world of shorts
the sarajevo 2012 issue
a shortfilm magazine published by daazo.com - the european shortfilm centre
WOSH by Daazo.com - the European Shortfilm Centre 1
WOSH by Daazo.com - the European Shortfilm Centre 2
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content: photo by Diana Mesesan
Discovering brave filmmaking: Elma Tataragic
Shaping up a future an interview with Ivana Pekusic
the ping back in Risk and opportunity: City 10 Putting the pong: Ferenc Pusztai and 14 Films Orsi Nagypรกl on teamwork
we love is not enough for us: 20 Less 24 Why connected TV Matthijs Wouter Knol
budget filmmaking: 28 Zero 32 Raindance tips and tricks
Online Film Promotion and Distribution: Daazo talk at the Sarajevo Talent Campus
before the Campus: the 33 Days talents speak
photo by Diana Mesesan
One day at a film market
Introducing Daazo. com’s top users - Robert Hloz
Things you didn’t know about the Sarajevo Film Festival’s Head of Jury, Kornél Mundruczó
Mapping Your Mind: Sarajevo filmmakers put their pencils to the test
New kids on the block: perspectives in film distribution
Bring on the (film) training!
App meets shortfilm
Race you to it: the Robert Bosch Stiftung and the Co-Production Prize
conquest of the festival 69 The world
Work Digital! text: Dรกniel Deรกk photo by Cristina Grosan
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In the age of the digital revolution, we might get the feeling that it is too easy to create films. We know, mainly older film buffs tend to say that - and normally we don’t agree with them. And sometimes - we have to admit - they are right. Thanks to digital technologies, there are many films that are just brilliantly spontaneous – you grab your mobile and you shoot a masterpiece with it. Those films give us a good reason to celebrate the new ways of filmmaking. Behind the few success stories, however, there are quite a few works which all but deserve to be forgotten immediately. We love spontaneous films, but in most of the cases, it’s better to spend more time to prepare your film properly. So in this issue of Daazo.com’s World of Shorts magazine we want to help you to start thinking before you press the red button on your camera. It’s always very difficult to be patient, but in our digital age sometimes you have to think analogue to find some time for the right decision. It is worth to ask a few very basic questions regarding your aims. And the most important one is: “Am I ready to make this film?” We should remember that back in the old, analogue world, we made more responsible decisions. And we were not always able to take the scene again, even if the lighting or the camera moving was not perfect. It lent a certain charm to the end product.
One of the best places to get prepared for making your film (and your career) is the Sarajevo Talent Campus (TC). Located in a city with a very special atmosphere, the Talent Campus provides a unique combination of lectures by world class film professionals and a familiar campus feeling. Daazo.com is delighted to be part of this on more than one level: with our World of Shorts magazine; with our Sarajevo Cocktail online film contest announced for TC participants; with our online premiere of the new pieces made in the framework of the Sarajevo City of Film project; and with a lecture on online film promotion and distribution strategy. If you have already pressed the red button and have a good film in your pocket, you can find relevant articles as well. How to find the most suitable festivals for your work? How does the short film distribution work? How to get a new chance to make another film? The answers are all here. There are so many opportunities for filmmakers - you dont have to do anything else, just think and make wise decisions. So use all the digital devices in order to shoot, edit and distribute your films, but in your mind, be analogue and dare to think before you shoot.
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discovering brave filmmaking
text: Zsuzsanna Deák photo by Cristina Grosan
Elma TatargicĆis one of the founders of the Sarajevo Film Festival and works as the selector of its Competition Programme. In addition to her activity at the Sarajevo Film Festival, Elma is also a filmmaker and teacher: she was a script collaborator on Aida Begi’s diploma film First Death Experience (Cinéfondation 2001 – Cannes Film Festival) and the screenwriter and producer of the short film North Went Mad. She produced and co-wrote the feature film Snow shown at Cannes 2008 – Semaine de la critique, where the film won the Grand Prix. She is also the general secretary of the B&H Filmmakers Association and teaches Screenwriting at the Sarajevo Academy of Performing Arts. In this interview, we asked her about her work at the Sarajevo Film Festival selection and about the SFF’s short film competition.
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Film festivals often get a reputation for favouring a specific type of film. It is said that, for example, classic dramas are big in Krakow, Locarno or Tampere, while experimental films do well in Berlin, Rotterdam or Venice. The US is supposed to be the place for quirky animations. Could you say that over the years, Sarajevo has developed a taste for a particular genre or topic?
Can you give me some statistics? How many films have you received this year, and which countries do they come from ? How many hours did you spend selecting the films? This year the selection of 10 films was made out of 300 entries. The films are from the region we are covering within the programme: Austria, Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Kosovo, Macedonia, Hungary, Romania, Bulgaria, Greece, Cyprus, Malta, Albania and Turkey. I see all films from beginning to end and I have no idea how many hours I spend on the short films. It would be an interesting statistic, even though I see some films several times before making the final decision.
Actually, I do not agree with these classifications, which means they are subjective. I guess that it would be the best to ask this question of someone who is not involved in the Sarajevo selection process. I would be curious to find out what their impression would be. What we try to do in Sarajevo is discover new names and provide a platform for innovative and brave filmmaking. Our situation very much depends on the trends within the region, because, unlike the festivals you have mentioned, we are regionally focused and we really depend on the aesthetics of the cinemas of the 16 countries we focus on. Do you make sure that every country is represented equally - do you try to be politically Tell me about the process of the Official Shortfilm correct, or is it solely the quality that matters? Selection. How does it happen? Who is on the selection committee? How many people are on the No political correctness. The only thing politically correct is the quality of the films which selection committee, and how do they work? speaks for itself at the end of the day. I never care where the films come from and I even In Sarajevo, we do not have selection commit- play a game when watching the film: I try not tees for film selection. We have a general se- to see the title or the name of the director and lection committee working on all sections, but I try to guess where the film is from. the Competition Programme for short films is How do you decide on what is a good short entirely my responsibility. The selection is an film for you? Do you know it right away - are exciting and beautiful journey, but at times it is there things you notice at the very beginning even more tiresome than the Competition Fea- of a film? ture film selection. I usually try to see as many films as possible, so many films go through A good short film is a film which makes you wonder, which can tell you a story or pose a the regular application process, but I also see question, which can make you laugh, or promany films through films festivals when I travel, voke you. It can also be something which is through film centres, schools and through other not comprehensible, but which hypnotises contacts I have developed within the region over you when watching it. the years. WOSH by Daazo.com - the European Shortfilm Centre 9
When making the selection for the short film programme, I always have in mind that the film will not be shown alone – it is always in a slot with another four or five films and all together, they should be telling a certain story or sharing an attitude.
I believe that this year’s selection is made up of films by authors whose careers are being launched and we would most certainly like to be that platform with our co-production market CineLink and our Competition Programme.
Can you exclude your personal taste absolutely On the other hand, this does not necessary and rely on objective points in the evaluation? mean that we are only dedicated to filmmakIs objectivity important while selecting the ers who will come back to Sarajevo with a feafilms? ture – absolutely not. I believe that we are also I don’t think it is possible to entirely exclude strengthening the production and the aesthetics personal taste and I think this is good. Our se- of short films and this is why we also have a platlections have always had an attitude and this form for promotion of short films only, called comes from a totally subjective point of view. MiniMarket. You say that there is a surprising number of female filmmakers in the Official Shortfilm selection this year. Can you recognise a certain feminine touch in these films - is there anything in common in films directed by women? There is a certain sensitivity in these films made by women. The films are more subtle, but they are also shockingly and emotionally brutal at the same time. The humour in these films is of a rather cynical kind, some kind of bitter touch and view of reality.
You are a filmmaker yourself: you produced and co-wrote the feature film Snow that won the Grand Prix at the Cannes Semaine de la critique in 2008. Snow has been shown at over 60 festivals and won over 20 international awards. Do you find the time nowadays to create films alongside your numerous other activities: the Sarajevo Film Festival, your teaching job and your work for the B&H Filmmakers Association? If yes, what are you working on now?
Are there other festivals whose selection you are interested in? What inspires you as a festi- My friends say I am hyperactive. Sure, I have time and I like to keep myself busy. I enjoy all val programmer? my jobs and I take them very seriously. They I love film festivals and I enjoy watching films make me who I am. I am working on several wherever I am. I can watch films for 15 hours projects at the moment: preparing to write a straight, and at the festivals I spend most of my time in the cinema. I am inspired when new book on screenwriting and adaptations, I forget where I actually am when watching thinking about one experimental short film and a film. And, sure, I love to figure out how the I have just completed a second version of my selection is made and what the tone of each new feature film. I am looking forward to Auselection is, especially at festivals such as gust when I can dedicate more time to writing. Cannes or Venice. On the other hand I know that I cannot make What is the main aim of the Short Film Com- a film every year or every second year because petition: do you want to launch careers, so that of my other activities, but I don’t mind. I have your selected short film makers return to Sara- been part of the Sarajevo Film Festival since the jevo with their feature film, or do you want to beginning and I cannot imagine not being part take short films to another level? of it. It has grown into a project which has not We want to stay with our filmmakers and we only changed our city but the entire region, and prefer developing long lasting relations with I am proud to be part of the team. them. WOSH by Daazo.com - the European Shortfilm Centre 10
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Putting the ping back in the pong Producer Ferenc Pusztai and director Orsi Nagypรกl on taking film to another level text: Anita Libor, Zsuzsanna Deรกk photo by Cristina Grosan
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First meeting: Berlin
I participated in the Talent Campus at the Berlinale in 2010 and I went to eat Vietnamese food with my friend Virág Zomborácz, who had already been working with Ferenc Pusztai. At the time, I was deeply depressed: I had just graduated from the London Film School and I thought that nobody was interested in my work. I didn’t know any young Hungarian filmmakers - I wanted to meet them and make friends with them so I was glad to hear that there was going to be a Hungarian producer in Berlin, one I had already heard a lot about.
