South Tyrol. The support BLS offers RACCONTI participants goes far beyond the two actual workshops in South Tyrol: the writers, in fact, receive continual dramaturgical support as they develop their scripts. An inherent part of the program is online tutoring during the entire development phase. The goal is to develop marketable treatments and present them to the industry within a few months so that interested producers can submit these projects for BLS development funding the same year. In 2011/12, BLS initiated the first RACCONTI Script Lab for feature film projects. Eleven scripts were developed at that workshop; Italian or German producers picked up three of these projects in 2013 and have now received development funding for them from BLS. Encouraged by this high level of acceptance, we have approached RACCONTI #2 in a somewhat new way: developing concepts for television series. Here, too, vision is combined with a pinch of pragmatism: the development of a television series is more difficult, more exciting, and definitely necessitates more teamwork – not to mention a good dose of optimism. At the same time it is exactly this genre that, in the face of declining broadcaster budgets and the increasingly international viewing habits of audiences, offers for European co-productions – and promotes in the case of a production a filming location over the long term. RACCONTI #2 threw down quite a particular gauntlet: To develop a TV series that is tailored for the Italian and German-speaking markets. Eleven writers from Italy, Germany and Austria, selected by a jury, have risen to the challenge. Individually supervised by three mentors and supported by two guest lecturers, they have created concepts for a series in the script lab, over the course of six months. We now welcome you to enter into the worlds of these series, wish you pleasurable reading, and hope that you come across some intriguing projects and writers in this way.

Christiana Wertz Head of Film Fund & Commission

Sandra Buchta Concept & Coordination, RACCONTI #2

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FAQ What is RACCONTI? RACCONTI is a script-development programme and advanced training initiative for professional screenwriters. Who may apply? All professional screenwriters may apply, but the programme is targeted specifically at writers from the Italian and German language areas. Talented writers from South Tyrol (including those from outside of the industry) are expressly urged to apply. What projects are we looking for? We are looking for projects that are suitable for a co-production between Italy and Germany or Austria and have a connection to South Tyrol. The thematic focus may shift each year: RACCONTI #1 dealt with feature films; RACCONTI #2 with TV series. Check out the next call for entries. Who selects the projects? A jury is comprised of experts from the film industry in Italy and and the Germanlanguage areas, together with cultural representatives from the region. When does RACCONTI take place? The script lab is an annual BLS programme and takes place from February – July. The call for entries starts in September; the application deadline is in mid-November.

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What does the programme offer? Over the course of two 4-day workshops in South Tyrol and through individual dramaturgical consultations (online), writers develop their material into marketready treatments with the support of international experts. In addition to the three story consultants who guide the development process, these include guest lecturers who focus on current themes relevant in the target markets. How do the screenwriters benefit? 路 BLS presents the projects to producers and network representatives in Italy, Germany and Austria. 路 The writer who delivers the most compelling treatment, as determined by a jury at the end of the programme, will receive a Development Award (EUR 5,000) and a stipend covering a 3-week writing stay in South Tyrol (RACCONTI Residency). 路 Participants have a tangible chance of attaching a producer to their project and thus obtaining development financing for the project from BLS. Does it work? Out of 11 projects developed in the first RACCONTI Script Lab, three currently have producers attached to them and have been granted development funding from BLS. How much does it cost? Participation in the RACCONTI Script Lab is free of charge. Travel costs are borne by the participants.

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BLS – Production preparation funding You’re interested in further developing one of the projects presented here? Then let us answer a few of the most important questions regarding potential production preparation funding! What does BLS production preparation funding encompass? With this type of funding, support is provided for project development and production preparation, in particular. In exceptional cases – for example in the case of projects which were developed within the framework of RACCONTI #2 – support is also provided for screenplay development. One of the most important prerequisites for production preparation funding is that the project can prove a cultural reference to South Tyrol, thus making it suitable, to a great extent, for shooting in South Tyrol at a later date. The Cultural Reference The cultural reference of a project can be defined as the material itself, but also as film professionals, in particular the producer, writer or director. The cultural reference can also be defined in relation to a particular subject matter and/or personality or character, which has current, social, historical, political, economic, scientific or cultural relevance to the region of South Tyrol. The mere fact that a project is deemed suitable for a film shoot in South Tyrol, however, cannot be recognized as a cultural reference. With the framework of the application process, you have the possibility to highlight and substantiate this cultural reference, in particular in a Producer’s Note, Writer’s Note, Director’s Note and, of course, within the treatment or the screenplay, should a screenplay already be in existence. Who is eligible? As a rule, production companies are eligible to submit applications for the BLS funding model. In the case of a co-production, the application is generally submitted by the majority producer. If a South Tyrolean producer is involved in a national or international co-production, a further exception takes effect. In this case, the South Tyrolean producer is to submit the application, regardless of the producer’s status within the co-production group. Please note that this information pertains primarily to feature film productions. In cases of projects planned as television co-productions, you are advised to seek consultation with a BLS funding consultant. Extent and Type of Funding Within the framework of the BLS funding model, a maximum of 50% of the calculated production preparation costs can be supported, not exceeding a maximum of 50,000 Euros per project. Accumulations with other sources of funding beyond the 50% limit are also possible. Production preparation funding does not require a specific regional effect. BLS provides funding in the form of non-repayable financial grants – regardless of the economic success of the production.

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From Application to Disbursement Applications for production preparation funding may be made, revised and submitted at any time via the BLS online portal. Applications will be considered during the following period of review. Personal consultation with a BLS funding consultant is required prior to application submission. In order to be eligible for consideration for production preparation funding, the following supporting documents are required: · a synopsis · a calculation of preparation measures · a description of the measures · a financing plan of the production preparation · an exploitation concept · a 10-page (minimum) to 12-page (maximum) treatment · the screenplay (if already in existence) Projects to receive funding will be determined within six to eight weeks after commencement of the period of review. Disbursement of the funding amount is made in three installments. The first partial installment (50% of the funding amount) is disbursed upon completion of the financing. The second partial installment (25% of the funding amount) is disbursed following an audit of expenses and a report of the further development of the project; the third partial installment (25% of the funding amount) is disbursed following an audit of the final report, results and total expenditure.

