Page 1





Berlinale Talent Campus #7


talents from all over the world We are pleased to welcome 350 Talents from 106 countries:

albania•angola•argentina•armenia bangladesh•belgium•bolivia•bosnia bulgaria•cameroon•canada•chile•ch czech republic•denmark•dominican estonia•finland•france•georgia•germ haiti•hong kong•hungary• india• indo jamaica• japan• jordan • kenya•koso lesotho•lithuania•luxembourg•mac mexico•mon­go­lia•morocco•mozamb netherlands•new zea­land•niger•nig territory•peru•philippines•poland•p rwanda•saudi arabia•serbia•sierra slove­nia • south africa• south korea•s taiwan•thailand•togo•tunisia•turkey united states•uruguay•venezuela•vie We would like to thank our international network for its support: British Film Council, Colombian Ministry of Culture, Embassy of Argentina in Berlin, Embassy of Chile in Berlin, Embassy of France in Berlin, Embassy of Singapore in Berlin, Finnish Film Institute, Heinrich Böll Stiftung, Québec Government Office, Svenska Filminstitutet.


australia•austria•azerbaijan a and herzegovina•botswana•brazil hina•colombia•costa rica•croatia•cuba republic•ecuador•egypt•el salvador many•ghana•greece•guatemala onesia•iran•ireland•israel•italy vo•kyrgyzstan•latvia•lebanon edonia•malawi•malaysia•malta bique•myanmar•namibia geria•norway• pakistan•palestinian ortugal•romania•russian federation leone•singapore•slovakia spain•sri lanka•sweden•switzerland y•uganda•ukraine•united kingdom etnam•zambia•zimbabwe •

Berlinale Talent Campus #7


The Passat BlueMotion. Official VIP Shuttle of the Berlinale Talent Campus #7.


introduction 06 09 10 12 14 15 16

Location Editorial Dieter Kosslick A Welcome from our Partners The Berlinale Talent Campus Website Berlinale Talent Campus Abroad Campus Alumni at the Berlinale Supporting Foundations

special focus 20

“Suddenly, It All Happened“ – The Turning Point in Close-Up

hands-on-training 24 25 26 27 28 29 30 31 33 34 37 38

Volkswagen Score Competition Portrait: Max Richter Campus Studio Portrait: Claudia Meglin The Talent Press Portrait: Derek Malcolm Doc & Script Station Portrait: Kathrin Brinkmann Talent Project Market Berlin Today Award Filmmakers Against Racism Campus Counselors

campus programme 40 46 48 49 52 56 60 63

Campus Programme – Timetable Meet the Experts Day 1 – Sat, Feb 07 Day 2 – Sun, Feb 08 Day 3 – Mon, Feb 09 Day 4 – Tue, Feb 10 Day 5 – Wed, Feb 11 Day 6 – Thu, Feb 12

index 67 68 74 76 78 79

Berlinale Talent Campus #7

Index of Events Index of Experts Index of Talents Epilogue / Note of Thanks Team / Imprint Partners

1. 2. 3.

4. 5. 5

theater hebbel am ufer ( HAU 1- 3)










introduction 09 10 12 14 15 16

Editorial Dieter Kosslick A Welcome from our Partners The Berlinale Talent Campus Website Berlinale Talent Campus Abroad Campus Alumni at the Berlinale Supporting Foundations

it's your turn! Welcome to the 7 th edition of the Berlinale Talent ­Cam­­­pus with the special focus “Suddenly It All ­Happened – The Turning Point in Close-Up“!

As we all know, seven is a magic number, and indeed it is kind of magical how fast the idea of the Berlinale Talent Campus has led to today‘s strong global network of communication and creativity. Seven editions have resulted in nearly 3,000 young filmmakers from all over the world who share this fresh, ­film-loving and open-minded community. And the interest in the Campus idea hasn’t dissipated – on the contrary: We have seen an increasing number of applications from no less than 128 ­coun­­tries to this seventh edition. Also our Campus Abroad initiatives, events modeled on the Berlinale Talent Campus yet retaining a regional flavour, are in great demand. In 2008 two new initiatives have been launched: the Talent Campus ­Guadalajara in Mexico, hosted by the Festival ­Internacional de Cine Guadalajara, and the Talent Campus Durban, hosted by the Durban International Film Festival in South Africa.­ But most of all we enjoy seeing Talents return. Every year the Official Selection of the Berlin International Film Festival is ­enriched by films made by Campus alumni. The same goes for 2009: we are happy to present 22 films made with the major in­vol­vement of 30 current or former Talents in the Official ­Berlinale ­Selection. In this manner the spirit of the Campus is always present in the festival, as the festival is omnipresent at the Campus. As the Campus programme is closely connected­ to films, events and highlights of the Berlinale Sections, it is ­completely integrated into the exciting flow of the Berlin ­International Film Festival.

In 2009 we ­celebrate its 20th anniversary, amongst other events, with five Talent short films nominated for the Berlin Today Award, all celebrating­ their premiere at the Campus Opening on Feb 7. Whether the worldwide economic crisis will mark an important turning point in the rules of international markets: nobody can tell right now. But we can say that in times like these we are very grateful for the group of true partners who tirelessly ­continue to support the ambitious idea of the Berlinale Talent Campus. First and foremost, we want to express our grati­tude to long-time partners like the MEDIA Programme of the ­Euro­pean Union, Medienboard Berlin-Brandenburg, Skillset and the UK Film Council, as well as Volkswagen which funds the ­challenging Volkswagen Score Competition for the sixth time this year. The support of all our partners and sponsors forms the very backbone of the Berlinale Talent Campus inclu­ ding its innovative and inspiring creative network. Now it‘s your turn: benefit from this network, and make the ­Berlinale Talent Campus become the turning point in your ­career. I wish everybody an exciting and successful Campus week.

Photo: Silke Reents


Dieter Kosslick Director Berlin International Film Festival

Like this year‘s special Campus focus says: in 2003 we­ laun­ched­the Berlinale Talent Campus – and suddenly all this has ­happen­ed! This year, the Campus will focus on turning points, this driving force not only in storytelling and filmmaking­­­ but also in history itself. The fall of the Berlin Wall was for example­ a picture-book turning point which took place in this city but eventually influenced the whole world.

Berlinale Talent Campus #7


a welcome

from our partners Costas Daskalakis Head of the EU MEDIA programme at the Education, Audiovisual and Culture Executive Agency

Petra M. Müller CEO Medienboard Berlin-Brandenburg, Managing Director Media Development

Costas Daskalakis, MEDIA Programme

Petra M. Müller, Kirsten Niehuus, Medienboard Berlin-Brandenburg

It comes naturally for the MEDIA programme to be the main ­fin­ancial partner of the Berlinale Talent Campus since the ­beginning. We share the same objectives and values: train­ing professionals, fostering projects, networking people and ­Europe and the world. More than 1,500 professionals coming from countries parti­­­ci­pating in the MEDIA Programme are trained every year through MEDIA-funded training initiatives where they have the opportunity to acquire new skills, learn from others’ mis­ takes or ­successes, fine-tune their projects with experienced ­tutors, ­explore new technologies or expand their contact base.­ Besides training, the MEDIA programme can do a lot for young ­film­makers: project development, international distribution, networking and access to key markets and coproduction ­forums in Europe and the world and networking. One among the many interesting ­workshops of the Campus this year will be the occasion for ­experienced professionals to explain how the MEDIA programme has ­contributed to their success. In the meantime, I wish you a ­wonderful week at the Berlinale Talent Campus and … a vibrant international career.