I felt the same. We had a mutual aquaintance, a Welsh filmmaker who had known Orsi from film school: she had raved about her to me so, naturally, I was curious. I had made up my mind early on that I wouldn’t want to be a producer who works with one director exclusively: with KMH Film, I wanted to found a studio that continually looks for young and emerging talent. After my meeting with Orsi, I watched her shortfilms and then in the summer we met again in Budapest to talk over what she was interested in and what kind of films she wanted to create.
Second meeting: Budapest
This was really funny. Ferenc asked me about my feature film ideas and since I didn’t have any I just said four words about what more or less interested me. And he said „Good”.
She didn’t have a plan for a feature film ready to be realised, but I still thought that it would be interesting to do something together.
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The short film
He said he wasn’t interested in short films but I really wanted to make one – I even have a very sweet short animation idea, something I would like to do very much. But it tipped the scales for him when I told him that I was neither interested in making abstract arthouse films nor stupid entertainment movies: I wanted to do something in between the two, a film about relationships, because something like that is always fun.
I’m not interested in short film when that is something a filmmaker wants to make all his life. But if they want to make a feature film together with me, we can try each other out in the short genre. So we started to work on a short film idea that received special mention at the Bosch Stiftung Co-production Prize, and we are developing a feature film: Balaton Submarine.
talent campus orsi:
At the Talent Campus, you realise that you are not alone with your strange idea to become a filmmaker – there are a number of other weird people there, and this makes you feel better. There were a few hundred of us at the Berlinale Talent Campus, while in Sarajevo, there are only 50 participants. This makes the atmosphere more intimate and the lectures more interactive.
I hear from everybody what a useful experience it is, but for me things happened so quickly in the beginning. Even if I was still a new filmmaker, by the time I would have applied, I had already completed four feature films and I was over 39 years old, so I didn’t really count as an emerging filmmaker any more.
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Sarajevo City of Film
After a lovely evening with Elizampetta Ilia-Georgiadou, a Greek scriptwriter in Sarajevo, she had the initiative to submit together a project to the Sarajevo City of Film. Once selected, we worked on the script together with our consultant, Vanja Kaludjercic, sometimes on Skype, sometimes in person. Then, in March, we really got going: I went location scouting in Sarajevo in deep snow with my DoP Máté Herbai, and then in April, we prepared, shot and, finally, with Gábor Divinyi, edited the film within the course of a month. Roundabout will premiere in Sarajevo on July 8th, as a kind of opening screening of the Talent Campus. Before shooting Roundabout, I had been workshopping with my feature film around the clock, so it was a refreshing change to work with actors and a camera at last, and to direct instead of writing and re-writing dialogues.
I was really unhappy about it, but it had little to do with professional reasons: quite frankly, I was simply jealous that she was doing something else, with someone else. I have to work very hard to be able to tell a filmmaker that from now on, they are not allowed to take any other jobs and they have to work full time on realising our mutual project.
balaton submarine orsi:
I have been working on Balaton Submarine for a year and a half. Things got really serious for me when we got into the Berlin Co-Production Market; since then, I have participated in the SOS and Sources 2 workshops, and spent 5 months with scriptwriting in the framework of the Binger Writers Lab in Amsterdam, but Roundabout has somewhat distracted me. We have now finished Roundabout and I can concentrate on Balaton Submarine again. It is a great achievement that it got selected for the Berlinale Co-Production Market as a project, and I hope that it will continue to draw interest, but there is still a lot do do with it.
Before there were any available grants at home in Hungary, we had concentrated on intensive participation in programmes abroad. This way, Balaton Submarine got into the international circuit at a very early stage, and even the film idea has raised a huge amount of interest since, as in the German market, audiences are on the lookout for the new Goodbye Lenin. We have just won 3500 EUR from the Hungarian National Film Fund for developing the script, and I think we can finish shooting by the end of next summer. In a professional and well functioning studio, one can plan no longer than 3-5 years ahead. With Orsi, I have long-term plans. WOSH by Daazo.com - the European Shortfilm Centre 15
text: Zsolt Gyenge photo by Cristina Grosan
Risk and Opportunity: City Films
Berlin, Nice, Paris, New York, Moscow, and now Sarajevo – to name but a few of the cities that have been selected by filmmakers or producers to be the centre of some very different cinematic experiments. On the occasion of the Sarajevo Film Festival’s project Sarajevo City of Film to invite filmmakers to create short films about Sarajevo, we thought it would be instructive to compare some films that have been made about different cities in the world. There is a scene in Jean Vigo’s A propos de Nice (1930) that perfectly illustrates how a fictional and documentary approach can work together in creating true cinematic moments which are capable of telling a story and revealing something about the city at the same time. After having presented the rich guests wandering around in the famous French resort through
several shots and scenes, there is a shot where a guy is cleaning the shoes of the people in the street. In a fast montage sequence, we can see different legs and shoes and in the end, a bare foot appears with no shoe on, but the guy still continues to clean it with the same movements as before. A playful, beautiful moment, through
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which Vigo was able to introduce a personal touch which has more in common with fictional stories than documentaries. But what is also important about Jean Vigo’s film is that the director doesn’t insert these fictional moments from outside, but rather reads them out of the reality.
Watching, observing, and through this, understanding the city’s everyday life, he is able to include some visual reflections of his own. We can see the same approach when showing different shots of a woman sunbathing in the same position but in different clothes in a chair near the sea – until the last shot, where he shows her completely naked. This inclusion of story-like sequences in a documentary type approach can also be seen in Walter Ruttman’s Berlin: Symphony of a Great City (1927), where one of the main issues is the discussion of the huge differences between the social classes. At a certain point, we see a rich man throwing away his half-smoked cigarette before getting into his car. The next shot shows a homeless old man picking up a cigarette butt (which could or could not be the one thrown away a moment before). In its famous Man with a Movie Camera (1929) Dziga Vertov’s goal is not to present a day of a Soviet city but to discuss in a somewhat poetic, visual and at times parody-like way the possibilities of cinematic expression, but even so the pulsation of the city comes through in every shot. Of course the closest examples to the forthcoming Sarajevo project are the sketch films produced in the last 6 years, about Paris and New York. The latter, New York, I Love You, (2009) could be considered a complete failure, exactly due to the fact that the filmmakers who were
invited to do this project were not able to observe the city and make it a starting point for their stories. All short films included in this collection could have taken place in any city of the world. The only innovation of this project is the fact that the short films are not sharply dissociated from each other: they are linked together by some short scenes which lack any narrative, where the characters of different shorts meet for a few minutes. Some of these moments could be considered as really belonging to the city, but the shorts themselves show filmmakers who don’t know New York and who are not really interested in it. Another set of films, Paris, je t’aime (2006) is more conventional in the organisation of the shorts (there is a sharp distinction between the pieces, showing the title and director of each one) but at the same time, it is much more successful. Even though most of the filmmakers were in the same way strangers to the city as in the case of New York, I Love You, they were more attentive to it. A perfect example of this is Walter Salles’ piece, in which we can see and really feel the exhausting length of the immigrant babysitter’s trip on public transport to get from the suburbs to the city centre. This daily long journey expresses the way of life in a huge city very well, and it also shows the immense distance between the social status of the immigrant and the downtown bourgeois in a very cinematic way.
The funny short by the Coen brothers and the absurd piece by Christopher Doyle are both interesting moments of Paris, je t’aime which is probably partly successful as a project due to the very fact that it is based on Paris. The French capital is a touristic place in its entirety, almost every corner of it has been a postcard illustration for centuries, so it seems very natural to us to see it presented by people who know it only superficially. For every city film, a certain kind of participation of the author is indispensable, a certain position must be found from which the city is seen – and this superficial view of a few passing visitors is the Paris experience itself: this is why the almost kitschy sequences showing this beautiful city between the shorts are acceptable. So the greatest challenge to the Sarajevo sketch film project is to convince the filmmakers that are invited to take part in it not only to bring their previous work, but to try to find it in, or to read it out of the city. They don’t have to understand it in depth (as most of them won’t be from Sarajevo), they just need to have an authentic position from where they are able to see it.
Check out the Sarajevo City of Film channel on Daazo.com!
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Shaping up a future: text: Anita Libor, photo by Cristina Grosan
An interview with Ivana Pekusic, head of the Sarajevo City of Film project and the Sarajevo Talent Campus. Packing and pitching up-and-coming filmmakersâ€™ careers from the region and showing them to the world: Ivana talks about this yearâ€™s programme and goals.
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“Cinema and Possible Futures” will be the underlying focus of this year’s Sarajevo Talent Campus (STC). How many possible futures can you see for young filmmakers?
In cooperation with the Robert Bosch Stiftung, STC invited ten young producers from Germany - what will they do during the Campus?
I believe it’s not about how many possible futures there are, it is more about the filmmakers and what kind of future they decide to choose for themselves. Either they work hard, expand their knowledge, use their opportunities, develop their visions and become successful filmmakers or they choose not to do anything special and loose the options. Possible futures depend on their effort to create them.
First of all, I hope they’ll enjoy the STC programme!! And, of course, they will look for potential collaborators with their future projects.