Application Deadlines Application deadlines for the year 2013 and 2014 are: 9 October 2013 (Funding decisions will be made on 2 December 2013) January 2014 May 2014 October 2014

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Creative Advisors

Giacomo Durzi Screenwriter, Director, Producer

Education · Graduated at the National School of Cinema of Roma (Centro Sperimentale di Cinematografia) · Master Media ARISTA (European master for writers and story-editors) · Graduated in LAW at the University of Bologna · Attended a scholarship for screenwriting and directing at the London International Film School Selected working experiences As a screenwriter he wrote several TV movies and TV series for Italian TV and has been working for the main production companies such as Tao Due (“Distretto di polizia”, “RIS”), Grundy-Freemantle Italy (“Liberi di giocare”,“La nuova squadra”) Cattleya, Publispei (“I Cesaroni”), and Magnolia (“Camera cafè”, “Vicky tv”). Recently, he wrote the Italian adaptation of the series “In treatment” (Wildside for Sky Cinema), and is currently writing a new tv series, “Sicilia Connection” (Tao Due for Mediaset). As an editorial consultant, he worked for NBC Universal Italy and Fox International Channels, launching new channels, selecting and developing the productions for Fox Life and History Channel. He also worked as head writer and script consultant for Mediavivere-Endemol Italy and Itc Movie, developing new formats for TV series, and for Tandem Communications. As a director, he wrote and directed several documentaries for Italian and European broadcasters such as RAI, The History Channel, NBC Universal Network, CHANNEL 4 and MTV. His last film “SB I knew him well”, has been world premiered in competition at the 2012 Festival Internazionale del Film di Roma, selected in many other international film festivals and released in theatres and tv in Europe. As a producer, he produced short films, documentaries and features such as “L’estate di mio fratello” by Pietro Reggiani (in competition in many international festivals, won several prizes such as the Jury Prize at the Tribeca Festival in 2005), and “Non pensarci” by Gianni Zanasi, in competition at the 2007 Venice Film Festival. He is a member of the “Associazione 100Autori” board, the Italian guild for screenwriters, Italian delegate of FERA (Federation of European Film Directors), and of the executive board of “Giornate degli Autori-Venice Days” of the Venice International Film Festival.

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Tom Schlesinger Screenwriter, Dramaturg and Screenwriting Consultant

Tom Schlesinger was the story consultant on the HBO documentaries “Prom Night in Mississippi” with Morgan Freeman and “A Small Act,” both premiering at Sundance. He co-executive produced “The Last White Knight,” which premiered at the 2012 Toronto Film Festival, and he was Creative Producer on “Shirley: Visions of Reality,” which premiered at this year’s Berlinale. Tom was Creative Producer on the documentaries, “Startup Weekend: Education,” and “BadBadNotGood” which just premiered at the SXSW 2013 Film Festival. Tom was the story consultant on “Nowhere in Africa,” which won the Academy Award for Best Foreign Film in 2003, and on “Beyond Silence,” which was nominated for an Academy Award. As a story consultant, Tom’s clients have included M. Night Shyamalan, Francis Coppola’s Zoetrope Studios, Miramax, Universal Studios, Columbia Pictures, Constantin Film Production, and X-Filme in Berlin, Tom has taught film seminars for Pixar Animation Studios, Lucasfilm Ltd., the American Film Institute, the Writers Guild of America, the Directors Guild of America, and the National Film Schools in Berlin and Munich. Tom also facilitates Human Potential seminars including: “Art as Transformation” at UCLA; “Myths, Dreams and Movies” at the Esalen Institute, the Saybrook Institute and The California Institute of Transpersonal Psychology; and “Creative Flow: the Inner Reaches of Outer Space,” at the Academy of Art in Munich. He lives in Santa Monica, California.

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Daniel Speck Screenwriter

Screenplay (Selection) · “Maria, ihm schmeckt’s nicht!” (Maria, He Doesn’t Like It!) – Film, comedy based on the Jan Weiler bestseller, Producer: Claussen+Wöbke+Putz · “Zimtstern und Halbmond” (Cinnamon Star and Half Moon), Christmas film, family comedy, Claussen + Wöbke + Putz for Bavarian Broadcasting/ Degeto · “Meine verrückte Türkische Hochzeit” (Kiss Me, Kismet) – Romantic comedy RAT PACK for PRO7 · Adolf Grimme Award (2007) · Bavarian TV Award (2007), best screenplay · Jury Prize, 3sat Audience Award at the Baden-Baden Television Film Festival (2006) · “Fischer fischt Frau” (Fischer Seeks Wife) – Film, romantic comedy, Constantin TV for ZDF · “Im Club der Millionäre” (In the Millionaire’s Club), Thriller, Bioskop Film for PRO 7, Co-Writer: Keith Cunningham Visiting lecturer and dramaturg for, among others · Munich University for Television And Film · Cologne International Film School · Atelier Ludwigsburg-Paris · German Film and Television Academy In Berlin · Munich Screenplay Workshop · Munich University Of Music and the Performing Arts · Institute for Applied Creative Psychology, Munich Current projects · “Was Männer wollen” (What Men Want) – Film, romantic comedy, Yellow Bird Pictures · “Antonio im Wunderland” (Antonio in Wonderland) – Film, comedy based on the bestseller by Jan Weiler, Bavaria Film · “Familie für Anfänger” Comedy, Claussen+Wöbke+Putz für BR/Degeto · “Lutz und die Frauen” Reihe, Nord Film für NDF/Degeto

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Guest Lecturers

Sibylle Kurz Coach and communication trainer

Sibylle Kurz is a merchant and psychologist by training. She has working experience in the music and event business as well as in film licensing, acquisition and distribution for the German film- and television market. Additionally she has an academic background in media- and communication science, sociology and psychology and a postgraduate education as communication skills trainer and Certified NLP-Trainer (INLPTAssociational standards). Since 1994 she freelances as a coach and communication trainer for the media-, arts- & culture industries, with specializing expertise in “The Art Of Pitching”. Her clients are European training programs & workshops, corporations, production studios, publishing houses and individuals, who will also call her in as a script doctor for fictional and non-fictional projects or to help them prepare the presentations for sales-meetings and markets. Sibylle teaches „The Art of Pitching“ since 18 years at acclaimed national and international film schools. Her intensive workshop sessions enable participants to hone and time-tune their ideas, concepts and projects prior to pitching as well as gain insight into strengths and weaknesses of their own professional practice. She is a member of the EDN – European Documentary Network and constant part of the EAVE-pedagogical team. Her motto: Say what you think, do what you say, be what you do! Publications · Pitch It! – Die Kunst, Filmprojekte erfolgreich zu verkaufen. 2nd revised edition October 2008, UVK Konstanz, 3rd revised edition to come in 2014 / Translation into Czech, October 2014, published by FAMU, Prague · Low-Budget-Filme. Vertrieb und Marketing optimieren. Konstanz, UVK, April 2006 · Filmlehren. Ein undogmatischer Leitfaden für Studierende. Collection of articles. 2013 Beltz + Fischer

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Roberto Amoroso Original Drama Creative Director, Sky Italia