The Berlinale Talent Campus – it‘s creative, it‘s experimental, it‘s hands-on! We are happy to welcome you as part of the international avant-garde of young and promising filmmakers. What to expect of the coming six days? Meetings with internationally renowned film experts, exciting discussions with the hottest directors, actors and talents, gaining inspiration from fellow Talents from all over the world, a city with no walls and severe sleep deprivation caused by too many parties! Make the most of it, and let the Berlinale Talent Campus experience become one turning point in your career.

Kirsten Niehuus CEO Medienboard Berlin-Branden­­­burg, Managing Director Film Funding


Janine Marmot, Skillset Heike Lichte Head of Lifestyle Communication/ PR and Sponsoring, Volkswagen

Heike Lichte, Volkswagen A main sponsor of the 59th Berlin International Film Festival, Volkswagen is supporting the Berlinale Talent Campus for the sixth year. In line with our commitment to encourage both young filmmakers and musicians, we ­support the Volkswagen Score Competition once again. This competition for young com­posers and sound designers is now successfully ­established, and over the years we observed the careers of the respective finalists and winners with great interest. In addition to that, we have a special tip for you: The rock‘n‘roll band “The Cheeks“, a part of the Volkswagen Sound Foundation, will entertain you at the Campus Closing Party this year. We are very happy to be a partner of the ­Campus and wish all participants an exciting and informative time in Berlin.

This is the fifth year that Skillset has supported the Berlinale Talent Campus. The feedback we get from previous participants that we have supported at the Campus is fantastic. Relationships and partnerships are forged here that Talents will develop throughout their careers. To encourage and assist with networking, Skillset organises the highly popular speed matching sessions, taking place every day to help Talents meet informally. We organise many of the “Meet the Expert“ sessions that give Talents the opportunity to meet key figures in our industry, from filmmakers to financiers. We are also continuing to run a number of workshops ­including the incredibly popular “Indie Filmmaker’s Guide to the Internet“ sessions that share the latest thinking on how to get your films shown and seen as widely as possible, using and exploiting the latest technology and exploring new financing models. Skillset is delighted to be working with the Berlinale again and hope you have a great week. Skillset is the Sector Skills Council (SSC) for Creative Media which comprises TV, film, radio, interactive media, animation, computer games, facilities, photo ­imaging and publishing. Our aim is to support the improvements to the productivity of our industry to ensure that it ­remains ­globally competitive. We do this by influencing and leading; developing skills, training and education policy; and through opening up the industries to the UK‘s pool of diverse talent. We conduct consultation work with the industry, publish ­research and strategic documents, run funding schemes and project work, and provide information about the challenges that face the industry and what we need to do to overcome them. We also provide impartial media career advice for ­aspiring new entrants and established industry professionals, online, face to face and over the phone. Whether you are a freelancer looking for training information, a student seeking career advice or a public agency partner, we aim to provide you with easy access to the information you may require. You can find out more about what we do, and how you might be able to benefit from our funding, on our website:

Janine Marmot Director of Film, Skillset, Sector Skills Council for the Audiovisual Industries

Berlinale Talent Campus #7


visit our website The worldwide Campus network is the central feature of the Berlinale Talent Campus website – our online ­com­munity and international network.

A worthwile endeavour A visit to is a worthwhile en­ deavour for anyone, from curious filmmakers who have ­never attended the Campus to seasoned Campus veterans hop­ing to catch up on missed events. Campus events are ­pre­sented as video or audio lectures, some even as full ­tran­scripts. In connection­ with detailed programme information,­ covering all former events, the Campus website provides ­access to an index of all previous experts. Browse through the list of more than 400 professionals and find the corresponding ­programme events and references to further sources of ­information online! Information on Campus activities The Berlinale Talent Campus website is a source of information about the current edition, the next application deadline and ongoing programme elements like the Berlin Today Award – but it is also ­continuously updated with news on the satellite Campus events around the globe. These Campus Abroad ­editions have the familiar structure and goals of their Berlinbased counterpart while retaining a regional perspective and finding ­support and the necessary amenities in a locally based international­film festival. Media Library The Campus Media Library is a growing pool of archived ­Campus events and consists of tele-lectures, transcripts, and ­audio files, as well as the Campus Short Film programmes. The video ­lectures contain previous Berlinale Talent Campus ­pre­­­­­senta­­tions from a growing list of film’s biggest names, ­in­­cluding Dante ­Ferretti, Frances McDormand, Anthony ­Min­ghella, Walter Salles, Shah Rukh Khan and Wim Wenders. The video lectures fully cover the Campus events and offer a great opportunity to get information on a particular topic, theme, discussion, or movement within the current industry. The virtual services at the Campus website offer a wide range of media content for ­filmmakers and reflect the diversity of the Campus.


Browsing the profiles of this year’s Talents in HAU 1 and HAU 2

Community The Berlinale Talent Campus community includes profiles of all former Talent Campus participants. These young filmmakers represent the diverse cinematic perspectives of more than 125 countries. The Campus community offers various networking tools to increase visibility of Talent projects; whereby various opportunities for crew-building are easily accessible. Naturally, the informal networking between Talents has prevailed since the founding year of the Campus, as they can simply connect and converse with one another through their online profiles. Browse through this year’s participants’ profiles During the 2009 Berlinale Talent Campus, the worldwide ­Campus net will be available online throughout­ the day at ­various PC stations in HAU 1 and HAU 2. Users can easily access the complete content of the worldwide Campus net by ­brows­­ing profiles, viewing samples of this year’s ­participants and contacting­every Talent directly.

An important source of information before, during and after the Campus

The Talent Database

Blog During the six days of the Campus, our website will act as a ­weblog. Information on the Campus programme and side events, experts and Talents, as well as updates on the Berlin ­International Film Festival, will be published at ““ on a regular basis. The articles of this year's Talent Press journalists covering Berlinale films and Campus events can be accessed directly on the blog, as well as through links to blogs and websites of current and former Talents. Be sure to visit this site for the latest updates on planet Campus. Newsletter The Berlinale Talent Campus newsletter comprises the latest news and views not only on Campus activities and events, it also reports on Campus alumni ventures all around the world. In addition, it supplies information on the development of projects, new initiatives of partner organisations, calls for ­applications – basically all upcoming events and news that might interest and be of use to Talents worldwide. The latest Campus newsletter can be read online or received by email through a simple online registration process at:

The Media Library

Tele-lectures containing previous Campus presentations

Berlinale Talent Campus #7


berlinale talent campus abroad

snowball effect Five offshoots of the Campus in Guadalajara, Buenos Aires, Durban, New Delhi and Sarajevo, as well as ­Campus initiatives, the Film Co-ops, create the multi­­ply­ing­effect.