Tell me about the numbers for this year: how many applicants did you have and from how many countries, and how were you able you The Robert Bosch Stiftung is announcing the choose from them? How does the selection pro- call for entries for the Co-Production Prize cess happen? which supports coproduction between Germany and South Eastern European countries. We received 278 applications for all categories The Sarajevo Talent Campus gives them the from 16 countries. The call for entries was open pool of regional directors, producers and stofor 17 countries but, unfortunately, we didn’t re- ries that might be the right ones for their apceive any applications from Albania. Hopefully, plications for the Prize. this will change in the future. There are different selectors for each category and they search for You have a new programme called the STC unique expressions and strong motivations. Pack&Pitch project - what was the idea behind this initiative? Why did you decide to extend this year’s participation to Azerbaijan, Armenia, Georgia and This will be the third year that we will have Moldova? How were these countries represented the Pack&Pitch project as part of the Talent among the applicants? Campus programme. We started it since we wanted to offer Campus participants a workThese 4 countries form a big territory and have shop through which they will be able to learn huge potential and a film industry in expansion, how to present their current projects in pubbut they lack opportunities, channels and open lic by packing and pitching them properly doors for presenting and exploring their work and to give them an opportunity to show in and possibilities in South Eastern Europe. We practice what they have learned. Since their thought that bringing together young film au- final pitch is being held in collaboration with thors who represent the future of their film in- CineLink (the Sarajevo Film Festival’s codustry together with talents from 13 other coun- production market) this will make a tighter tries of South Eastern Europe is the best way to connection to it, where there are more possistart a potential collaboration and present fresh bilities to network with leading regional and talent to the Sarajevo Film Festival audience. international professionals.
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Sarajevo City of Film (SCF) is a follow-up to the Campus: this year, two of the short films made last year in SCF’s framework will be screened at the beginning of the Campus. What happens with these short films after the Campus premiere?
There are many omnibus films focusing on cities, like Paris I love You, New York I Love You - are you planning to make a Sarajevo I Love You omnibus film with the SFC films It is tempting to try to make something that would stand right beside Paris I Love You and other omnibuses of that kind but for now, we are not thinking of doing that with Sarajevo City of Film... Maybe for some anniversary edition...
Screening at the Talent Campus is an opportunity to show the produced films to the film crew, project partners, sponsors and new Campus participants who will be invited to apply for the project in the upcoming months but it is also the beginning of the festival cir- We are still focusing on putting the talent in the cuit for those films. spotlight and not the City of Sarajevo. Also, I believe it would be a hard task for someone who In the next two years, these films will be sub- has visited Sarajevo for the first time during the mitted to different regional, European and Campus, spending 8 days in the City itself, to world film festivals and after this “journey” show his/her opinion about the city through the has ended, the films will be available on Daazo. story. That is why we are searching for universal com since we believe that online platforms are stories rather than stories closely connected to not only valuable sources of short films for everyone who didn’t have the chance to attend Sarajevo. the festivals where the films were previously screened, but are also a great opportunity for new talents to be promoted. What is the relation between SCF and the city of Sarajevo? Does the city council sponsor or finance this project in any way, and do they use the SCF films for any promotional purposes? Unfortunately, the City authorities don’t support the project financially, but we have their great support in a logistical sense. It is a huge help when the City address public institutions and instruct them about the project and ask for their cooperation; this kind of help is acceptable for them, and it makes production a lot easier for us.
Even though there are some programmes like Sarajevo City of Film, we believe this one is unique because of its close connection to other industry platforms of the Sarajevo Film Festival (like the co-production market Cinelink and the programme for development of documentary films Rough Cut Boutique) that enable young authors to continue their professional development and give them an opportunity to find the support for their future projects.
The films produced in the framework of SCF are not used directly for the promotion of the City since it is not the primary goal of the project. However, the promotion of the City as the cultural centre of the region and a melting pot of the new generation of filmmakers is inevitable through the presentation of the project itself and the fact that the whole production is being done in Sarajevo. WOSH by Daazo.com - the European Shortfilm Centre 20
Do you plan to have a City of Film workshop any- Even though there are some programmes where else in Europe, like you have a Talent Cam- like Sarajevo City of Film, we believe this pus in many cities around the world? one is unique because of its close connection There are some projects already that work in a to other industry platforms of the Sarajevo similar way around the region and in Europe. Film Festival (like the co-production market We should not forget that the initiative for Sa- Cinelink and the programme for developrajevo City of Film started in collaboration with ment of documentary films Rough Cut Bouthe Berlin Film Festival and the Berlinale Talent Campus. The Sarajevo City of Film project drew tique) that enable young authors to continue inspiration from the model of the Berlin Today their professional development and give Award, but it was adapted to our needs, goals them an opportunity to find the support for and the production possibilities that we have to their future projects. offer.
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In this interview, Matthijs Wouter Knol, the programme manager of the Berlinale Talent Campus tells us about the concept of international talent campuses and the idea behind the brand new Berlinale Residency.
Less is not enough for us text: Zoltรกn Aprily photo by Cristina Grosan
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The Berlinale Talent Campus celebrated its 10th anniversary last February. How do you remember it? Did anything special happen on the occasion of this anniversary? This anniversary edition was certainly a special one, in several ways. Apart from a great line-up of filmmakers joining the programme to meet or work with the group of Talents, I think there was a general feeling that the Campus had grown amazingly quickly into a very special event for emerging filmmakers in the past decade, setting the tone for the rest of the year for many of the participants. Especially this year, the close connection the Campus team managed to build with many film professionals all over the world was very tangible and many of them returned to join us again in some way or other. However, we didnâ€™t want to celebrate ourselves in particular. The focus of the Campus is to bring emerging filmmakers a significant step ahead, in various ways. We felt this year we were able to use the anniversary to do that even better.
With all the programmes the Berlinale has developed since Dieter Kosslick became festival director, there was one important group still being overlooked: filmmakers having made their first or second feature-length narrative or documentary film and struggling to make a new one, including the challenge to make films that will appeal to audiences. At the same time, knowing how many new film projects are being presented to the market every year, we have actively developed a programme where directors and producers work closely together with industry professionals, helping them to find that audience for the film. Berlin has the largest film festival audience worldwide. We want people to see and discover films. The Berlinale Residency will help filmmakers to reach them.
The Berlinale Residency is a new initiative of the Berlinale. Why did you decide to launch it now? And why is it important for the Festival to start a professional programme like this? With 10 years of the Talent Campus in Berlin and over 4,000 alumni who attended in the past decade, we wanted to think a step ahead and find a way to keep filmmakers connected to the Berlinale, even though they might have been at the Campus quite some years ago. In the past years, we met several people working on projects we would love to support again, but this never really fit into the February time slot. The idea for the Berlinale Residency came up at the Campus a couple of years ago, to create a space for filmmakers beyond the Campus programmes, connecting them even closer to the festival and the Berlinale Co-Producton Market.
The participants of the Sarajevo Talent Campus describe the Campus as a very familiar one, because of its scale and number of participants. Can you define the campuses by their differences? Is there any couleur locale in each country? One of the reasons to export the Campus concept to carefully selected film festivals was to create a way for emerging filmmakers from that particular region to meet each other in a more small-scale environment, with established people from the region supporting them and working with them. By doing so, both young and seasoned filmmakers can address issues dominating the discussion in
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the region, which might be co-production with Western European countries, social and political issues, the current state of film financing of the regional film funds, the way people present themselves and how they can improve that, the diversity in storytelling traditions. Of course there are differences in the programmes in Tokyo, Buenos Aires, Durban or Guadalajara. Their size differs and, apart from English, programmes are sometimes predominantly in another language (with English translation)- which is also the case at the Campus programmes in Latin America or in Tokyo. These differences also directly benefit the programme in Berlin: it is way easier to get a profound idea of what the emerging filmmakers in various parts of the world are currently dealing with, what their particular challenges are, what they are looking for specifically: it is never the same. What do you think is the best way to bring out the most of the Talent Campus? Is there any chance of crossing borders for Sarajevo Talent Campus participants? First of all to be prepared when you travel to a programme. You get so much more out of it when you know whom youâ€™ll be meeting, what the idea of the Campus is. The Talent Campus is more than just following some master classes and workshops and seeing what sticks with you and what doesnâ€™t. It is a programme carefully woven together in which people have an opportunity to show themselves, to discuss, to refresh their minds and to get new ideas -many of which can be supported with the help of partners or funding bodies we involve in the programme, all looking for young people daring to turn their ideas into exciting films, together with others they have met during the week of the Campus. Every Campus, including Sarajevo, does that in its own way. Itâ€™s about rediscovering and redefining what you want to do, where your passion lies, and how you can best connect to others. At the end of the week, filmmakers should head home with a new perspective on themselves and their work. Less is not enough for us.
The idea for the Berlinale Residency came up at the Campus a couple of years ago, to create a space for filmmakers beyond the Campus programmes, connecting them even closer to the festival and the Berlinale Co-Producton Market. (...) there was one important group still being overlooked: filmmakers having made their first or second feature-length narrative or documentary film and struggling to make a new one, including the challenge to make films that will appeal to audiences. At the same time, knowing how many new film projects are being presented to the market every year, we have actively developed a programme where directors and producers work closely together with industry professionals.
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why we love connected tv Whether we think about set-top boxes or integrated solutions, different webbased services are slowly but surely becoming available on TV sets, opening a whole new world of home entertainment. Here are 7 things you will love about having a connected TV. text: Zoltรกn Aprily photographs by FORTEPAN
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1 You will soon forget classic, linear TV channels, and choose from amongst thousands of applications offering a great alternative.