Profile · Expert in screenwriting & story editing · Expert in broadcast branding, design and promotion · Expert in management of creative teams Professional Experience · News Corp - Sky Italia, Original Drama Creative Director, Milan, 2005–Present Responsible for all-things editorial related to the original drama productions, incl. the tv mini-serie Faccia d’Angelo (starring actor Elio Germano, winner of the Palm d’Or in Cannes in 2010) and Romanzo Criminale (the only Italian tv-series to be sold in more than 60 countries). Also responsible for the branding of Sky Italia’s Original Productions & Mini-Series. · News Corp – Sky Italia Milan, Creative Consultant for Sky Cinema 2003–2005 Hired for the launch of the Sky Italia platform and for creating and maintaining the on-air identity of the Sky Cinema Channels. Also responsible for the launch of Sky HD (first HD service in Italy), Sky Cinema Mobile (Dvb-h channel developed for Hutchinson Wampoa) and CineShots (dvb-h channel developed for Vodafone) · Viacom - Sundance Channel New York, Senior Promo Producer 2002–2003 Responsible for the on-air promotion of “Doc-Day”, weekly appointment-to-view entirely dedicated to documentaries. · Universal Studios Networks Italy Rome, Promo Producer 1998 –2002 Hired for the launch of “Studio Universal – The Movie Channel from the Movie Makers”. Director and producer of many campaigns incl “Dario Argento presenta Hitchcock”, awarded in several international festivals. · Freelance Tv Producer, Rome 1996 –1998, worked for MTV (London), Flying Tiger Films (Los Angeles), Filmmaster (Rome). Directed image campaign for “Torno Sabato”, the highest-rated prime time program on Italian Tv. Awards · Under his supervision, Sky Cinema produced the short film “Il Supplente”, nominated as “Best Live Action Short Film” at the 60th Academy Awards. · His work has been awarded many times, incl. 10 Gold Promax BDA Awards, 9 Telly Awards. 1 D&D Award, 1 Gold Medal at the 30th Creativity Annual in New York.

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Project Coordination

Sandra Buchta Script Consultant

Sandra Buchta is a script consultant and dramaturge. She mastered in French and American Literature at the LMU/Munich and holds a degree in Film Criticism from the HFF/Munich. Sandra began her career in the publishing industry at the editorial department of C. H. Beck and at the Literaturhaus Munich, where she was involved in developing writing programmes and curated a reading series featuring debut authors. In 2005 she joined German Films where she was responsible for the international promotion of German documentaries and the organisation of showcases and co-production meetings in Eastern Europe. In 2009 she began focussing on dramaturgy and script development, combining her experience as a film critic and festival expert with her passion for storytelling. She continued to refine her script analysis skills while studying under BBC editors at the London Script Factory. As dramaturge she consulted on various productions, such as the award-winning short film “Lucky Seven” by Claudia Heindel. Sandra teaches script development at the documentary department of the HFF Munich. Her favourite TV series are “State of Play”, “The Wire” and “Borgen”.

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Racconti #2 Jury

Lucia Piva Office for Audiovisual Media Bolzano (Dept. of Italian Culture) Barbara Weis Office for Audiovisual Media Bolzano (Dept. of German Culture) Giacomo Durzi Screenwriter, Director and Producer Jana Kaun Commissioning Executive International Co-Production & Documentaries, ProSieben/SAT.1 Wolfgang Feindt Commissioning Editor Series, ZDF Ferdinand Dohna Producer, Dog’s Life/EOS Entertainment Michele Zatta Dirigente RAI Fiction David Schalko Screenwriter, Director, Programme Developer and Producer

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Participants & Projects 4/4 Mario Cristiani & Donatella Diamanti . . . . . . . . . . . . . . . . . . . . . . . . . 22 GRANDMA IS A WITCH Alba Maria Calicchio & Daniele Malavolta . . . . . . . . . . . . . . . . . . . . . . 26 MORGENROT Gerardo Fontana & Paolo Girelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 On the border Daniele Rielli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 SCHOOL OF CHAMPIONS Clemens Aufderklamm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 SEXX ETC. Ruth Olshan & M贸nica Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 A TRICKY TEAM Karsten Treber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Wonderland Ansgar Vogt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

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Mario Cristiani

Mario Cristiani

Pisa, Italy

Name

City of residence

+39 335 5368292

mariocristiani@tiscali.it

Phone

Email

Website

Agency

Biography After directing some fiction and documentary short films, he took part in the writing of several TV and cartoon series. Headwriter for 5 years of “La Squadra” (RAI Tre), for which he won in 2005 the “Grolla d’oro” for the best screenplay, he then worked for FOX Channel as supervisor of the second season of “Boris” and created and directed as headwriter “Chiamatemi Giò” (Disney Channel and RAI Due). For the screen he wrote in 2009 with Donatella Diamanti the screenplay of the feature film “Viola di mare”, winner of the NICE Prize in San Francisco. For the stage, he has recently written the stage reading “I sogni non vanno fatti morire mai”, played by Luca Zingaretti, and the monologue “Controvento”. He taught at Pisa University and today teaches scriptwriting technique at the CSC, Milan.

Filmography 2009-2010 “Chiamatemi Gio’ ”,Disney Channel & RAI Due: coauthor & headwriter 2009 “Viola di mare”, IDF and Medusa, NICE Prize: screenwriter with Donatella Diamanti 2007-2008 “Boris”, FOX: story editor for the second season 2007-2008 “Medicina Generale”, RAI Uno: screenwriter & coauthor of the bible of the second season 2000-2007 “La Squadra”, RAI Tre: script editor and screenwriter, then headwriter for 5 years 1995 “Beyond the Clouds”, Aura Film: author and director

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Donatella Diamanti

Donatella Diamanti

Montopoli Val d’Arno, Italy

Name

City of residence

+39 339 7934635

diamadona@tiscali.it

Phone

Email

Website

Agency

Biography Playwright both for a teenage audience (among others, “Le bugie di Anna e Chiara”, winner of the Special Prize Stregagatto) and for adults (“Bulle & impossibili”, “I veri uomini sputano lontano”, “Indovina da chi andiamo a cena”), she has been a dialogist for “Un posto al sole”, scriptwriter and headwriter at “La Squadra”, creative director and headwriter at “Medicina Generale”; scriptwriter of “Liberi di giocare” and with Mario Cristiani of the feature film “Viola di mare”. She has written short stories published in anthologies, besides the novel “La restauratrice di matrimoni”, published by Sperling & Kupfer. She teaches scriptwriting technique at the CSC, Milan. Since May 2012 she has been the Artistic Director of the “Città del Teatro – Fondazione Sipario”, in Cascina (PI).

Filmography 2011-2012 “RIS” (produced by Mediaset): supervisor 2009 “Viola di mare” (produced by IDF and Medusa, winner of the NICE Prize in San Francisco): screenwriter with Mario Cristiani 2007-2009 “Medicina Generale” (produced by RAI Uno): author of the series, screenwriter and headwriter 2007 “Liberi di giocare” (produced by RAI Uno): screenwriter 1999-2007 “La Squadra” (produced by RAI Tre): script editor, screenwriter and headwriter 1998-2000 “Un posto al sole” (produced by RAI Tre): writer of dialogues

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4/4 Genre: Family drama / Format: 12x50’

What would you do if one fine day someone took your life away and offered you a new one, there and then, out of the blue?