Within the short span of six years, the Berlinale Talent Campus has provided the Berlin International Film Festival with a new core of creative energy. The inspiration garnered at the ­Campus has had far and wide reaching roll-on effects, namely the sprouting of international editions called Campus Abroad. Modelled along the lines of the archetype – the Berlinale ­Talent Campus, five Campuses have taken off abroad. Being closely connected to locally based renowned international festivals has allowed a local angle and spirit to permeate the home-grown Campuses. 2008 saw the first Visionary Campus Guadalajara. Hosted by the Guadalajara International Film Festival and supported by the University of Guadalajara as well as institutions and ­production companies, 50 experts shared trade secrets and interacted with 70 par­ti­cipants. The resultant success of the Visionary Day has translated into the first Talent Campus ­Guadalajara to be held in March 2009. Staying on Latin American soil, we travel to Argentina, where the link between film and music in its various forms was exemplified in the 3rd edition of the Talent ­Campus Buenos Aires in cooperation with the 10th Buenos Aires Inde­pen­dent­ Inter­ national Film Festival (BAFICI). BAFICI’s Buenos Aires Lab is ­devoted to the development and production of independent­ cinema in Latin America; one project from the Buenos Aires Campus was also selected for these co-production meetings in April 2009. “Producing African Cinema for a New World” was the logline of the very first Talent Campus Durban, part of the 29th Durban ­International Film Festival, held in July 2008. Empowering a new generation of promising young African filmmakers and bringing them together with professionals to discuss the


c­ hallenges and the creative process of filmmaking was the overriding goal of the Campus. The Indian avatar of the Campus, Talent Campus India, is in its 5th edition and took place in July 2008, throwing light on the theme “Infrastructure Building for Minds and Markets – IBM2”. Talent Campus India, organised in collaboration with Osian’s Cinefan and the Goethe-Institut/Max Mueller Bhavan New De­lhi, aims at providing Indian and South Asian youth a ­plat­form for sharing and learning the processes of filmmaking. The Talent Campus Sarajevo had its second edition in August 2008, encouraging Talents to discover how they could be a part of the regional film industry, where the industry is heading, and how to strengthen their ties with the global film network. This year, the Talent Campus Sarajevo had the pleasure of introducing a new partner – the Robert Bosch Stiftung. The 2008 Sarajevo City of Film Fund modelled on the Berlin Today Award, offered grants to five outstanding film projects submitted by teams made up of at least three former Talents of the Sarajevo Talent Campus 2007. The films enjoyed their premiere during the Sarajevo Film Festival 2008. Elsewhere, you have artist cooperatives encouraged and supported by the ­Berlinale Talent Campus and the Goethe-Institut.­ These Film Co-ops, part of existing local cooperative structures­ in Harare, Zimbabwe and Manila, Philippines, are set up by former ­Talents Rumbi Katedza from Zimbabwe and Khavn De La Cruz from the Philippines as a homebase for filmmakers to explore and discuss artistic ideas. They offer support in all areas of p ­ ro­ducing and bringing films to the big screen.

The first Visionary Campus in Guadalajara

The vision and overriding aim of the Berlinale Talent Campus as a platform for young filmmaking professionals is being ­re­newed and further developed every year with each new Campus in Berlin and the Campuses Abroad, displaying ­vitality and astonishing film potential, as well as the possibilities­ of networking the world over.

campus alumni

in the line­up A large number of former Talents’ films are in the Berlinale lineup. We are glad to see 22 films with the invol­ vement of 30 Talent alumni screening in the different sections of the Berlin International Film Festival.

Twenty-one former participants of the Berlinale Talent ­Campus converge at the 2009 Berlinale, their films unspooling intricate tales at the various sections of the festival. We are elated not just because so many Talents are returning with their films to the festival, but also because it is the most tangible proof of the functionality of the Campus. Berlinale Forum screener Soundless Wind Chimes by writer/director/producer Kit Hung, for instance, was a project chosen for the Talent Project Market in 2004 and ­features Chinese actress Lu Yulai, a participant in this year’s Campus. Another project from the Campus’ hands-on sector is Lebanese director Simon El Habre’s The One Man ­Village, which received intensive development in 2006 at the Campus’ Doc Station and highlights the 2009 ­Berlinale Forum programme. Similarly, 2004 Talent, director Atsushi Funahashi’s Deep in the Valley, and 2003 Talent, ­cinemato­­grapher Matthias Grunsky’s Beeswax feature in the Berlinale Forum,with Brazilian­ director and 2006 Talent Melissa­ Dullius’ Trian­gu­lum in the ­Berlinale Forum expanded. Director Alexis Dos Santos’ Unmade Beds, which interweaves the stories of two young foreigners as they seek to rediscover their roots and romance in the vibrant world of London’s East End, received expert attention at the 2004 Script Station and features in the Berlinale Generation. Running in the same ­section, you can also watch Danish director and 2003 Talent Pil Maria Gunnarsson’s Five Miles Out, 2007 Talent and film composer Sebastian Pille’s Die Stimme des Adlers and The Strength of Water, edited by 2005 Talent Jon Baxter, as well as this year’s Talents – German producer Olivier Kaempfer’s Ralph, American director Yoni Brook’s Bronx Princess and Canadian producer Elaine Hébert’s C’est pas moi, je le juré. Hungarian actress and 2004 Campus participant Dorka ­Gryllus, has acted in a wide range of films such as Irina Palm, which was

Berlinale Talent Campus #7

in the running for the Golden Bear at the 2007 Berlinale. She also plays a part in Fatih Akin’s Soul Kitchen which is ­currently in the making. However, it is the film The Boneman, in which she acted, that screens in the Berlinale Panorama. As does 2004 ­Talent, Indonesian director Lucky Kuswandi’s documentary At Stake. Argentinean director and screenwriter Pablo Fendrik par­ti­­­ci­­pates with his latest film project The Ardor in the ­Berlinale Co-Production Market. A 2006 Talent of the Campus’ Talent Project Market, he participated with his film La Sangre Brota. Four short films from six Talent alumni have also been included­ in the Berlinale Shorts programme: Jade by British ­director and 2003 Talent Daniel Elliot, Bric-Brac by Romanians, director and 2008 ­Talent Gabriel Achim and cinematographer and 2006 ­Talent Marius Iacob, Trip to the World by Indonesian director and ­producer Edwin (2005 Talent) and Meiske Taurisia (2008 Talent) respectively, and VU for which 2006 the Belgium Talent Lou Vernin was ­Camera Assistant. It is possible! Your film can be part of this list too. We are keen to see your films enjoying their premieres at the Berlinale, and we hope that this serves as an impetus to former and current ­Talents to submit their films to the Berlin International Film ­Festival. For information on film submissions to the festival, go to