3 You can check your profiles of different community services and share your status or ideas directly from your TV.
5 Daazo.com is available on Sa msung Smart TV , with thousand s of short films yo u can watch for free.
7 Watching connected TV actually feels like you are more part of a community than when you are slumped in front of old style TV.
2 You can easily synchronize your mobile devices with your TV and experience your own media on the big screen.
4 You donâ€™t need to use a classic TV remote control any more: your smart phone works just like one, and you can use a comfortable keyboard instead of the old school numbers.
6 If you are quick, you can start the next episode so your mum thinks you are still watching a single episode.
fallen in love already?
Special thanks to Max Ward (7 years) for his insightful thoughts.
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Valentineâ€™s Day 2005 was a key date in the history of the movie business. It was the day that Chad Hurley, Steve Chen and Jawed Karim registered the name youtube.com. The movie business, and especially film distribution, has never been the same since. The last ten years have seen a host of additional changes. Digital technology has made it possible for films to be shot and edited (even with dazzling special effects) for minuscule budgets. Entire feature length films can be made for the cost of the catering budget in a traditionally funded and produced industry movie.
Zero Budget Filmmaking
Tips by Raindance founder Elliot Grove text: Elliot Grove, Raindance UK photo by Cristina Grosan
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There’s No Such Thing As Luck I believe that luck is earned through a combination of hard work and karma. If you maintain your integrity and your passion, success will surely visit you. Nothing is as powerful as a good movie. And by using the medium of cinema you are able to influence and change lives. It is people like you that can make a difference and make this world a better place.
The Blair Witch Project demonstrated how the Internet could be used to market a film using viral marketing techniques, techniques that were in their infancy in 1999. Orin Pelli’s Paranormal Activity also used a viral campaign, this time financed by Paramount, to turn a small ”no budget” movie into a runaway box office success.
The Story Is Everything Nothing glues you to the screen more than a good story. If the story is there, does anyone really care about the budget of the film?
Stories and screenplays have four main elements: Firstly, your story must have characters with a specific What are the opportunities in Goal. A specific goal is one this new world of movies? that can be measured, so at a point in time we can see Firstly, independent filmwhether or not the character makers can make films much achieves or fails to achieve more cost effectively than the the goal. For example, if majors. Secondly, because the your character’s goal is to budgets are relatively modest, move out of London – this independent filmmakers can is a weak goal. We all want afford to make a movie that to leave London. It’s dirty, fails (unlike the majors). And expensive and increasingly finally, in this brave new movie dangerous. But if the goal world, everyone wants in – the of your character is to leave studios want in, the websites London by noon tomorrow, want in, traditional TVs want or else… then we have a goal in, the gamers and app builders that is easily measured. want in, the big banks, the big brands and hedge funds want Secondly, your story has a in. Everyone wants in. The stu- Setting. The setting can be dios and distributors, websites usual or unusual. and television broadcasters all have the hardware to play Thirdly, there are the Acmovies. What they lack is the tions of the main characters software – the movies. And if and finally what they say, or you are able to make compelDialogue. ling content, you will make money. The trick of a good storyteller is to weave these four Let me show you ten ways to elements together so the make compelling content for seams do not show. When a next to nothing. writer achieves this, we say they have mastered the craft of storytelling. But not necessarily the art of storytelling.
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Location, Location, Location There are two expensive components to a film shoot. Image capture (camera) and the locations. Moving a cast and crew from location to location is time consuming and expensive, regardless of your budget. If you can reduce the amount of location moves, or eliminate them altogether, then you are a huge step closer to reducing your budget. Locations in this scenario suddenly have a huge impact on the script. To learn how, we need only to look at some of the most interesting films of the last few decades: Tarantino’s Reservoir Dogs, Kevin Smith’s Clerks, Spike Lee’s She’s Gotta Have It, Orin Pelli’s Paranormal Activity and George Romero’s Night of the Living Dead. These films have one thing in common: limited locations. In fact, they would each make excellent stage plays. The trick, it seems, is to take a bunch of actors to a limited location and chop them up. When you do this, you will essentially be filming a stage play. But a stage play filmed as a stage play is boring. Turn your limited location script (which is essentially a stage play) into a movie successfully, and you will have what the moguls in Hollywood call Talent.
Image Capture Choosing the camera that suits your script and your budget is simpler than ever before. Most likely you will be shooting on a digital camera. Two elements of any camera you should look out for are: compression and lenses. Remember that all digital cameras generate the same signal. What influences the image quality are the lenses you film through and the numbers of pixels per frame (compression). The ultimate no budget camera trick is to use a little known fact of British law: security camera footage can be recovered if you have been the victim of a crime. The UK is covered in security cameras, some private and some publicly owned. By law, if you suffer a crime, the police will request a copy of the tape from the camera owner. Recce the CCTV cameras in your neighbourhood, write a screenplay, re-enact a series of ’crimes’ and hey presto – you will have your movie shot – for absolutely nothing. Sound It isn’t the look of skin on skin that turns you on in a sex scene. It’s the sound of skin on skin. Professional filmmakers spend much of their time considering and creating the sounds that go with their pictures.
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The Bucks Are In The Music One interesting fact of film revenue and distribution is that the main revenue streams are from the sound tracks for your film. This is because the musicians unions are much stronger than the actors, writers and film unions. After your film leaves the cinema (if it was lucky enough to get there in the first place) the main revenue streams a movie generates is for the mechanical copyright royalties for the sound track. Filmmakers are usually the last to understand how music royalties are decided, registered and administered. Explaining music copyright law is something that falls outside this short article. Briefly, filmmakers can get cheap free scores by composing and performing the sound track themselves, or by getting an unsigned band to perform it. If this is not possible, they will need to acquire the movie rights to an existing band’s music by contacting them through their agent, or estate if deceased. Remember that there are three music copyright streams: composers, lyricists and performers. Research the track you are interested in through http:// www.ppluk.com/
Get Organised Nothing is more disheartening than showing up to help out on a mateâ€™s shoot only to spend an hour looking for a screwdriver. Disorganization is totally unforgivable and easily preventable by advance planning. Make sure you know where everything is, and make sure everything and everybody shows up at the right place at the right time. If this is not within your organizational ability, partner with someone for whom it is. Your Friends Cannot Act It is always tempting to get a few friends together to make a movie and use them as actors as well. This usually leads to peril because your friends are not trained actors. They may have spent hours and hours with a video camera in front of the bathroom mirror, but they will not know how to act in front of a camera on a set. When your friends think they are acting well on set, you will probably be so shocked at their hammy performances that you will be unable to direct them without running the risk of destroying your personal relationship. It is far better to advertise for actor/collaborators at local theatres and acting schools, hold rigorous auditions until you find a stellar cast of talented unknowns than to use your friends.
If you have a suitable script and some money, you can approach a casting agent who will then pimp your script and your project out to established actors who might be willing to do it for nothing if they like the script, their role, and have been offered a suitable cut of the profits. Build A Following In the good old days (preValentines Day 2005) filmmakers would submit their films to a series of film festivals and tour with their film building the hype for their film until they received sufficient distribution offers to finance their next project. By making and touring film after film, a filmmaker was able to build up a loyal fan base which would guarantee them and their producers a predictable revenue stream. The explosion of social media has changed the landscape and created two types of filmmakers: those who loathe and abhor social media, and those who embrace it. Contemporary filmmakers can use social media to create a following of people eager to sample and appreciate their latest work. Astute filmmakers employ two producers: one who deals with the traditional production work flow, and one who deals with social media. A first step for any filmmaker is to register the domain name for their production company and film title, as well as Facebook and Twitter profiles.
Often these are sold on to eventual distributors, as was the case with Paranormal Activity. Are You a Filmmaker, a Content Provider or a Communicator? Whatever your goals are, remember that you need to decide what it is you are doing. Filmmakers make films and hope to cruise the festival route until they are discovered and become festival darlings. Content providers are professional filmmakers who deliver movies whether dramatic, corporate or documentary at a price per minute. Communicators are filmmakers and content providers who have something to say using the power of moving images with excellent sound, well crafted stories and good sound tracks. Communicators will also consider a host of different mediums including short two and three minute episodes for mobiles (mobisodes) or Internet (webisodes). Gaming and phone apps also provide interesting storytelling possibilities with a host of different strategies for monetizing content currently being debated around the world.
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invitation Online Film Promotion and Distribution from: Daazo.com - the European Shortfilm Centre
subject: Online Film Promotion and Distribution: an invitation to attend a lecture at the Sarajevo Talent Campus
message: The founders of Daazo.com (Zoltán Aprily and Dániel Deák) have had a lot of experience in online film promotion: their short film sharing website was launched in 2006 and Daazo.com has been supported by the Media Programme of the European Union since 2009. In addition, Zoltán and Dániel continue concurrently to run a successful sales and social media operation as part of the website. In their hearts, however, they are still filmmakers, who are able to understand the viewpoint of a director. Dániel and Zoltán are regular guests at prestigious film festivals and held an acclaimed workshop at the Short Film Corner of the Cannes International Film Festival in May. They are the founders and editors-in-chief of Daazo’s World of Shorts Magazine. Their lecture will be about the life of your short film after you’ve pushed the export button in your editing software: Festivals; distributors; sales agencies; and online platforms - how to find the right ones, and how to handle them. How to define your main objectives and the outcomes of your film. To sell or not to sell? Dániel and Zoltán will guide you step by step through the how-to of transforming your talent into an international career.