Synopsis The sun is shining over the sea as it does every day. It seems a day like any other, in Salerno, and for most of the Giusti family. Francesco, the father, a brilliant financial consultant, is in his office. His daughter Viola tells her mother that she had agreed to go with a friend to study at her place (but, as many teenagers do, she lies and actually goes to a party). Her elder brother, Luca, sweats in the gym where he does his weight training: the national championship is drawing near and he has to work hard if he hopes to win the 100-metre backstroke competition. And all in all it can be considered normal, too, that Laura, respectively wife and mother, has just taken a decision that could change all of their lives. She has fallen in love with another man and now she has decided to talk with Francesco and to face the consequences of her relationship. But something else, totally unexpected, is about to bring turmoil into their lives. As Francesco is walking to his office two policemen force him into a car. They have discovered that he has been working for the Camorra: the fact of actually having “laundered” dirty money now makes cooperation with the Police his best option. But cooperation is not enough. Since the boss’s right-hand man manages to escape the quick roundup by the Police, Francesco and his family must be protected. How? By wiping out their life in Salerno and giving them a new one, with a new identity; i.e., by catapulting them into another life. They land in a comfortable, clean and vital place like Brixen: a sort of tiny Paradise. Nevertheless, when you feel that you don’t like your life, that everything is going wrong and you aren’t able to find your way, then what you want is to blame everyone and blame the place where you live. But how can you blame Paradise? “4/4” tells the story of a life-changing event which day after day turns out to be an unexpected double opportunity as well: a chance to try and find out whether happiness really has anything to do with what you have or, rather, with what you are; a chance to understand what it is that makes a family very close and able to keep going, as well as what you are prepared to sacrifice for your own family. Questions that each one of the characters will answer differently. And while the family are trying to adjust to the new life and to stay together and the double chase – the Camorra hunting the family, the Police hunting the fugitive boss – goes on, they’ll find out, maybe for the first time, what they need to learn from each other to survive as a family and be strong as individuals.

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Mario Cristiani & Donatella Diamanti

Writer’s note Who has never dreamed of changing his own life completely? But which could be the actual price? For us “4/4” has been a way to seek for some possible answers, by intertwining a central dramatic question (will the Giusti’s succeed in adapting to the circumstances that forced them to leave, in order to escape the camorra organization which is hunting them?) with four personal, deep and different thematic questions arising from a common one: what is it that makes a family very close and able to go on? What can be sacrificed for the family? And together with the Giusti’s one our research is going on…

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Alba Maria Calicchio

Alba Maria Calicchio

Rome, Italy

Name

City of residence

+39 328 6284584

albacalicchio@gmail.com

Phone

Email

Website

Agency

Biography Born in Naples. Attended courses on television writing at RAI and Mediaset and Cartoons writing at the Catholic University of Milan. Writer for some animated series, fairy tales and comic short films. From 2008 script consultant for Rai Fiction Cartoons. Loves Animation and Comedy Writing.

Filmography 2012 “Di tutti i Colori - All sort of things” screenplay for the comedy film in preproduction by Globe film, director Max Nardari 2010 “He and the Other” , short film directed by Max Nardari 2010 “Ants”, animated series produced by Mondo Tv 2009 “Matt & Manson”, animated series produced by Lanterna Magica 2008 “Red Caps”, animated series produced by Cartoon One 2006 “Fede e Fido”, short film directed by Max Nardari

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Daniele Malavolta

Daniele Malavolta

Rome, Italy

Name

City of residence

+39 328 9436109

daaniele@libero.it

Phone

Email

Website

Agency

Biography Born in Modena. Attended courses on television writing at RAI and film writing at CIMES (University of Bologna). Writer of many independent movies, “Sexitaxi”, “Shooting Silvio”, “Happy Days Motel”, director of “Modena Modena stazione di Modena” (Solinas prize winner for best screenplay in 2000) and many short movies. He also published a couple of books and comics and worked for television, documentaries and theatre.

Filmography 2012 “Di tutti i Colori - All sort of things” screenplay for the comedy film in preproduction by Globe film, director Max Nardari 2012 “Happy Days Motel”, directed by Francesca Staasch 2009 “Agent Omissis: Mission F78130”, short film, screenplay and direction 2007 “Shooting Silvio”, directed by Berardo Carboni 2004 “Il cane” short film, screenplay and direction 2003 “Modena Modena stazione di Modena”, screenplay and direction 2002 “Sexitaxi”, directed by Davide Sorlini

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Grandma is a Witch Mia nonna è una strega Genre: Sitcom for teenagers / Format: 26x23’

Two teenagers are forced to live with their eccentric hippie grandmother and discover with surprise she is a witch. Through the philosophy of magic they will learn to respect nature and the importance of each element in the great scheme of life.

Synopsis Greta (13) and Anselmo (11) after their mother’s death live alone with their father, David. Soon, however, he will be forced by his job to move on the other side of the planet to play an important role for the great company he works for. The two siblings have no intention to follow him abroad. They just started school in Bolzano and they don’t want to lose their friends. David looks for a solution to balance things out and the best one seems to leave the children with his mother-in-law. Agnes appears an eccentric old witch to David and relations between his wife and his mother were not good, but on the other hand she’s the only relative alive. Anselmo likes the solution, he always loved the grandmother, Greta doesn’t agree, but considering the lack of better opportunities, she’s forced to adapt. The kids are sent to grandma’s home and they have to stay for a whole year. Unfortunately, the life together seems to be very tough from the beginning. Agnes effectively is a witch. The kind of magic she practices is based on lost ancient knowledge, a sorcery based on fascination and nature energy channeling. She knows the secrets of traditional healers that once were common in rural and mountainous areas. In this series magic will be described as a way of life, a philosophy to be more in harmony with nature, traditions that nowadays people are losing. The issues of ecology and environmental sustainability are part of the concept of magic. Practicing magic means to know what is your role in the equilibrium of nature, to know how to respect, understand and communicate with all living beings. In many cultures the witch is a protector of natural harmony and this value will be the basis of Agnes’ teachings to the grandchildren. Agnes, custodian of ancient traditions, has a great distrust in technological progress, which she said, compromises the contact between man and nature. The unexpected arrival of Greta and Anselmo changes her attitude, she resumes a bit of trust in other people and begins to see progress and technology not only as a dangerous enemy. Her purpose is to bring the children into a more sustainable lifestyle, putting the small problems of adolescence back in the right perspective and teaching the kids to perceive the beauty that exists in the world against the models shown by consumeristic society, commercials and reality shows.