The Berlinale Shorts selection Jade was directed by Daniel Elliot, participant of the 2003 Berlinale Talent Campus

wed 11 / 17:00 / HAU 2 Happy Returns: The Future After the Campus (p.62)


supporting foundations

fostering dialogue The Alfred Herrhausen Society and the Manfred Durniok Foundation have been supporting the Berlinale Talent Campus over the past years. Their contributions, ­whether financial or conceptual, are invaluable to the success of the Campus. We gladly take this opportunity to ex­ ­­tend our heartfelt thanks for their close and on­going co­­­operation.­

Manfred Durniok Foundation German producer, filmmaker and writer Manfred Durniok was always drawn to distant places. A traveller­ in many continents, it was Asia that attracted him the most. As one of the pioneers who brought Asian films to the attention of Western audiences, he promoted at the same time cultural encounters between the East and the West through film co-productions. The Manfred Durniok Foundation, founded by the late ­filmmaker’s daughter, Ayano Teramoto, is a non-profit organisation established in 2006 to support and promote cultural ­exchanges between Germany and Asia, to grant scholarships and award prizes and to give financial support to events, projects and intercultural forums. Dialogue, which goes ­beyond ­political and cultural borders, is a recurrent theme in the films Manfred Durniok made and produced. Following his com­ mitment­ to nurture intercultural exchanges not only through films, the foundation continues his work and lives up to his vision and ideals.

Alfred Herrhausen Society “We must say what we think. We must do what we say. We must also be what we do.“ Alfred Herrhausen The Alfred Herrhausen Society is dedicated to the work of the former spokesman of the management board of Deutsche Bank, Alfred Herrhausen, who was assassinated by terrorists in 1989. Over the course of his life, he was an advocate of the ­responsibilities that business has toward society. The non-profit­ Society is the international forum of Deutsche Bank. It seeks traces of the future in the present and brings together people who are committed to the continued existence of civil society. The search for the best approaches for the future must­ transcend national borders; better solutions can only be found through international dialogue. To this end, the Alfred ­Herr­hausen Society encourages international dialogue and ­ex­­change by organising conferences and congresses with ­international participation. The Alfred Herrhausen Society’s activities are currently focused on the “Urban Age“ conference series, the “for / sight“ event ­series, and debates on current issues in politics and society called “Joint Debates“. Within the scope of this discussion­ forum, the Alfred Herrhausen Society supports the Berlinale Talent Campus in conceiving and putting together the panel “Im­­­a­g­ining Istanbul” which will be held on Feb 11 at 11:00 at HAU 1. More information on the Society can be found at:


The Berlinale Talent Campus in its seventh edition is supported by the Manfred Durniok Foundation, which covers the travel costs of Talents from South East Asia, as it has done in the previous­ two years. Further information on Manfred Durniok can be found at:

Happy together in 2008: the Berlinale Talent Campus participants

wed 11 / 11:00 / HAU 1 Imagining Istanbul (p.60)

supporting foundations

making of

win a cocampus produc­tion moments The Robert Bosch Stiftung awards three co-production

Experiencing the action-packed Campus days right ­be-

prizes for joint film productions by young German and

­­­side us, geared with camera and sound equipment, the

East European ­filmmakers.

­Deutsche Welle TV crew captures the dynamics and the zest of the Berlinale Talent ­Campus for the “Making Of”.

These prizes enable young and creative Talents to carry out ­international projects together. The prize is awarded in the cate­gories of animated film, documentary and short film, and consists of a grant to be used for a specific film project. The grant should primarily cover the production team’s expenses for travel, meals and accommodation. It may, to a lesser extent, also be allocated to cover production expenses. Technical film equipment such as cameras and post-production tools cannot be covered by the grant. Every winning production can receive up to 70,000 euros in funds. Qualifying applications will be ­submitted to an independent international jury. The jury will pre-select up to 15 teams. Two members of each team will get specialised training in budgeting and pitching. In April, every nominated team will pitch its project to a jury at the goEastFestival in Wiesbaden. The prizes will be awarded one day later at a gala in Wiesbaden. Up to two members of each winning team will have the opportunity to participate in the Berlinale Talent ­Campus. A detailed description of ­application rules as well as the ­application form are available at In 2008, the Robert Bosch ­Stiftung ­supported the ­German-Hungarian short film Sunstroke (by Lili Horváth & Henning Kamm), the German-Romanian short film ­Renovare (by David Lindner and Paul Negoescu), selected for the­ Berlinale, and the German-Polish documentary film ­Nowhere in Europe (by Michael Truckenbrodt and Kerstin Nickig). You are invited to the Campus events supported by the Robert Bosch Stiftung and encouraged to use this opportunity to meet many ­directors and producers. At the Rise and Shine Break­­fast on Feb 10, you have the chance to meet the team of the Co-Production Prize and hear more details. For more information please contact: Robert Bosch Stiftung, Frank W. Albers / e-mail: Coordination of the Co-Production Prize, Enrico Battaglia e-mail:

Berlinale Talent Campus #7

Six intense action-packed days, 350 Talents from around the globe, a host of internationally renowned filmmaking pro­­ fessionals: all coalesce at the three HAUs. A burst of raw ­energy which will inevitably unleash a ­variety of stories,­ ­anecdotes, joyous moments, knowing glances, bursts of laughter,­ jawdropping instances… those very ­special, ­momentous happenings taking place during the Campus will be caught on camera by the DW-TV crew members. Scouting­around the three HAUs, the DW-TV producers, Melanie­ ­Matthäus and Bettina Kolb will lead small crews. The entire team, composed of 16 cameramen and editors, presently apprentices in digital media design/ sound and vision at Berlin’s Deutsche Welle TV, will be sniffing out snippets of conversations, bringing individual Talents into the limelight, recording their impressions, their excited chatter and cheering… the buzz in the air. The “Making of” will be presented at the Closing Ceremony­on the final day of the ­Berlinale Talent Campus. Meet the DW-TV team members on Feb 8 at the Rise and Shine Breakfast, presented by Deutsche Welle.

Deutsche Welle TV crew in action



Our Post Production customers demand high performance workflows that are flexible, open and reliable. That’s why Avid is building solutions that deliver more creativity to the screen and more value to the bottom line. Capture, Create and Deliver - this is the place to discover new ways to work smarter and drive productivity. Want proof? Visit

© 2008 Avid Technology, Inc. All rights reserved. Avid is a registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.



19– 21

special focus 20

“Suddenly, It All Happened“ – The Turning Point in Close-Up

special focus

a twist is all it takes The Berlinale Talent Campus #7 explores those precious moments when, ”Suddenly, It All Happened – The Turn­ing­ Point in Close-Up”.