July 12th 5-6pm. for more info, check the Sarajevo Talent Campus programme booklet
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just days before the campus talents speak text: Anita Libor, Cristina Grosan
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I supose that I was chosen for the Talent Campus because of the showreel that I did especially for Sarajevo. It is not a usual showreel, it is more like a short movie about an actress in different situations at auditions. In a way it combines my two great loves, acting and writing - maybe my strength lies in that fact that I love to work on projects not just as an actress but also like to be involved in writing a script and creating a story with directors or scriptwriters. -Sanja Milardoviæ, 24, Croatia, actress
I believe that the selection committee are looking for active people with some good work in their portfolios. From my experience at the Berlinale Talent Campus I know that all participants are highly skilled and eager to make films. - Gavriil Tzafka, 26, Greece, director
I applied to the Sarajevo Talent Campus because I need to meet other young filmmakers who are on the same level with me in order to find new colleagues and discuss our projects. My goal is to collaborate with them in the near future. In addition, the masterclasses are a big plus. Cinema is a collective art. The Talent Campus organizes it very well in a few days. At the end you feel that you’ve got one step further. It is a unique opportunity. - Gavriil Tzafka, 26, Greece, director
Experienced mainly in documentaries, I applied to the Talent Campus to deepen my knowledge in feature films, and to get to know young talents from all over the world. I’m developing Time Eraser, my first feature film as a producer which has real international potential, so I hope to meet co-producers and to find funding possibilities. On the other hand, as in the new Hungarian funding system there aren’t any grants for shorts, I’m also looking for funds which support their proWhere my strength lies? duction. - Julianna Ugrin, 31, Hungary, I believe in films, in good stories, in quality, in human producer creativity, and in teamwork. Since the beginning I have worked hard to learn and know more and more. The film field is a special territory of art which is continuously changing and evolving. As a producer I have to open my eyes to be able to ensure all necessary conditions, financial and artistic, to make the author’s dream Julianna Ugrin happen. I had the chance to live abroad and to work with foreign crews, which helped me to learn to think internationally. This is a fight. A sweet fight for great films. - Julianna Ugrin, 31, Hungary, producer
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sarajevo talent campus special
I didn’t make any special preparations for the Campus because I think if you meet somebody and find out that you have same goals, you will find a way to connect and to work with them.
Apart from the experience of meeting and working with such a vast collectivity of internationally acclaimed professionals, which was probably my main goal, I particularly feel that the consultants of the screenwriting platform are not prejudiced as far as my screenplays – or such works in general – are concerned. And when I say prejugavriil tzafka dice, I refer to the unfortunately not too frequent impartiality My project Young Greek Immi- towards projects found in acagrants has also been selected to demic field. be presented at the Cinelink. That means that I have a lot of I therefore believe that the aid work and a lot of preparation to and feedback might serve exdo in order to have a good pitch tremely well in my professional in front of film industry profes- development. sionals. I already uploaded my - Andrei Epure, 23, Romania, work to the Internet so it will director be easy to show it. I have also updated my website (www.gabrieltzafka.weebly.com). I have to print business cards with my updated details. I’m sure that I will meet people who want to cooperate, who are looking for new ideas and who are thirsty to realize them. The collaboration between young filmmakers with a different cultural background can offer powerful I have put together a portfofilms. That’s what I’m looking lio containing several of my for! screenplays, and I hope to pre- Gavriil Tzafka, 26, Greece, sent them at the TC. director
I hope to meet people who will inspire me, to connect and share ideas, to find out new ways of doing your job. These are all very general hopes because I don’t have an exact plan about what I want to gain from this. And I believe in the saying that Life is like a box of chocolates, you never know what you’re going to get. - Sanja Milardoviæ, 24, Croatia, actress
After the TC and its project development platform, I wish to begin writing my first feature – on which I am already working - and I presume that the TC experience will help me a great deal. - Andrei Epure, 23, Romania, director
Naturally, I would enjoy meeting as many “titans of the industry” as possible, but if I had to choose who to meet, it would probably be Charlie Kaufman, Michael Haneke and Nuri Bilge Ceylan. - Andrei Epure, 23, Romania, director
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mapping you mind To better illustrate the relationship between directors and their films, the filmmakers from the official selection of the Shortfilm Competition at the Sarajevo Film Festival were asked to spontaneously draw something about their film - using a pencil and a piece of paper (or any other medium they could think of). Anything would do - a symbol, a landscape, fresh and raw, out of their imagination. Turn the page to see what happened.
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ALL OF THAT / SVE TO
synopsis Daniloâ€™s friend from school has passed away. His father wants to distract the boyâ€™s attention from the funeral and his duties as class representative by going on day trip. For the father, protecting his own child from the brutal experience of a funeral by going fishing becomes a much more difficult task than he expected.
Branislav Milatovi, Montenegro
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sarajevo short film competition
THE PARAFFIN PRINCE / PARAFINSKI PRINC
When Yavor realizes that his world is falling apart, the first thing that strikes his mind is the need to meet his best friend Ferti in the neighborhood where they grew up together. Driven to desperation, the two boys find comfort in memories and drugs.
Pavel G. Vesnakov, Bulgaria
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synopsis Roli is a short-tempered guy with high blood pressure. His doctor gives him a 24-hour-device to monitor his heart . However, this day turns out to be Roli’s worst nightmare when his girlfriend dumps him.
Nándor Lőrincz, Bálint Nagy Hungary
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sarajevo short film competition
BOYS, WHERE ARE YOU / MOMCI, GDE STE/
Lena is a 23-year-old girl living with her mother. While sheâ€™s home alone, Vlada is visiting her. Even though she still doesnâ€™t know what is the right thing to do, Lena makes a decision.
Jelena Gavrilovic, Serbia
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DADDY RULZ / TATAL MEU E CEL MAI TARE
The big day has arrived for 13-year-old Andrew: he sets up a score with the neighborhood hotshot, his role-model when it comes to street life. Andrewâ€™s father quickly finds out about it. He knows what to do in order to save his son. Even if this means confronting the ghosts from his own pastâ€Ś
Radu Potcoava, Romania
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sarajevo short film competition
ONE SONG / UNSER LIED
Father by day and musician by night, single parent Coni barely gets by. A faded photograph is the only reminder of his daughterâ€™s mother. But one day, shortly after Coni seems to have got over her, she shows up again.
Catalina Molina, Austria
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THE SON OF SATAN / SOTONIN SIN
A good demon, deeply disappointed with life in hell and with his drunken father, decides one day to leave his home and look for happiness.
Marko Dješka, Croatia
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sarajevo short film competition
FIRST LADY OF DUBRAVA / PRVA DAMA DUBRAVE
Amra is an attractive and talented teenager from the outskirts of Zagreb, whose dirty rap made her quite popular in the neighbourhood. Dina is her chubby, clumsy and spoiled younger sister who suffers from asthma and often feigns or exaggerates her illness to drive her older sister up the wall. Amra and her manager plan to shoot a hot music video for her big breakthrough hit to be “the girl from da hood”, but she learns last minute that she has to babysit Dina instead, while her parents go to Bosnia. Not willing to sacrifice her big chance, Amra takes Dina along and puts her sister’s life at risk.
Barbara Vekaric, Croatia
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HORIZON / ORIZONT
If a fisherman mysteriously disappears in the depth of the Black Sea and there is nobody around to hear him, does he make a sound?
Paul Negoescu, Romania
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sarajevo short film competition
THE RETURN / KTHIMI
A young man, arrested at random during the war in Kosovo and thought dead, returns home from a Serb prison looking for a way back to the life he left four years earlier. But the war has touched more than he may imagine and explanations come hard.
Blerta Zeqiri, Kosovo
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Film festivals and film markets are those events when your every-day office job as a sales agent turns into a lively and exciting fusion of business meetings, film screenings and all-day-long networking. How does a sales agent’s day look like in Clermont-Ferrand, Annecy, Berlin or Cannes? In the morning, before leaving the hotel and heading towards the film market, I check my bag to see if everything I need is there: DVDs with the films from our catalogue, especially the latest showreel, leaflets presenting our new acquisitions, some promotion material like postcards and flyers – and sufficient business cards. The day at the market can begin!
ONE DAY AT A FILM MARKET text: Anja Šošić, Jan Naszewski New Europe Film Sales www.neweuropefilmsales.com photo by Cristina Grosan
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the a-b-c of sales
If we are collaborating with another institution at the market (like the Polish Film Institute, the Krakow Film Foundation or the Visegrad Animation Forum), I drop by at their booth, place some promotional material there and enquire as to what kind of events they are planning during the festival and when me or my colleague should be present. The first interested visitors stop at the stand – they are programmers from another festival looking for new short films. I hand them our DVD and point out a few films, which might be interesting for their selection. This is what I will do repeatedly over the course of the day: Presenting our catalogue and promoting our new films. I have several meetings with buyers from TV channels who are looking for content. Most of them we have met several times before, so we know what kind of films they are searching for, and based on their needs we can highlight and recommend selected films to offer them the most suitable programme. We also meet buyers from other fields, such as theatrical distributors and sometimes curators from museums or galleries.
Very interesting as well are the meetings with various VOD providers – on the growing market of digital purchase and digital rental, emerging companies approach us with new business models and we have to evaluate how we can collaborate with them. This can prove difficult and time-consuming.
Presenting our catalogue and promoting our new films. I have several meetings with buyers from TV channels who are looking for content. Most of them we have met several times before, so we know what kind of films they are searching for, and based on their needs we can highlight and recommend selected films to offer them the most suitable programme.