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Alba Maria Calicchio & Daniele Malavolta

Writer’s note In each episode there will be an infotainment scene that explores one of the educational topics treated or encountered in the plot. Grandmother teachings may vary from recipes with natural ingredients, to recognition of plants, herbs, mushrooms, stones, from potions and spells, to assistance to injured animals.   

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Gerardo Fontana

Gerardo Fontana

Codevigo (PD), Italy

Name

City of residence

+39 338 8933148

gerardofontana@gmail.com

Phone

Email

Website

Agency

Biography Gerardo made his directorial debut with the feature film “La linea d’ombra” in 1980 (Venice Film Festival). He then wrote and directed “Polar” (1987), “L’amante senza volto” (1992), and with his long time colleague Paolo Girelli “Dietro la pianura” (1994). He’s been mayor of his hometown Codevigo (PD) for eight years and then moved back to showbiz. For Endemol Italia he worked in: “Vivere” (1999-2000), “Centrovetrine” (2001-2009), “Questa è la mia terra 2” (2006), “Le tre rose di Eva” (co-creator). He taught at Macerata University (2004-2010) Theory and Technique of TV Language and held many workshops about Long Serial Creative Writing. He co-wrote with Paolo Girelli the script “The adversary”, now in preparation.

Filmography 2013 “The adversary”, co-writer, Feature film, in development 2013 “Dolce vita”, co-writer, writer & producer, TV Series (16x63’) - Italian Korean co-production, in pre-production 2012 “Le tre rose di Eva”,co-creator, TV Series (12 x100’) 2001-2009 “Centovetrine”, writer & story editor, Daytime drama 2006 “Questa è la mia terra 2”, co-creator, TV Series (8x100) 1999 “Vivere”, writer, Daytime drama

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Paolo Girelli

Paolo Girelli

Rome, Italy

Name

City of residence

+39 335 8178671

balzac5565@gmail.com

Phone

Email

Website

Agency

Biography Paolo made his directorial debut in 1994 with the feature film “Dietro la pianura” which he wrote and directed with his long time colleague G. Fontana. He approached TV serial writing with “Vivere” first and then with “Centrovetrine”, both produced by Endemol Italia, and both daytime blockbusters. These series credit Paolo with more than 750 hours created and aired. In the meantime he served as uncredited script doctor for several prime time TV series, and he taught in many workshops about serial drama creative writing. In 2008 he co-created “Le tre rose di Eva” (produced by Endemol), a 12x100’ blockbuster prime time series. The feature film scripts “The adversary” and “Flower of Scotland”, now in development, are his latest forays back in cinema.

Filmography 2013 “The adversary”, Feature film, co-writer, in preparation 2012 “Flower of Scotland”, Feature film, co-writer, in development 2011-2013 “Dolce Vita”, TV-Series (16x63’ – Italian Korean co-production), writer & producer, in pre-production 2009/2011 “Le tre rose di Eva”, TV-Series, (12 x100’), co-creator 1999/2008 “Centovetrine”, Daytime drama, head writer 1998/1999 “Vivere”, Daytime drama, head script editor

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MORGENROT Genre: History War Romance Drama / Format: 9x100’ (3 trilogies)

A drama about the passions, the secrets and the intrigues of the Summersberg family, focusing on the dramatic rivalry between two brothers after WWI, when Tyrol is split and the South is annexed to Italy.

Synopsis After the outbreak of WWI the world of Morgenrot and of the Summersberg family is torn apart. Kuno and Franz leave to the front. Later on the youngest, Martin, is drafted also. The farm is ruled by the women: Maria, mother of the three soldiers; her daughter Karla, a teenager and a wannabe teacher; Tonia, Kuno’s pregnant wife, whose baby boy Manfred is delivered while Kuno is in the trenches. Four years later when the boys come back from war, defeated and humiliated, they are completely changed. Franz feels estranged and finds a job at the local brewery. Kuno, notwithstanding Tonia’s and Manfred’s love, is doomed. Martin, now handicapped (his right arm being lifeless), feels desperate and worthless. The Austro-Hungarian flag is replaced by the Italian. The Royal Carabinieri Corp, headed by Maresciallo Zanon, takes over. Along with him there’s his daughter Lucia, a fascinating, Mediterranean beauty. Franz falls for her, but he’s about to marry his former fiancé Helga. Kuno is aiming to set up an anti-Italian resistance, but Franz doesn’t follow. This is the start of a harsh conflict between the two brothers that will end up to the most dramatic outcome. And as a little girl is missing, and Maresciallo Zanon starts his inquiry firmly opposed by the population, the Summersbergs are stricken again: Johann, the patriarch, dies by falling into a crevice, but he’s actually killed by his damaged son Alois; Tonia is mowed down by the Spanish flu. Kuno withdraws more and more into his obsession. The day of the wedding Franz leaves Helga in the lurch at the altar: he’s deeply in love with Lucia. When he proposes to her, he realizes she’s already engaged to Aldo, a fascist. This is the new, heinous wind blowing over Southern Tyrol. There’s a new regime in Italy and the region is going to pay the price. Mussolini himself, the DUX, orders that the region must abide by the Italian national virtues. No German language, no Ladin traditions. Names, all of them, must become Italian. Karla, now a graduate, is wooed by a colleague teacher, Paolo Brentani, but she shuts him out. When Paolo saves her during the Blutsonntag (the fascist attack in Bolzano), Karla finally makes love to him. Lucia, appalled by the fascist behavior, breaks up with Aldo and returns Franz’s love. Kuno is then arrested. Franz has reported him to the Carabinieri Corp to avoid him to commit a bombing. Kuno is banished to Calabria (southern Italy). Franz and Lucia get married in an empty church. There are only Karla, pregnant by Paolo, and Martin who’s now Helga’s lover and is having a baby from her.

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Gerardo Fontana & Paolo Girelli

Writer’s note This is the story of a dramatic clash between two brothers: one embodies the struggle for belonging and identity; the other embodies freedom. Appeasement is impossible. It isn’t just a feud: an entire region, Southern Tyrol, is torn to pieces after WWI. Our characters are the mirror of it. This series combines Psychological Realism and Romanticism because the Female World is a fundamental unit which, subordinate at first, eventually shifts into a paramount position. So, Morgenrot is a powerful family saga; a great love story; and a history lesson that reminds us that we must not forget. Ever.