A turning point – the pivotal moment that alters everything – might sometimes be hard to track down and something you’re only able to acknowledge at a later stage, but quite often it is a moment of suspense and surprise, a moment of enlighten­ ment which allows you to see things in a fully new perspective.­ As much as this reflects real life, turning points are crucial to holding an audience captive when telling a story. In film, ­turning points have the power to kick the action into an ­unexpected direction, push the protagonist deeper into the problem, and raise the central question of the film again but with astounding­complications. These “twists“ in the storyline are electrifying moments which can drive audiences to their feet to cheer. They can also be simple and sincere moments that make the audience so quiet that you can hear the ­proverbial pin drop. Suddenly, everything seems different. The ­audience is no longer watching a film – rather experien­cing an on-screen ­catharsis that reflects its own deepest feelings and wishes. Storytelling is one of the central aspects of successful film­­ making and is as old as humanity itself. Stories have ­always connected people to their culture. It is a communication ­me­di­um used to influence others, to seduce, convince or even manipulate them. It can explain certain things or keep people and events from fading in our memories. Successful films and compelling stories thrive on turning points, events that give a plot a new and critical direction. These turning points can make the film experience unique and overwhelming. ­However, they are not only responsible for shaping a successful plot ­development, but they also play a central role on other levels of filmmaking. Whether actor, cinematographer, editor or composer – everyone faces a turning point in the creative process and deals with its aftermath. It is the aim of the 7th Berlinale Talent Campus to take an in-depth look at the effect turning points have on film and the filmmaking process.


Unexpected changes in the story are a major force in success­ ful­ filmmaking. The sudden change of expectations, intro­ duction of new characters, or characters suddenly returning “on stage” are all possibilities for turning points. Playing with these ­images does not only happen during the shooting – it starts with writing the script. In “Suddenly, It All Happened – Turning Points in Scriptwriting”, established scriptwriting experts ­devote their attention to the complexities of bring­­ing turning points into a script. Internationally renowned filmmakers Patricio Guzmán and Jasmila Žbanić look through their cinematic lens and talk about, “Provoking Cinema: Films that Marked Me Forever”. Both filmmakers have made powerful historical and socio-­ political films that draw attention to events that people may have ­preferred not to remember, marking a turning point in ­people’s perception of historical events. Similarly, dealing with reality and its capriciousness requires exceptional skills. ­High-profile documentary filmmakers, Michèle Ohayon, Hala Galal and ­Anders Østergaard discuss how one can make films when ­reality takes the lead and sweeps the film’s characters into an unexpected direction. How to envisage a film when cir­cum­stances are extreme? The hand of fate in films, as well as its intervention in the course of filmmakers’ lives and careers is placed under a ­spotlight in “Fatal Attractions – On Chance and Accidents in Cinema”. Turning points in the careers of film professionals are noth­­­ing new. And as much as we admire versatility, film pro­fess­ion­als who switch or move between two or more ­professions have it harder than most, as Julie Delpy, Christophe­ Honoré and Til Schweiger­discuss in “Switching Roles: Multi-Talents in Film”. These multi-talents evaluate life behind rather than in front of the camera, and how they ­manage to work and perform in ­different fields. Each of us has experienced how our perception and ­image of a city changes after we see it in a film. And just as film ­locations deeply impact the story, the city also derives its ­image through

films. “Imagining Istanbul” explores the Turkish ­city, a place that has served as the backdrop of numerous­ films, and in­ vestigates how filmmakers create and use the ­image of this metropolis.

This could be a turning point for each one of us. The script is in our hands, but the ending might be quite unexpected.

We also look at the intriguing world of film titles. Film and graphic design have always been unquestionably connected to each other, originating from the soundless era. Since then, graphic design has evolved with the quick development of the film industry, attracting the attention of many artists, not just “those who didn't know how to paint or write very well“ (according to Buñuel), but a broad range of truly inventive and creative title designers. Turning points appear around every bend throughout the ­pro­cess of filmmaking: they are dealt with when casting ­un­com­­mon roles, filmmakers directing films in unexpected genres, exciting comebacks that make an almost forgotten star shine, film music that pounds with renewed excitement or ­subtly changes tempo, and of course cinematography devised to scare one witless or close-in on an actor’s face as though in­ viting the audience to see his character for the first time. The turning points in film can be the turning point in a filmmaker’s career as they are linked to audience’s expectations and critics’ reviews. Today even film criticism appears to be at a turning point with the burgeoning of internet bloggers. The Berlinale Talent Campus lays out before you the turning points in the filmmaking process. With renowned experts on a wide range of panels, among them, Sir David Hare, Janusz Kamiński, Tilda Swinton, Lloyd Phillips, Brigitte Broch, Mark ­Herbert, John Sloss, Bertrand Tavernier and Michael Snow, we cast a searchlight on turning points and study their theoretical and practical influence­ and their effects on the multi-faceted arena of film.

Berlinale Talent Campus #7


PROFESSIONAL DEVELOPMENT & TRAINING Three-month process coached by experienced script advisers for European screenwriters and teams of writers, producers or directors! SOURCES 2 Script Development Workshops Seven-day session, coached development period, follow-up session. Application dates 1st March 2009 for the workshop at the FilmCamp/Norway, June 2009, with the support of FilmCamp AS. Requested: feature film projects + creative documentaries. 1st July 2009 for the workshop in Graz/Austria, November 2009, with the support of Cinestyria Filmkunst, the Province of Styria/Cultural Department, the Austrian Film Institute and in cooperation with uniT Graz. Requested: feature film projects + creative documentaries. SOURCES 2 at BERLINALE TALENT CAMPUS Consultation – Analysis – Advice for selected projects! Louise Gough at the Script Station, David Wingate at the Doc Station. Please contact the SOURCES 2 office close to Potsdamer Platz! SOURCES 2 • Köthener Strasse 44 • D-10963 Berlin tel + 49.30.88 60 211 • •



23– 38

hands-on-training 24 25 26 27 28 29 30 31 33 34 37 38

Volkswagen Score Competition Portrait: Max Richter Campus Studio Portrait: Claudia Meglin The Talent Press Portrait: Derek Malcolm Script & Doc Station Portrait: Kathrin Brinkmann Talent Project Market Berlin Today Award Filmmakers Against Racism Campus Counselors

volkswagen score competition

the music of sound Mixing the scores at the HFF “Konrad Wolf“

Producing scores professionally: three young ­compo­sers

Excited about their selection, the three contestants talk

get to sit at a high tech mixer during the Berlinale Talent

about their expectations of the Campus programme:


“I see it as an opportunity to understand and experience the whole process of film scoring. Having an orchestra to perform What would a film be without music? To be emotionally the music is like a dream come true for me.“ Vinicius Calvitti ­mo­ving, music and sound are often more important than the vis­u­­al images in a film. With the Volkswagen Score Competition,­ the Berlinale Talent Campus and Volkswagen aim at an on- “I am very excited to take part in the Volkswagen Score Compethe-job experience for young composers from across the tition which will be my first time to work with a film orchestra. world working together with internationally renowned ­experts This is an extraordinary opportunity for me to learn and grow in and high-end equipment of the German Film Orchestra­ such a professional environment. I also hope to get to know Babelsberg and the University of Film & Television (HFF) many filmmakers during the Campus who share the same love and interest for music in film.“ Moritz Schmittat ­“Konrad Wolf”. Two film clips – one from the feature film La ­Sangre Brota by Pablo ­Fendrik and the advertising clip for Volkswagen’s “The New Scirocco” were made available to aspir- “It was a far-away dream for me to compose music for film with ing applicants to be set to film ­music. To apply to this hands-on- an orchestra! Now the dream has come true and as a finalist of training, they composed a score layout for both film clips. The the Volkswagen Score Competition I have a great chance and jury consisting­ of Klaus-­Peter Beyer, artistic director of the opportunity to expose my music and meet interesting people ­German Film Orchestra ­Babels­berg, Martin Steyer, reputed at the Berlinale 2009. It will be a very exciting time for me, and sound mixer and vice president of the HFF “Konrad Wolf”, and I can‘t wait for it!“ Atanas Valkov Martin Todsharow, renowned German film composer, came ­together in December 2008 to select three of the most ­creative For each of them, the Campus implies new experiences but and ­convincing scores for the selected film material. also ­sleepless nights, nervous energy and lots of hard work. Their passionate efforts will work up to a climax with the The three finalists – Vinicius Calvitti from Brazil, Moritz Schmittat­ ­announcement of the winner at the farewell event of the ­Berlinale Talent Campus on February 12. The three-member from Germany and Atanas Valkov from Bulgaria – will work jury and mentor Max Richter will be called on to decide who ­under the guidance of mentor Max Richter, finalising their film takes home the prize sponsored by Dolby Laboratories: a very scores during the Campus. Under the supervision of Martin Steyer, a sound mixer on more than 60 German and international­ ­exclusive tour of Los Angeles’ sound studios. films, the three finalists will have the chance to record their compositions in Berlin with the German Film Orchestra The final clips will be presented during a session led by Martin ­Babelsberg. The final mixing will take place at the HFF “Konrad Todsharow on Feb 12, 17:00 at HAU 3, Top Floor, where the fine Wolf”, and the digital post-production will take place at Wave- points of film scoring and the highs and lows of the competition­ Line, a ­Berlin-based post-production studio. During each stage will be discussed with the three finalists. of post-production, they will receive feedback and direction from ­experts – on preparing their scores, on using studio thu 12 / 17:00 / HAU 3, top floor ­resources and recording with an orchestra, as well as on the Beyond the Music: A Film Composer‘s Challenges (p.64) ­final editing. Individual sessions with their mentor will provide useful tips to compose and finalise their scores.


portrait: max richter

the richter scale Winner of the 2008 European Film Award, composer,­

over musical backings that include environmental sounds and the clicking of a typewriter. In “Songs From Before” (2006), he combines ­readings of Haruki Murakami­ by Robert Wyatt with spare orchestration and brooding ­electronica. Released in 2008, an experimental collection of music forms his latest album “24 Postcards in Full Colour”. Other more recent projects include “Infra”, a collaboration with Wayne McGregor­ and fine artist Julian Opie, ­commissioned by The Royal Ballet in London. “I think of music as a sub­set of the storytelling tradition. So I‘m ­interested in music that has some sort of narrative quality – that is about something – the sounds in themselves can do this or in conjunction with other elements. Spoken words as found objects have a quality that I like in this way.”

pianist and recording artist Max Richter creates a dis­ futuristic in his compositions.

A classically trained composer and pianist who studied at the University of ­Edinburgh, the Royal Academy of Music in ­London and with Luciano Berio in Florence, Max Richter could easily have slipped into the ­upper echelons of the classical world were it not for his early influences. “I have these two obsessions in my life“, says Richter, “the whole ­classical background, and all the other stuff that was around in the world when I was younger: electronica, early dance music, punk, psychedelia. So I went through a whole musical journey, from my classical education, having a music degree, postgraduate stuff, having studied composition in Italy with Luciano Berio – which was amazing, incredible – to this place in the middle where I am now.” “I think of music as a sub-set of the storytelling tradition. So I‘m interested in music that has some sort of narrative ­quality.“ Max Richter On graduating, he co­-founded “Piano Circus“, a pioneering ­classical ensemble featuring six pianists, which also served as a platform that allowed Richter to integrate his love of ­sampling and electronics into the group‘s performance. He then began collaborating with Future Sound of London, working on their albums “Dead Cities” (1996) and “The Isness” (2002) as a piano player, co­-writer, programmer, arranger and co­producer. He also did orchestral arrangements on drum and bass ­pio­neer Roni Size‘s 2002 album “In the Mode”. By the turn of the ­century, Richter‘s focus was more and more on his own compositions, and he gradually established himself as a ­serious independent­composer with a series of highly ­acclaimed solo albums. “Memoryhouse” (2002) pioneered his signature sound of instrumental writing and electronic experimentation. His influential second CD “The Blue Notebooks” (2004) has ­actress Tilda Swinton reading selected Kafka texts

Berlinale Talent Campus #7

This also makes him an ideal film composer;­he has scored Waltz with Bashir, Ari Folman‘s Golden Globe winning and Oscar­nominated animated documentary, for which he also won the 2008 European Film Award and has been nominated for an Annie­ Award, as well as two nominations from The International Film Music ­Critics Association. He also scored Lost and Found (2008) for Studio AKA, Hope (2007) by Stanislaw Mucha, Henry May Long (2007) by Randall Sharp and Penelope (2007) by Ben Ferris, as well as a series of scores for the Super8 films of Derek Jarman. His music can be heard in numerous films including Stranger Than Fiction (2007) and Elegy (2008), the documentary In God‘s Name (2008) by Jules and Gedeon Naudet and the US trailers for The Curious Case of Benjamin Button. “I enjoy working in film – it is another discipline and an exciting opportunity to collaborate with a ­director to make a composite that is in a way more expressive than either the image or the sound could be on its own. […].” Richter will also exercise his craft on the upcoming films Feo Aladag‘s Die Fremde and Alain Gsponer‘s Lila, Lila. Mentor of the Volkswagen Score Competition, he opens up his universe to Talents, providing insight on his technique in creating a sonic artistry that mirrors the ­cinematography of a film.

Photo: Lucy Johnston

tinctive and beautiful blend of the traditional and the

Mentor of the Volkswagen Score Competition: Max Richter wed 11 / 17:00 / HAU 1 Telling Stories with a Score (p.62)


campus studio

the postproduction hub With an in-depth approach to practical filmmaking

experimenting and working with the equipment. Thanks to a 2k projector by Barco, the final results will be showcased within the Campus ­programme and subsequently online at http:// Campus Studio: Rough Cut Editing Six high-quality rough cuts in the short or documentary ­category, each with a maximum length of 60 minutes, were ­selected prior to the Campus. From Feb 9 to 11, award-­winning editors Menno Boerema, Susan Korda, Gesa Marten and Job ter Burg will interact with the chosen six ­behind closed Campus Studio doors to fine-tune their rough cuts, give vital feedback and allow Talents to try out their ­suggestions. Each Talent director­ or editor will have one entire day for his or her rough cut with a prominent editor. ­Professional Avid ­editing sets are placed at their disposal to facilitate e ­ fficiency and e ­ ffectivity.

­tech­­niques, the new Campus Studio focuses on the differ­ ­ent stages of the post-production process.

With 350 talented young filmmakers at the Berlinale Talent Campus #7, the Campus Studio is the place where practical and technical knowledge can be shared; where curiosity reigns ­supreme and new horizons can be discovered. The Campus Studio houses professional equipment, the latest insights ­within the industry, cutting edge examples that will inspire and a host of experts who will coach participating Talents.