In between my meetings, I visit different booths at the market, mostly representatives of certain countries, where you can request the latest shorts compilations from Switzerland, Germany, Croatia, Canada… My bag is growing bigger and bigger, filling up with DVDs I get from the stands and most of all from the filmmakers I meet. On the one hand, new filmmakers are approaching me to introduce themselves and give me a screener of their work. On the other hand, I’m glad to meet the filmmakers we are already working with, to have a chat, hear about their new projects and maybe introduce them to other people who might be able to support them. At a film market, days pass by extremely quickly. Sometimes we are invited to participate in a panel or to attend a pitching forum, sometimes the market offers special events such as presentations of different TV channels and their programme profiles.
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Whenever there is a gap in between my appointments, I visit the video library or maybe even manage to attend a screening in the cinema to look for new acquisitions – and just to enjoy some good films. Not to forget about socialising! At most of the booths, you will receive an invitation for a reception, a picnic, a cocktail or a party. In the afternoon and evenings you can go to the indicated locations, where you will always find familiar faces as well as some food and drinks – the ideal opportunity to catch up with friends and meet new people. When you start attending festivals and markets, these gatherings can be a bit tiring – especially when you are new in the business and have the impression that everybody knows each other, while you are feeling lost among all those people, companies, organisations and films. However, that’s just the unsettledness of the beginning. Already at the next festival, you will recognize people – after all, the world of film business is not as big and overwhelming as it might look from outside, and especially when working with shorts, you will meet the same people again and again.
While attending film markets, I have met some fantastic people – so visiting other festivals is not only about watching new films, but also about meeting these inspiring people again! At the end of the market, I return home with a suitcase full of films to watch, exhausted and tired, but satisfied and with a smile on my face. In the coming weeks I have to follow up with the people I met, write a lot of e-mails, work through the pile of films next to the DVD player, finish the sales deals we’ve made, send out screening materials and do a lot of paperwork – before packing my suitcase and travelling to the next festival!
Whenever there is a gap in between my appointments, I visit the video library or maybe even manage to attend a screening in the cinema to look for new acquisitions – and just to enjoy some good films.
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At a film market, days pass by extremely quickly. Sometimes we are invited to participate in a panel or to attend a pitching forum, sometimes the market offers special events such as presentations of different TV channels and their programme profiles.
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Robert Hloz is the winner of Daazo’s Visegrad Shorts on Tour film contest with his wonderful short film Numbers. We got to know him well when he came to the Tour across the four Visegrad countries with the Daazo team and his fellow filmmakers in the competition, where his iPad screenshot maps offered great help in finding our way in the maze of foreign cities. Today, he spoke to me about his beginnings, his influences and his plans for the future. When did you first know that you wanted to be a filmmaker? I wasn’t allowed to watch any movies when I was young so it was very special for me to enjoy secret screenings with my friends, who showed me the best flicks of the 80s and 90s they had. Over the years, I became very interested in movies. But the great change came when I got my hands on a set text: Zsuzsanna Deák of VHS cassettes of the Star Wars movies, again borrowed from my friend when I was 12 or so. Well, I must admit I have never returned them. I watched them bit by bit between coming back from school and my parents coming back from work, which wasn´t a huge gap. It took me several weeks, but when I had finished episode VI of Star Wars, I knew what I wanted to do: I decided to become a filmmaker. I started to make short films soon after, hitting all kind of genres from sci-fi to generation drama, being very influenced by Kubrick, who I am a great fan of, and also Tarkovsky and Spielberg.
I love to mix these different approaches into a postmodern blend, optimally getting rid of the classic, cliché way of depicting our post-communist Central European atmosphere I am fed up with.” You have just graduated in film directing in Zlín. Tell me about how this film school and your studies abroad have influenced you! I was rejected by FAMU in Prague twice, so I started to study directing at the FMK UTB in Zlín where I probably ended up happier. Here, there is a much more open approach to different genres, although the financing is much more difficult. But I was lucky enough to win a Kodak Scholarship for my movie The Mill as the best Czech short film of the year so I got the chance to write the script for my graduation film exactly the way I intended to, and to shoot it on 35mm - I am now preparing for the shooting of the second part in September. In 2010, I was accepted to film school in South Korea, where I spent six months studying and shooting in Seoul under the guidance of director Ki-hwan Oh at the Hanyang film school.
Introducing Daazo.com’s top users Robert Hloz
This was great because I had always loved the South Korean violent dramas of Park Chan-Wook and the whole Asian culture. Based on that experience, I managed to shoot Numbers, a short film about a guy lost in a suddenly different world. Numbers won the best Visegrad short film prize, which is a kind of a nice paradox that I am very happy about.
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Tell me more about your experience of making films in Korea! In what way is it different to Europe? In terms of feature films it is different, because for such a small country, the industry is huge and very Hollywood-like. And in terms of student films – there are over a hundred film schools, so the competition is intense. Also almost everyone´s dream is to end up in Hollywood, which is kind of uncommon in Europe, I´d say. The problem is that a lot of people are just talking about it but they don’t know English very well and they are afraid of travelling abroad. They are afraid of trying to do things in new and different ways in general, I would say - that was my biggest problem when I was shooting there. It takes a lot of work to convince someone to do something different to what he was doing before and I don’t necessarily mean only actors or others in the filmmaking business, but regular people... not allowing you to shoot here and there for no reason and hundreds of other small things every day. I think this is based on their very traditional culture. What is your graduation film about? Can you tell me more about the second part you will start shooting in September? It is a 30-minute-long story of a girl who gets raped. She decides to erase that uncomfortable memory from her head. It is a very postmodern and cool script and I am looking forward to finally finishing this project - I can´t wait to see it in the editing room. What are you planning to do after your graduation? We could say that school offers one a certain stability. Now that this safety net is gone, how do you plan to continue your work after your graduation? Do you have a strategy to look for financing for your future films?
Still from Numbers, dir. Robert Hloz The astonishing cinematography of this short shows from the first images of the opening title that this is the work of a mature filmmaker with a strong cinematic vision. The gripping visual composition is able to recreate the crowded atmosphere of an Asian metropolis in just a few seconds, and thus we are able to dive into the sciencefiction situation. Interesting characters, well-paced dialogues and an emotionally engaging twist make up what can be a great beginning for a future feature film. (from Zsolt Gyenge’s review in WOSH Visegrad Shorts on Tour, 2011) Numbers is available to watch on Daazo.com.
I hope I will continue my studies to masters level and finish it with a feature film. I am working on the script right now. I also work as a commercial director and I love the challenge of creating a stirring story in such a small space: it is the best film school. WOSH by Daazo.com - the European Shortfilm Centre 56
Have you got any plans for other films? Features or shorts? Can you tell me a few words about what short film as a genre means to you? Yes, I have several plots I would love to see on screen that I am constantly working on slowly. When I feel any of them is good enough, I offer it to the script writer I plan to work with and hear what they think. Then I usually take it back because I find out that it is not ready by far. Who is the actor you would love to work with most? Do you have rolemodel directors? Ewan McGregor, Michael Fassbender, Ryan Gosling and Brendan Gleeson. And all of them in one movie! As for the directors, there are many I take inspiration from: Stanley Kubrick, Danny Boyle, Steven Spielberg, Gaspar Noé, Nicolas Winding Refn and many others. Do you watch other filmmakers’ short films? What inspires you? What kind of trends do you notice, and is that something you pay attention towhen working on your own scripts? A few years back, I was watching shorts a lot, everywhere I could. Now I am much lazier so I watch much fewer nowadays, but as a genre, I see it as a great way to try new things. Often you try to get the same number of ideas into a short as into a feature and that can be very interesting. A short must not be boring, that is the basic rule. How do you see yourself in 10 years’ time? What are your dreams and what do you think the reality will be? My dreams are big and I try to never think of reality. I hope that sticks with me for some time.
text: Boogieman photo by Cristina Grosan
new kids on the block
What we have learnt during the past couple of years was the alarming lesson that future generations will no longer consume culture following the rules of now obsolete distribution companies. These new kids get by from numerous sources of information, avoid all the channels that are targeted at them and are tricky enough to find the content for free if itâ€™s not served up on time or cheap enough. The whole film business for them is nothing less than a race against time with the content provider.
Studios are indeed minimizing the time devoted to the exploitation of their movies: beyond the ever-growing number of day-and-date releases, they publish their DVDs as soon as they can before the torrents take over the scene, usually approximately 3-4 months after the premiere.
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The technology is right here to organise a live coverage of any event in the world streamed to the cinema next to you - in HD quality!
Digitization and the Internet have had an unprecedented impact on our film consuming habits and this new phenomenon has unfortunately not been followed by a total restructuring of the distribution field or at least the simplification of licensing patterns. The e-generation is into a more widespread range of visual content than the old appetites that ailing distributors could ever satisfy – legally. The mainstream is less important while the niche is emerging at a devastating pace. Younger consumers know what they want, but there’s no one on hand to offer them a legal solution for their needs. Supply and demand have never been so close to each other, and raising awareness for a film has never been so easy. It’s, ahem, just the legal department being a bit late with some tailormade simple stuff... There are, however, promising experiments, like Daazo.com or hungariant, two relentless distribution squads seeking sustainable models to bridge the gap between art films and their audience.