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Daniele Rielli

Daniele Rielli

Bolzano/Bologna, Italy

Name

City of residence

+39 328 3515594

danielerielli@gmail.com

Phone

Email

www.quitthedoner.com

Studio Cau Morandi Minutillo Turtur, Rome

Website

Agency

Biography Daniele Rielli was born in Bolzano in August 1982. After completing his philosophy studies in Bologna and Padova he started working as journalist for Il Corriere dell’Alto Adige (Corriere della Sera), then he worked for IlFattoquotidiano.it and wrote jokes for various comedians of Bologna’s Zelig lab (the theater section of a Canale 5 show) and for Il Vernacoliere. Nowadays he is one of the key writers of the Italian edition of Vice Magazine, for which he writes Gonzo journalism reportages under the nickname Quitthedoner. After the huge success of his blog www.quitthedoner.com, in the spring of 2013 he started working as author on two upcoming Italian tv shows and as political analyst. He is currently working on his first novel, a noir with a strong investigative journalistic background.

Writer’s note I started this project thinking about a classic series like “The Wire”. I knew a lot of untold stories about power, politics and social issues in Bolzano, the city where I was born and raised and where I worked for a while as journalist. While writing the project I realized that there was much more than that, it was an incredible opportunity to tell the story of three characters of the same European lost generation, young people who have to fight really hard just to find their place in the world.

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On the border Genre: Borderline Comedy / Format: 10x50’

Three young guys fight for their right to happiness during the economic crisis, in a city on the border between Northern and Southern Europe.

Synopsis “On the border “ is the choral narration of the life of Julia, Alberto and Marco, three people between the age of twenty and thirty involved in the difficult search for their place in the world during the worst European economic crisis since World War II. Marco is a talented guy, who entered the immoral world of politics against his will and he is struggling to go away from Bolzano but can’t leave because he is helping his family. His brother Alberto may lose his job because of the relocation of his factory to India. Julia is a painter trying to make her art a profession in a period of great crisis for the cultural industry, thus escaping the fate that her wealthy family has already written for her. Their stories intertwine and overlap showing a portrait of a generation that does not pay its dues. To a society that says “It’ll be for the next life, guys” the protagonists of “On the border” say no, and try to take what their parents have had in the past without much trouble. Despite the difficulties Julia, Alberto and Marco try to accomplish their life projects and tell the world that the aspiration to happiness is not an anachronism. “On the border” is not just the story of the struggles to get a “place in the sun” of three people who are part of the “European lost generation”. Marco and Julia live an intense love story, thwarted by her father because of their belonging to two different ethnic groups that live in Bolzano. Marco’s entry into the rich environment of Bolzano where Julia is at home will enable the boy to bring forward a plan for factory workers. Alberto is involved in an extreme right-wing political group but things change when he faces the risk of losing his job. It will bring him closer to his father (former unionist) and move him away from neo-fascists. The brothers also struggle in different ways to help their father and take his place at the head of the family. Recovering from a heart attack in the season finale, the father is forced to step back from his small bar, the family business. Exploiting his contacts with the political underwood, Marco manages to have a payout secured for all the workers from the steel mill. Thanks to this unexpected income, Alberto will be able to take his father’s place as a manager of their bar, totally unaware of his brother’s intervention. The series is a combination of narrative styles. In the reconstruction of society, its conflicts, power games and the business world, it points to an extreme realism but the language, however, is innervated by a modern corrosive comedy.

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Clemens Aufderklamm

Clemens Aufderklamm

Berlin, Germany

Name

City of residence

+49 179 2346976

clemens@aufderklamm.com

Phone

Email

Website

Agency

Biography I was born in the heart of the Alps and raised on skis and mountain boots. Finally I turned my back on mountains, sports and competition and became creative. I started studying literature and political science and graduated from acting school. I directed plays, founded a theater and became the youngest theater director in Austria. I didn’t follow a career as an impresario, however; I moved to Los Angeles to join a screenwriting program at UCLA extension. Then I went to Berlin to write big movies; and started to write soap operas. This turned out to be a lot of fun, brought in good money and I learned a lot. After more than ten years writing series for television, I finally wrote my first big movie: “The Silent Mountain” will be in theaters this fall.

Filmography 2013 “The Silent Mountain” by Ernst Gossner (screen writer) 2010-2012 “Alles was zählt” (RTL, dialogue writer) 2009-2010 “Eine wie keine” (SAT1, dialogue writer) 2005-2007 “Verliebt in Berlin” (SAT1, script editor, dialogue writer) 2004-2005 “Verbotene Liebe” (ARD, storyliner, story consultant, script writer) 2002-2013 “Gute Zeiten Schlechte Zeiten” (RTL, storyliner, story editor, script editor, dialogue writer)

Writer’s note I grew up on skis, my brother is a sports psychologist, my father a teacher and my father-in-law is a coach for professional skiers. So if there ever will be a TV series about aspiring champions of winter sports, I have to be the one to write it. And it should be done. Skiing and snowboarding are a compelling and unique visual layer for a drama series. They symbolize the skills and virtuosity of humankind and are a great contrast to the weaknesses and imperfection of the human being behind the top performer.

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SCHOOL OF CHAMPIONS Genre: drama series / Format: 12x45’

Students of a winter sports elite school and their mentors struggle to become world champions. And soon they have to realize: Being the best has a high price.

Synopsis They say you need ten thousand hours of practice to achieve the level of mastery. To become a world-class champion. This is more than one year practicing without sleeping or doing anything else. Mastering this achievement demands a lot of discipline and self-control. But emotions are difficult to control. And adolescence is the age of emotions. SCHOOL OF CHAMPIONS (SOC) is a series about the journey of a group of teenagers and their coaches, parents and teachers – all trying to succeed at a highly competitive elite training centre for winter sports. A boarding school for future champions, founded recently in the South Tyrolean Alps. The students of the SOC, as talented and ambitious they are, are teenagers with the same needs as every other adolescent. They like to party, listen to music, hang out, drink, look for friends and love interests. This creates a constant dilemma: have some fun or join the training? Stay focused or keep searching? Winning or kissing? Or both? What do you have to sacrifice if you want to be the best? Only a small percentage of SOC graduates will become high-level champions. These kids are under a lot of pressure. Sometimes, all that separates victory from failure is a broken ankle. Or a broken heart. But the coaches are under pressure too. And the parents, who often confuse their own goals with those of their kids. Some of them have invested heavily in their children – and expect a payoff. And of course there are the teachers. They occupy an unenviable position in the school. These students are here for winning not for learning. Above all there is the headmaster. Her arena is an even bigger one. The school needs a lot of money. That brings politics and greed into the story – another narrative layer. The arc of our series is the coming of age of our heroes. The fulfillment, collapse or change of a soaring dream. In each season we follow them coming closer to that dream. Or they fail and have to get up again. In each episode we will witness the dilemmas of the insecure teenagers behind the strong-willed achievers. The cast of SOC is international. The school’s language is English. Our heroes come from all over the world, from big cities or small villages. Diverse in their family backgrounds, values and mentalities. Many come out of middle class families. Some are rich. And some have problems raising enough money for school and equipment. The SOC is a family of nations. And the headmaster comes from Germany, but has Chinese roots. They call her tiger mum.