The Campus Studio is furnished with equipment provided by partners and sponsors like Arri, Avid Technology, Band Pro, Barco, Filmlight, Kamera Ludwig, P & S Technik and Pictorion das werk.

Avant-garde and pulsating with creative energy, the Campus Studio aims at facilitating collaborative filmmaking and soaks in an originality ensuing from the joining of forces by film ­experts and Talents to learn, discover and achieve the ­un­ex­pected. The Campus Studio focuses on first-rate ex­perts using the latest digital workflows on pre-produced ­material and specialist editors assisting with rough cut ­edi­ting. Collaborative filmmaking is the keyword: an important part of the Campus Studio comprises Do-It-Yourself and Do-It-WithOthers on-the-spot editing, grading, credit designing and ­mastering – all of which are aimed at inspiring and improving each Talent’s skillset. Campus Studio: Digital Workflows Taking place from Feb 7 to 12, internationally acclaimed postproduction experts Claudia Meglin and Mark Read will coach filmmakers to work with the most up-to-date digital workflow equipment. The Campus Post-Production Studio ­offers an in-depth look at the practical techniques of filmmaking:­ shooting with various digital cameras, including Sony EX3, F35, RED and Arri D21, followed by digital post-processes ­including editing, grading, credit designing and mastering. ­Talents ­selected to participate in the Campus Studio will be ­assisted in


Rough Cut Editing in the Campus Studio

sun 8 / 14:00 / HAU 2 Kill Your Darlings (p.50) thu 12 / 14:00 / HAU 3, Top Floor Collaborative Filmmaking in the Spotlight (p.64)

portrait: claudia meglin

Photo: Bandpro

wizard of visual imagery Claudia Meglin

Internationally known specialist for visual effects and workflow processes, as well as author of a book on the history of visual effects, Claudia Meglin initiates par­ti­ci­ pants of the Berlinale Talent Campus in digital production­ and post-production methods.

Widely experienced feature film visual effects, sound and ­image supervisor Claudia Meglin is an outstanding expert and producer specialised in digital post-production and digital ­intermediate, advising film production clients and solution providers alike, for almost two decades. Meglin has been ­working as a visual effects art director for many international film & HDTV productions. She is a consultant­for digital cinema workflow design and has gained an ­excellent reputation for her instructional work at workshops, confe­rences, seminars and film schools. Clint Eastwood has been consistent in his choice of expert. Starting out as a camera assistant for HD Production and as first assistant director in 1992, over the past couple of years Meglin has lent her knowledge and skills to numerous films and ­production houses. Earlier this year, she was digital ­intermediate (DI) producer and responsible for DI workflow development for Country Wedding with Anthony Dod Mantle as ­director of ­photography. She was also digital intermediate producer of the award-winning Captain Abu Raed (Audience Award at the Sundance Festival, 2008). Clint Eastwood‘s Malpaso Productions have been consistent in their choice of expert on board; she did the VFX Survey for Changeling in 2007, HDV / 35mm camera test and DI workflow development for Letters of Iwo Jima in 2006 and was visual ­effects assistant for Flags of Our Fathers in 2005. From 2000 to 2002, she was managing director and founder of Germany’s most successful visual effect software distributor – Filmtools,

Berlinale Talent Campus #7

Germany, prior to which she wrote “History of Visual Effects – Part 1-3” ­(published in the trade magazine­Digital ­Production, 1999)­. The year 2000 saw the release of “Künstliche­ Wel­ten/­ Artifical Worlds. Tricks, Special Effects and Computer Animation from the Beginning of Film to Today and Beyond”, (Europa ­Publishers Hamburg). The book, co-authored by Rolf Giesen, is a bestseller on the history of visual effects, documenting the development of special effects from the times of the silent film to the present day virtual worlds. The work of exceptional ­artists such as Ray Harryhausen or the cameraman ­Antonín Horák has been laid bare to the reader with an ­individual chapter on ­special effects in Germany. The authors’ insider knowledge and some of the as-yet unpublished ­photographs, sketches and concepts make the book a treasure trove for the cineast. Above and beyond, Meglin has had a number of professor­­ships for digital media production and design at the University of Film Munich, Germany, the ­Uni­ver­sity of Applied Science Salzburg, Austria, the International Business Academy Bad Homburg, Germany, and the Film Academy ­Ludwigsburg. She is frequently on the road, not only for the film productions she works on but also for the lectures and presentations she makes in Germany and abroad. Together with Mark Read – with whom she conducts a ­­lecture for Insight Out at the HFF “Konrad Wolf“ – she will reveal to ­Talents in the Campus Studio effective production and postproduction­processes, new technologies and creative practices from p ­ re-production to the final mastering.

sun 8 / 17:00 / HAU 3, Top Floor Working Through Digital Workflows (p.51) thu 12 / 14:00 / HAU 3, Top Floor Collaborative Filmmaking in the Spotlight (p.64)


the talent press

passionate about film Eight young and dynamic film critics and journalists from the near and far corners of the world report on the cinematic and extra-cinematic experiences during the Campus.

They work as film critics and journalists for online, print maga­zines or student journals in their own countries and form the press team for 2009. Invited to the Campus’ hands-on-­ training, The Talent Press is the workshop for young film critics, ­orga­ni­s­ed in close cooperation with the Goethe-Institut and FIPRESCI. This intensive six-day international festival experience­ has boosted the careers of many of its p ­ articipants. The Talent Press is a platform for film journalists and critics ­established in 2004, which allows them to experience one of the most multi-faceted international festivals of the world to work in an editing room situation with tight deadlines, review films of the Berlinale and cover Campus events. The inside workings of a big festival are exposed to them and provides them with the invaluable opportunity not just to get a closer look and understanding of the various related vocations that a film festival provides, but also to exchange with like-minded peers from around the world. Above and beyond, they work and write under the guidance of well-known writers and film critics. “I‘ve always been struck by the impressive list of mentors the Talent Press gathers for the young film critics programme, which consistently produces a high level of committed and passionate cineastes.“ Jay Weissberg, Variety Offering their precious insights and inputs to the Press Talents are this year’s mentors – Dana Linssen, Derek Malcolm, Meenakshi­ Shedde and Stephanie Zacharek. Under their guidance, the press Talents will write reviews of films presented in the various sections of the festival, compose features and reports on the atmosphere of the Campus and interview both Talents and ­experts. Articles of the participants will be ­publish­ed daily – from Feb 7 to 12 – on the websites of the Berlinale-


Talent Campus, the Goethe-Institut and FIPRESCI.­The morning of Feb 11 will see the release of “The Best Of” Talent Press, comprising some of the outstanding ­articles written during this Campus. On Feb 6, a day before the Campus begins, The Talent Press team will be closeted together with their mentors and invited experts for an all-day workshop, “The Press Forum”. Highlights of the workshop include an introduction to and background on The Talent Press by Peter Cowie, film critic, historian and founder­ of The Talent Press. Klaus Eder, Secretary ­General of FIPRESCI, will elaborate on the state of international film criticism; and Frauke Greiner, Head of Press and Publicity of the ­Berlin International Film Festival, will expand on festival reporting,­and the borders defining public relations and film criticism. Matthijs Wouter Knol, programme manager of the Berlinale Talent Campus, will put in a special appearance to give them an in-depth introduction­to the Campus and its ­focus for 2009 with helpful tips on navigating the Campus. From around 300 applications, a six-member jury selected the current participants of The Talent Press: Sitou Aiyte (Togo), ­Aaron W. Graham (Canada), Jonas Holmberg (Sweden), Marcos Leandro Kurtinaitis Fernandes (Brazil), Matthew Le Cordeur (South Africa), Siddharth Pillai (India), Eugenia Saul (Argentina), and Tommaso Tocci (Italy).