These new kids get by from numerous sources of information. (...) The whole film business for them is nothing less than a race against time with the content provider. The technology is right here to organise a live coverage of any event in the world streamed to the cinema next to you - in HD quality! You would technically be able to watch any film premiere in real time on your smartphone if a diligent company were ready to clear the legal minefield beforehand. You carry electronic devices through which you can screen premium contents on hilltops or by the sea. Your phone is ready, but are you? Are you ready to express your needs? Are you prepared to join a group searching funky contents at an affordable price? Would you support anyone who spreads culture along a sustainable pattern?
Whatever happens, the way you are going to consume culture in the future depends greatly on you, therefore you will entirely deserve it... So be open, remain interested and... stay hungry!
The e-generation is into a more widespread range of visual content than the old appetites that ailing distributors could ever satisfy – legally. The mainstream is less important while the niche is emerging at a devastating pace. Younger consumers know what they want! Check out more of Boogieman’s stuff at http://boogiemansalltimeclassix.com
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bring on the training! text: Zoltán Aprily, Cristina Grosan photo by Cristina Grosan
There comes a point in any filmmaker’s life when official training isn’t enough. It just doesn’t do the trick. School is good, and necessary, but when doing a reality check, you need to go out, see the world, and leave your comfort zone. Some would say doing short films is easier in school, and that once you’re out - you’re out, and on your own. We’re here to say that the world has plenty of opportunities in store. We’ve put together a short list, in case you’ve been wondering where to go next. WOSH by Daazo.com - the European Shortfilm Centre 60
workshops and trainings
Go Short Student Campus, Nijmegen, the Netherlands The Go Short Student Campus is part of the Go Short International Short Film Festival in Nijmegen and is organized by Breaking Ground – Platform for European student films. During the campus you’ll learn more about the way sound and images interact in the process of storytelling. Accompanied by renowned film professionals and together with fellow film students you will work on a short film, in which sound will play a major role. Nr. of participants: ~15 countries eligible: countries from Europe fee: around 250 Euro Project Market Sarajevo, Sarajevo, Bosnia The Robert Bosch Stiftung sends within the context of the Co-Production Prize up to ten German upcoming producers to the Sarajevo Talent Campus to meet with filmmakers from the region. A special programme with “Speed Datings” and „One-To-One Meetings“ will enhance the teamfinding process for the Co-Production Prize. For many, this is the first opportunity to introduce their film ideas and to learn how to briefly present their project idea within a scheduled time and to awaken the interest of their counterpart. Nr. of participants: ~80 countries eligible: Germany, countries from Eastern Europe
This workshop is organised by the
Sundance Institute Screenwriters Lab, Park City, Utah US The Screenwriters Lab is a five-day writer’s workshop that gives independent screenwriters the opportunity to work intensively on their feature film scripts with the support of established writers in an environment that encourages innovation and creative risk-taking. Through one-on-one story sessions with Creative Advisors, Fellows engage in an artistically rigorous process that offers them indispensable lessons in craft, as well as the means to do the deep exploration needed to fully realize their material. Nr. of participants: 6-8 deadline for the January Screenwriters Lab: August 15, 2012 countries eligible: countries from Eastern Europe, Southeast Asia, Northern Africa, Central America WOSH by Daazo.com - the European Shortfilm Centre 61
Midpoint Workshops, Teplice, Slovakia & Prague, Czech Republic MIDPOINT is an international script development training programme for graduating students and recent graduates. MIDPOINT was created to provide support for writers and training for directors and producers to enable them to constructively participate in the development process – a dramaturgical skill that is often lacking due to the traditional system used in Central European film schools where writers, directors and producers study in separate departments.
Fest 2012: Training Ground - Espinho, Portugal FEST Training Ground is an educational event where new and upcoming filmmakers and film students from all over the world gather in one week, to attend a deluxe training from workshops to master classes, lectured by some of the industry’s top experts with highly acknowledged achievements. The program is designed in a way to allow each participant to tailor make their own individual programme, according to interests and priorities to make it a more personal experience. Nr. of participants: n.a. countries eligible: countries from Europe fee: ~400 Euro
Nr. of participants: n.a. countries eligible: countries from Europe, with a focus on Central European Berlinale Talent Campus, Berlin, Germany It’s a must-stop on any young filmmakers’ traincountries ing itinerary. Held during the Berlin Film Festival, fee: 80 or 240 Euro the Berlinale Talent Campus is a meeting point for young filmmakers and industry professionals. Project Market Tbilisi, Georgia Put together in the same room for 7 days, careers The aim of the workshop is to give young can be launched. It’s also a great opportunity to do filmmakers from the region a first in- a reality check, and position oneself on the long sight into international co-productions. run. There are other regional talent campuses, also A pitching training prepares them for worth checking out: Talent Campus Buenos Aires, organised speed-datings and one-to-one Talent Campus Durban, Sarajevo Talent Campus meetings with four young German pro- and Talent Campus Tokyo. ducers. Benefiting from their experiences and consultance the filmmakers learn Nr. of participants at how to briefly present their project idea the Berlinale Talent Campus: ~350 within a scheduled time and to awaken countries eligible: all the interest of their counterpart. The first One of the main partners of the Talent Campus is the move is made to find a teampartner in order to apply for the Co-Production Prize of the Robert Bosch Stiftung. Project Market Tbilisi’s partners are the Budapest Film Academy – Georgian National Film Center and the Intl. Summer Programme 2012, Budapest, Hungary Goethe-Institut Tbilisi A three-week intensive summer seminar in BuNr. of participants: ~12 dapest. Theoretical and practical film knowledge countries eligible: Germany, Georgia from industry leaders, taking part in an interactive filmmaker group, shooting an exciting short film at the SZIGET Festival. More info: http://bit. This workshop is organised by the ly/LlCp3k BFA’s 2012 fall semester: www.budapestfilmacademy.com Nr. of participants: n.a. Fee: 1950-2550 Euro countries eligible: all WOSH by Daazo.com - the European Shortfilm Centre 62
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You can watch all of Kornél Mundruczo’s films on Daazo.com. Click away!
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App meets short film
text: boogieman, a HungariAnt
a perfect love story? text: Shortz! photo by Cristina Grosan
The latest hot trend in the smartphone world is apps that capture, edit and then share videos, making it easier for anyone, from filmmakers to teens, to produce and share their stories.
Since the Facebook Instagram buyout, attention has moved from photo to video with the thought that perhaps the next app cash cow will come in the form of a social video app. The fact that many tech forecasters believe that mobile is the next â€˜big thingâ€™ is also spurring on the belief that in the near future, an app will emerge
that will become the next billion dollar IPO and infiltrate our lives more than social media has. Whether or not this will be a video app remains to be seen, but with the popularity of shared experiences, user generated content and the availability of fast bandwidth for all devices, short film stands a chance.
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Anyone with enough patience, the ability to tell a story, the right smartphone and perhaps a vintage filter is able to get their story out there.
In the design and arts world the term “democratisation of design” has long been whispered by the masses, spurned by the elite and dissected by the academics:. With the wider availability of design and production tools and the ability to share them with no need for complex distribution channels or high fees, the visual arts and design sectors have become more democratic with the progression of our “Shared World”. Instagram put photography and the ability to be seen in the hands of anyone with a phone camera, which has become the norm for mobile devices. Cameras have become slightly sidelined and mobile devices are the Swiss army knife of the tech world.
new crew of filmmak-
This intersection of the ability to share information, capture experiences and edit them on the go in real time is changing the way we view our world. The tools with which we tell our human and personal stories have shifted. Considering all these factors, namely the Internet revolution, the availability of small-scale consumer electronics and enhanced sharing platforms, the modern box office is competing with an entirely
voice. And with the ability
ers and storytellers.This, coupled with the growing global crisis that is hitting every industry hard, is creating an interesting niche for the short film format. This means that anyone with enough patience, the ability to tell a story, the right smartphone and perhaps a vintage filter is able to get their story out there. While many may judge the validity of this new democratic film industry where almost everyone has the power to do what the industry elite do, the im-
What this means for the old model is obvious. The status quo has shifted and the app might be responsible for the survival of a little artistic indulgence known as the Short Film.
This intersection of the ability to share information, capture experiences and edit them on the go in real time is changing the way we view our world. The tools with which we tell our human and personal stories have shifted.
plications are simple. It has given the average person a to touch the screen, tweak here and edit there, post to various channels simultaneously and get feedback, short films are coming into their own in a whole new way.
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race you to it: Awakening the interest of your counterpart An interview with Karin Angela Schyle, coordinator of the Co-Production Prize of the Robert Bosch Stiftung text: ZoltĂĄn Aprily photo by Mihai Evoiu, post-processing by Cristina Grosan
The Robert Bosch Stiftung encourages young and emerging filmmakers: letâ€™s see what the competition programme, called Co-Production Prize, and the Project Market held in Sarajevo can offer.
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The Co-Production Prize encourages young filmmakers to cross borders film production-wise by finding German co-producers. How does the selection process happen? Do you consider this “crossing border” attitude is thematic as well? The Co-Production Prize of the Robert Bosch Stiftung is a competition programme which encourages young filmmakers from Germany to collaborate with partners from either Eastern Europe or the Arab World. There they get the chance to find a partner and to prepare a common project for a joint application for the following Co-Production Prize and they are given an opportunity to explore the methods and creative styles of their partner country, stressing in particular the aspect of intercultural exchange. From all the submissions an international and independant selection committee nominates the fifteen projects which compete for the CoProduction Prize. The prize, worth up to 70,000 euros for each selected project, is awarded in the categories of animated film, documentary, and short film. Projects with a professional approach, a well developed project idea, a good story well researched and depicted, an inspiring director’s signature proved by a reference film and a convincing team roster have the best chance of being nominated. Please tell us about the Project Market you are going to have in Sarajevo! For the sixth time, the 18th Sarajevo Film Festival organizes a Talent Campus for young filmmakers from July 8-14, 2012. The Talent Campus, being part of the Film Festival is an important platform for young German and Eastern European filmmakers in this region with the support of the Robert Bosch Stiftung as its official partner. In several workshops, seminars and events, international film experts will give important advice to the participants for their future career in the film business.