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Ruth Olshan

Ruth Olshan

Cologne/Berlin, Germany

Name

City of residence

+49 173 2131049

rutholshan@googlemail.com

Phone

Email

anotherstory

Website

Agency

Biography Ruth Olshan was born in Moscow and emigrated to Germany via Israel. She studied Film in Leeds (UK) and later post graduated at the Academy of Media Arts Cologne (Germany). 2009 she successfully took part in the Munich writers Lab. Ruth is working as a writer and director since 2000. Her films won several national and international awards. Ruth met Monica Simon at the age of 15, they became good friends and later also started co-working.

Filmography 2012 “Meine neue Zeit“, feature film, co-writer with Heike Fink 2009 “Nicht ganz koscher“, documentary, ARTE/SWR, concept and director 2005 “Wie Luft zum Atmen“, documentary, ARTE/ZDF, concept and director 2003 “Tanz der Saries“, documentary, ARTE/ZDF, concept and director 2002 “Savannah“, feature film, WDR, director

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Mónica Simon

Mónica Simon

Munich, Germany

Name

City of residence

+49 89 95001809

monicasimon@alice-dsl.de

Phone

Email

www.monica-simon.de

Pegasus Agency, Berlin

Website

Agency

Biography Mónica Simon was born in Laz Paz, Bolivia. She studied German philology and catholic theology in Berlin, passed her state exam and, at the same time, trained as an actress. Her mentor Israel Olshan inducted her into the Berlin State Drama Stages where she worked as a dramaturge and actress. Monica stayed several most inspiring years there.Those were the days when Ruth and Monica met. 1997 Monica started working as a writer and realized since then more than 20 movies for TV. She also teaches at the Medienakademie Munich.

Filmography 2013 “Felix und Gloria”, feature film (funded by the FFA), screenwriter Since 1997: 20 TV-Movies as screenwriter for ARD, ZDF, SAT.1 and PRO7 and various TV series concepts such as “Braut wider Willen” “Marienhof”, screenwriter “Sturm der Liebe“, screenwriter

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SEXX ETC. Genre: Dramedy / Format: 10x45’

Under the influence of a sex therapist newly arrived from the city the old ties between the inhabitants of a mountain village soon begin to evolve. The newly acquired freedom feels good – until secrets are revealed.

Synopsis In a village like Lobetal everyone knows everything about everyone. A secret is hard to keep. People think they know everything, but at the same time inevitably overlook the elephant in the room. The new arrival in the village, Vito Liebermann, a sex therapist, causes quite some turmoil among its inhabitants. At the beginning hesitantly the inhabitants of the village of Lobetal, privately or openly, seek his specialist advice on issues of love and life in general. Whereas the therapist instead seeks the calm and peaceful retreat from the life, he had to leave behind due to a misery in the family he is responsible of. The therapist’s attempts at withdrawing from society and hiding his own secret in the close social texture of the mountain village are of course futile. Both the Lobetal villagers as well as the therapist go through gradual but noticeable changes and open up to the new things entering their lives. The protagonists learn to face their fears and liberate themselves of some old delusions and painful bindings. Inadvertently and almost imperceptibly tectonic movements begin to take place within the village of Lobetal. With Vito Liebermann, a different, unknown entity arrives in the village, and it changes the dynamic among the Lobetalers dramatically. People defend their territory and don’t always proceed peacefully and quietly while doing so. Masks slip, barricades are erected – people experiment with new concepts of life. Initially grumbling, they later approach these changes full of verve and in a spirit of community. The streetscape of the once idyllic mountain village of Lobetal will change in the same way that its inhabitants try out new ways of living together. The individual episodes of the SEXX ETC. series are about love and the carnal desires of people: about light-hearted love, lost love or much-anticipated love. They also show us the dreams, fears and passions of the ordinary inhabitants of Lobetal. Looking for relief, the villagers first end up in the therapist’s practice before then stumbling into unexpected and life-altering changes. A potpourri of passion among an eternal network of fate in a completely ordinary village.

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Ruth Olshan & Mónica Simon

Writer’s note The SEXX ETC. series is an homage to the ability of people to stick together and mature together despite big intellectual and cultural disparities. I aim to show the attractive forces and irrational dynamics between members of a small village unit that have developed in subliminal ways. I want to focus on cross-border love and celebrate it as the ultimate and only means of life. With a lot of hullabaloo, big feelings, sex and a healthy amount of humour. The intercultural aspect of a village in South Tyrol is an eloquent mixture of culture, that contains a wealth of wonderful stories.

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Karsten Treber

Karsten Treber

Berlin, Germany

Name

City of residence

+49 (0)178 7091602

treber.k@web.de

Phone

Email

Website

Agency

Biography Karsten Treber was born on August 24, 1975 in Rüsselsheim, Germany. After receiving a scholarship for a study year in Toronto, Canada, he graduated with his Ph.D. thesis “Auf Abwegen - Episodisches Erzählen im Film” which examines the dramaturgy of multiplot movies. Internships at the ZDF, Bavaria Media and several publishing houses led to his freelance work as a script editor and as a book scout for Yellow Bird Pictures. Karsten is addicted to great TV shows like “Modern Family”, “Californication” and “The Mentalist”. He enjoys the inspiring chaos that his place of residence Berlin has to offer him on a daily/nightly basis.

Filmography 2007 “Celebration of Flight/Über allen Horizonten”, documentary, Lombardo Films/ ZDF/arte, script editor 2005 “Mai storie d’amore in cucina/Liebe geht durch den Magen”, comedy, Solaris Cinematografica/Bavaria Film/ARD, supervising editor 2004 “Der Wunschbaum”, drama mini-series, Bavaria Film/ARD/ORF, supervising editor of the two-part version

Writer’s note South Tyrol is a tricky team because it’s still very much a matter of “Us vs. Them”: the German- vs. the Italian-speaking group. And this is quite a shame if you consider all the opportunities that are wasted when it comes to combining forces in order to create something unique and exciting together. This series explores what lies at the heart of South Tyrol: the fear of losing your identity and the prejudices, misunderstandings and foolish obsessions that go along with it. It’s a guide to crossing lines, embracing confusion and reinventing oneself in the messy middle between two cultures.

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A tricky team Südtirol wie’s liebt und mordet Genre: Culture Clash/Romantic Comedy/Crime Format: 45 min per episode While struggling to cool down the culture clash between policemen in Bolzano, a workaholic psychologist from Germany also pokes her nose in their private lives and crime cases. Two stubborn cops – a cunning Sicilian womanizer and a grumpy South Tyrolean single father – put up a fight against her meddling but end up fighting for her love.