Since 2007 the Robert Bosch Stiftung sends within the context of the Co-Production Prize up to ten German up and coming producers to the Sarajevo Talent Campus to meet with filmmakers from the region. A special programme with “Speed Dating” and ”One-To-One Meetings“ will enhance the teamfinding process for the Co-Production Prize. For many this is the first opportunity to introduce their film ideas and to learn how to present briefly their project idea within a scheduled time and to awaken the interest of their potential counterpart. The young German producers will be important conversation partners for the Eastern European directors for discussing common project ideas. The development of common projects and enhancement of co-productions by German and Eastern European talents is the central focus of the funding at the Talent Campus.
When do you find a project successful? What is success for Bosch Stiftung? Please tell us about a good example! We are very happy to find each year applications from teams which met each other in one of our organised Project Markets. And we appreciate the opportunity to experience teams who continue their working relationship. For example director Lili Horváth and producer Henning Kamm of the short film Sunstroke, a German/Hungarian
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production and prize winner from 2008, broadcasted on ARTE in 2009, are now working on a long feature project. This underlines the importance of our activities and confirmes the idea of networking. Following the career of the filmmakers or films supported by the Robert Bosch Stiftung we are proud to welcome even winners of the Berlinale Golden Bear (Jasmila Zbanic, who was part of the Lost and Found omnibus project which was the pilot project of the Co-Production Prize) or an Oscar nomination (Milan by Michaela Kezele). The Berlinale and the Sarajevo Talent Campus are important partners of the Bosch Stiftung. For how long are you “patrons” of these talents? Are there any chances for them to get in touch with Bosch Stiftung later on during their career? The Berlinale and the Sarajevo Talent Campus are important networking platforms from which the nominees of the Co-Production Prize can benefit as well. Getting the chance to attend the extensive training and lecture programme from the Talent Campus, they meet with experts and professionals from the film and festival business and can exchange ideas with many other up-and-coming talents. Intense workshops organised within the frame of the Co-Production Prize enable talents to build up long lasting relationships with one other. Besides this, the members of the international jury and film professionals in leading roles, provide a consulting service during the production and post-production. Can you tell us about some productions or producers who were winners of the Co-Production Prize and who have also achieved festival success recently? The short film Renovare, a German/Romanian production and Co-Production Prize winner of 2008 (director: Paul Negoescu, producer: David Lindner) was featured at more than 70 festivals, amongst which was the Berlinale International Film Festival, and it was nominated for the European Film Academy Short Film Award as well as for the Romanian Film Prize.
The animation project Father, a German/Bulgarian/Croation production and Co-Production Prize winner of 2010, is a success story in many aspects. Three countries with three producers and five directors were involved and the team worked very well together and kept the production schedule. Soon after its completion in February 2012 the film immediately began a festival career, being invited to the Sofia International Film Festival (Jameson Short Competition), the Croatian Animated Film Festival in Zagreb, the ITFS, the Stuttgart Festival of Animated Film, and the Annecy International Animation Film Festival, and it received a Special Jury Mention at the Croatian Animated Film Festival. And we could continue the list, as all prize winner films have embarked on an amazing festival and/or television career.
Since 2007 the Robert Bosch Stiftung sends within the context of the CoProduction Prize up to ten German up and coming producers to the Sarajevo Talent Campus to meet with filmmakers from the region. A special program with “Speed Dating” and ”One-ToOne Meetings“ will enhance the teamfinding process for the Co-Production Prize. For many this is the first opportunity to introduce their film ideas and to learn how to present briefly their project idea within a scheduled time and to awaken the interest of their potential counterpart. The young German producers will be important conversation partners for the Eastern European directors for discussing common project ideas.
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THE CONQUEST OF THE FESTIVAL WORLD text: Julien Hossein photo by Cristina Grosan
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So, you have completed your short movie. Although your family and friends love your work, it’s time to screen it to the real world. Let’s bring it to the audience and professionals!
You will need to build the credibility of your film by having it selected for a lot of festivals around the world. And do not hesitate to pick the ones that include short movie markets for buyers, distributors and film directors if you’re thinking about the near future. In order to decide which festivals are relevant, look where your film fits, where you think it might be successful, and which festivals give prizes or merits. Make some research asking yourself which ones are the most appropriate for your film. Imagine which festivals may help in furthering the festival run, which can last up to two years. There are so many film festivals around the world, it is really up to you to decide your strategy based on your ambitions and budget. Concerning the A-lister Festivals, be ambitious but realistic about your work. Wait for the answer from the few festivals of your dreams which require a Premiere, but keep sending to the smaller ones in other territories, and please don’t be disappointed if you are rejected from an A-lister festival since there are lots of other well-established places that you can submit to.
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The A-Lister circuit begins with the Clermont-Ferrand International Short Film Festival (January), the largest short movie festival and market in the world. Next, you could try the International Film Festival Rotterdam (also January), which offers a quality selection of worldwide short movies honoured by the prestigious UIP award. Don’t forget to send your work to the Sundance Film Festival (January again!). To be screened there opens a path to the Oscar qualifications. Then we get back to Europe with the Berlinale (February), and its strong short movie competition. Don’t forget to apply for the Berlinale Talent Campus which is a creative academy and networking platform for 350 up-and-coming filmmakers from all over the world. Another great pick is the Tampere Film Festival (March) in Finland , which is one of the world’s oldest and best short movie festivals which hosts about 500 short movies at its market. In April, you could try to compete at the Aspen Shortfest or Tribeca Film Festival (founded by Robert De Niro) which can be very influential for your film. The Cannes Film Festival (May) is one of the most glamorous places to
be in competition but if your short isn’t one of the lucky few, you can always screen it at the Short Film Corner (a useful short movie market and networking place). Then you cold go for Toronto at the CFC Worldwide Short Film Festival (June) where your film could be included in another short movie market. The next major U.S. Film Festival to submit your film to is the Palm Springs International ShortFest (also June) where you can find a huge short movie selection which is really worth being a part of. Try also to submit to the Melbourne International Film Festival (August) which is the biggest and most acclaimed movie event in Australia, or you could bet on the Venice Film Festival (September) which only admits world premieres. And to finish the A-lister Festivals Tour, don’t forget the Rio de Janeiro International Short Film Festival (November) which is one of the major film festivals of Latin America.
If you are selected to screen at one of the big ones listed above, most of the other festivals will send you invitations to enter their own events at no cost.
You will need to build the credibility of your film by having it selected for a lot of festivals around the world. And do not hesitate to pick the ones that include short movie markets for buyers, distributors and film directors if you’re thinking about the near future. But, as we said at the start, whilst submitting to the Alister festivals of your dreams, you should also applyto smaller or more specialized festivals (horror, children, LGBT,...) which are great places to catch some attention with your movie as they are more accessible to small productions and often offer a broader selection of short movies: Brief Encounters Short Film Festival, International Hamburg Film Festival, Flickerfest, Huesca Film Festival, Uppsala Film Festival, Bruxelles Film Festival, Montreal International LGBT Film festival, Villa do Conde, Fantasporto, Fanfasia, Cinemajove, Mecal, Montreal lmage+Nation, Stockholm Film Festival...
These festivals can allow you to build the credibility of your movie for other festivals. To find out where to submit your film, you could use one of these three useful websites: Withoutabox, Reelport or the Short Film Depot. You just need to create an account, register and upload your film, submit to festivals and check-out the progress. These services are free but will not include festival entry fees. Festivals are really the best way to bring your film(s) to a wider audience, to promote your work and to meet with the industry players. Try to attend as many festivals as you can if your movie is selected, to network and speak about your next project while you promote your current film. A new journey is about to begin for you...
Concerning the Alister Festivals, be ambitious but realistic about your work. Wait for the answer from the few festivals of your dreams which require a Premiere, but keep sending to the smaller ones in other territories.
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editors in chief Dániel Deák, Zoltán Aprily editors Anita Libor, Zsuzsanna Deák art director Cristina Grosan contributors Anja Sosic, Jan Naszewski, Zsolt Gyenge, Elliot Grove, Boogieman, Julien Hossein, Annie Dörfle photos by Cristina Grosan, FORTEPAN, Mihai Evoiu, Diana Mesesan, Zoltán Aprily, Anita Libor thanks Ivana Pekusic, Aldina Bukva-Mahmutovic, Matthijs Wouter Knol, Maia Christie, Alex Ward, Richard Brasher cover photo Cristina Grosan content spread photo Diana Mesesan works from our contributors can be viewed at dianamesesan.blogspot.com | evoiu.ro | grosan.ro WOSH by Daazo.com - the European Shortfilm Centre 78
You can also find this magazine online at daazo.com/wosh/sarajevo2012 World of Shorts magazine is published by Daazo Film and Media Ltd. Printed in Hungary in June 2012. www.daazo.com | firstname.lastname@example.org
Daazo.com - the European Shortfilm Centre is supported by the MEDIA programme of the EU. This material does not necessarily represent the views and opinions of the EU. This magazine was printed on recycled paper. ec.europa.eu/culture/media
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