Synopsis This series presents the beautiful, bossy psychologist Miriam (33) in a triangle with police inspectors Gaetano (42) and Martin (35) reviving the traditional love-hate relationship between Germans and Italians. Culture clash is the engine of all major conflicts between Miriam and the two inspectors. While each crime case is solved at the end of the episode, the romantic plot line and its erotic tension will keep on smoldering over the course of several seasons. Miriam is a little German Miss Know-It-All who likes to fix people because it feels great to change lives. Gaetano is an impulsive womanizer from South Italy who pokes fun at Martin’s need to stick to the rules. Martin is a grumpy, struggling single father from South Tyrol who is upset by Gaetano’s reliance on improvising because to him it’s just sloppy work. Having been hired to cool down the culture clash at the Questura di Bolzano, Miriam struggles to turn the men into a good team by digging into their private lives and discussing their habits and prejudices. But the two can’t stand being watched like lab rats and sabotage her efforts because they feel patronized by their psycho-nanny. When she even interferes with their investigations, they unite against her as a common enemy and become a better team – until they quarrel again and it’s time for Miriam’s mind games once more. Soon a swirl of intrigues and changing alliances is unleashed. Miriam has come to stir up the team spirit in the stubborn minds of South Tyrol. But she will stay to get her very own makeover by dolce vita, amore and murder. Gaetano and Martin start out fighting against her intrusions but end up fighting for the love of the tenacious workaholic who proves to be helpful in a very stalkerish way: Her psychological insights are really resourceful when it comes to solving crimes. She helps Martin to reconcile with his estranged parents who despise him as a traitor to their German-speaking culture. She helps Gaetano who remained a stranger in Bolzano so far to finally feel at home. However, Miriam herself hates to accept help because she doesn’t like to depend on others. So her character arc will be shaped by two dramatic questions: Will she allow herself to be changed by South Tyrol and love? Who will she pick: Gaetano or Martin? In the end it’s Gaetano who helps Miriam to tame her workaholic ways and makes her realize that it’s okay to be vulnerable. Together they learn what teamwork is all about: It’s a process. It’s a pain in the ass. It’s a perfect way to fall in love with someone you’ve really tried to keep on hating.

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Ansgar Vogt

Ansgar Vogt

Berlin, Germany

Name

City of residence

+49 179 2290696

ansgar.vogt@gmx.de

Phone

Email

Pagemagnet

Website

Agency

Biography Born in 1971, Ansgar Vogt grew up near Osnabrück. He studied Drama and Theatre Arts/Dramaturgy at Goldsmiths College University of London and Humboldt University of Berlin. As a Fulbright scholar he graduated from the department of Performance Studies at Tisch School of the Arts/New York University. For about ten years he worked as a screenplay developer at MOOVIE the art of entertainment and UFA Cinema. As a DAAD scholar he taught script development and film analysis in Seoul, Korea. Moreover he worked as a reader, e.g. for ZDF Das kleine Fernsehspiel and the Balkan Development Fund. In 2004 he was appointed member of the selection committee at Berlin International Film Festival/Forum section. Since 2012 he has been working as a screenwriter.

Filmography 2013 2-part TV mini-series (Event-Movie), with Christian Schnalke, Ziegler Film/ RTL, in development 2013 TV series (Medical comedy), Ziegler Film, in development 2007 “Afrika Mon Amour“, MOOVIE the art of entertainment (dramaturgy) 2005 “Die Patriarchin”, MOOVIE the art of entertainment (dramaturgy)

Writer’s note Having grown up in a rural area, I am drawn to family stories set on the country side. As I experienced, most village people either lead double lives or constantly move along the edge of their own spiritual abyss. Think local, feel universal. WONDERLAND is a modern campfire. Village life gives concise account of universal themes and is an inexhaustible source of crime and drama. Vertically, in each episode of this 6-part mini-series a different suspect attracts the attention. Horizontally, the search for the missing teenager inevitably becomes a search for identity and real family values.

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Wonderland Genre: Drama/Crime / Format: 6-part mini-series

A family drama unfolding as a teenager is missing. Framed by contemporary issues such as fracking and geocaching, WONDERLAND’s heart is about the search for true family values: faith, responsibility and respect.

Synopsis Geologist LUCIA DIETZ, called LUCA returns to her South Tyrolean home village after years of absence. Sent by her company, Luca’s mission is to review fracking options in the region, since hydraulic fracturing has triggered a new “gold rush” all over the world. For generations Luca’s family has owned plenty of land. However, income from the properties hasn’t been high recently. The family estate looks pretty run-down. According to Luca the “gaseous gold” shall be the savior for her family – and another perfect step into her own career. Being a traditionalist, her father MARTIN disapproves Luca‘s endeavor: Family land will never be sold! Destroying nature for the sake of exploitation? No, thanks! On top Luca has to learn that parts of the family land have already been signed over to her disparate sister CARMEN… Of all the family members only Carmen’s fatherless 15-year-old son STEFAN is enthusiastic about Luca’s plan. Village life has been too boring for him anyway. “Fracking” sounds like treasure hunting, something Stefan feels related to: he is a passionate “geocache” kid… But suddenly Stefan disappears without a trace while doing “geocaching”. Where is he? While Luca’s mission suddenly turns into a search for Stefan, the villagers’ righteous facades are starting to crumble one after another. Episode after episode Luca reveals that every single villager leads a double life: being a decent pub owner, heart-throb THOMAS turns out to be a drug lord who has set up his drug labs in the ancient metal mines. Local real estate investments would launder his dirty money. However, acquiring local real estate is still on Luca’s list, too… JOSEF is Stefan’s teacher – and a busy football fan. A little too busy: Josef carries a dark secret which only Stefan knows about. He has blackmailed his teacher… Village priest VALENTI frequently travels to Rome – too frequent: His trips are not only for business reasons as he makes the villagers believe… These three and some other villagers have one thing in common: all of them benefit from Stefan’s absence! On her journey Luca accesses hidden family traumas, while power struggles for the family properties break out… Gradually Luca discovers a dark secret, affecting her family life like an earthquake – revealing the true reason why Stefan disappeared. A secret about incest – which finally reconciles the sisters’ differences, but tragically leads into their father’s death. When Luca at last finds Stefan she decides to quit both her job and her “fracking” plans. Instead she will return to her hometown for good.

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Imprint BLS Südtirol • Alto Adige Dompassage 15 / Passaggio Duomo 15 I – 39100 Bozen / Bolzano T +39 0471 066 600 F +39 0471 062 852 service@bls.info www.bls.info Art Direction Philipp Aukenthaler Goethestraße 66 / Via Goethe 66 I - 39012 Meran / Merano www.hypemylimbus.com Print Medus des Andreas Gögele & Co. KG Georgenstrasse 7/a / Via S. Giorgio 7 I - 39012 Meran / Merano info@medus.it www.medus.it

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