The articles of The Talent Press are also published daily on boards at HAU 1 & 2

thu 12 / 14:00 / HAU 2 The Critical Dilemma – Does the internet improve film criticism? (p.65)

portrait: derek malcolm

ethos of a critic Astoundingly knowledgeable about film, his writing is witty, ­enlightening but never pretentious; the erstwhile film critic of The Guardian, Derek Malcolm, is always keen to share his enthusiasm­for cinema, which he does as a valued mentor of The Talent Press.

Best known as the long-standing, highly respected film ­critic of The Guardian, there seems to be very little that Derek ­Malcolm hasn‘t seen, absorbed, responded to and relished. Born into an aristocratic family, he was educated at Eton and Merton College, Oxford University where he studied history and ­philosophy. He was a steeplechase jockey for two years, then became an actor before he drifted into journalism. He joined The Guardian as a journalist in the sixties, where he started writing on theatre and racing, becoming the film critic of the paper in 1970.

Malcolm has written a richly evocative memoir of a family sinking into hopeless disorder in his trademark laconic yet affectionate style. In an interview Malcolm stated that for him being a film critic means: “Firstly, you have to be entertaining or no one will read you. Secondly, you have to write fast and not go beyond the number of words your paper wants. So you've got to be a journalist as well as a critic. Thirdly, you‘ve got to know the history of cinema and you must believe that there are just as great ­artists in cinema as there ever were in literature, fine art or in the theatre. If you don‘t believe that you shouldn‘t be a critic. You‘ve got to open a few windows for people and say that ­cinema isn‘t just Hollywood and feelgood entertainment. Fourthly, you‘ve also got to know something about the other arts too, of which the cinema is a part. And the final thing, and this may sound ridiculous; you‘ve got to be a decent human being because if you aren't sympathetic to people, how can you judge all the stories written about them?“ He lambasts the current state of newspaper film reviewing s­ aying, “when I started as a critic in 1970 it was possible to write about interesting films from India, Africa or China. Now editors want interviews with stars, rather than reviews. Original filmmakers find it difficult to deal with the increasingly commercial pressure nowadays. Some give up on filmmaking and find ­other ways to express themselves. A good critic tries to take his or her audience on an adventure they don‘t always expect.“

“You have to be a wholesome person to be a good critic.” Derek Malcolm On retiring from film reviewing for The Guardian in 2000, he became film critic of the London Evening Standard in 2003, where he still works. Before leaving The Guardian, he was ­invited to explore his choice of 100 films in a weekly column spanning two years, a project that has attracted much ­­atten­­­­tion. Published in book form, “A Century of Films: Derek Malcolm‘s Personal Best“ (IB. Tauris Co. Ltd.) was released in 2001. This book is a critical celebration of an incomparable ­acquaintance and understanding of cinema. Malcolm ­introduces readers to films that they may not yet have discovered­ such as ­brilliant shorts like LBJ by the Cuban documentarist, Santiago Alvarez, the once notorious WR: Mysteries of the ­Organism by Dušan Makavejev (the film was re-released at the 2008 Berlinale ­Forum), The ­Music Room by Satyajit Ray, and Tokyo Story by Yasujiro Ozu. He is also the author of ­“Robert Mitchum“ (Hippocrene­Books, 1984), “Bollywood: Popular Indian­Cinema“ (Dakini Books, 2002) and “Family Secrets“ ­(Arrow, New Edition, 2004). The latter recounts how in 1917 his father shot his mother‘s­lover dead but was found not guilty of murder. Derek

Berlinale Talent Campus #7

Honorary President of FIPRESCI: Derek Malcolm

He is a frequent broadcaster on radio and television and a v­ ete­ran of film festival juries all over the world, including Berlin where he served with Fassbinder. Derek Malcolm has served in a number of distinguished positions, including director of the London Film Festival from 1982 to 1985 and governor of the British Film Institute from 1990 to 1993. He is president of the British Federation of Film Societies and is currently honorary president of the International Film Critics‘ Federation (FIPRESCI).­ Press Talents have much to look forward to – his insightful opinions, vast knowledge, and that charming wit.


doc & script station

scripting underway Striving towards the professional development of pro­ jects, a group of international script advisors and doc­u­ mentary specialists­provide concrete feedback as well as engaging and inspirational insights on Talent screen­ plays and documentary treatments.

A table, a lamp and two chairs! That’s the set-up in the different corners of the Doc & Script Station. Mundane it may appear at first glance, but you don’t need much more equipment to take a unique and intimate look at film scripts and documentary treatments through six intense days. The Doc & Script Station is an initiative that supports young film practioners in more than one way – by broadening the quality, range and ambition of international film projects and by enhancing the creative skills of young film professionals. We all know that working on the story is crucial to the success of any film, yet we rarely appreciate the early trials and tribulations of drafting a film script or treatment. This hands-ontraining­ of the Berlinale Talent Campus, in collaboration with the German Federal Film Board (FFA), provides assistance at this critical juncture in the filmmaking process. An extensive ­Concept Development Day is followed by mentoring sessions that run parallel over the week – the Doc Station is targeted at documentaries while the Script Station focuses on fiction projects. The Doc & Script Station thus incorporates intensive collaborative exchanges between director and screenwriter Talents and ­international script doctors to develop their screenplays and treatments to such an extent that producers and ­distributors will want to read, fund, and produce, and hopefully countless audiences worldwide will want to see. Two coaching sessions per Talent will be organised and sufficient time bet­ ween the meetings will allow for constructive dialogue and the ­advancing of new film ideas. In December 2008, eminent jury members selected 12 documentary filmmakers and 12 scriptwriters for this year’s Doc & Script Station from over 220 applications in English and German. Offering their ­expert ad­vice are mentors Franz ­Rodenkirchen, David G. ­Wilson, Alby James, Marten Rabarts, Louise Gough, ­Gyula Gazdag, ­Marietta


von Hausswolff von Baumgarten and Selina Ukwuoma for the Script Station. ­Kathrin Brinkmann, Dick ­Fontaine, Esther van Messel, Ulla Simonen, Fleur Knopperts, Heino Deckert, Merle Kröger and David ­Wingate will tutor Talents of the Doc Station. With a ­multitude of Talents and experts from around the globe, the Doc & Script Station is not just a space for creative inspiration, but for debate and dialogue, learning and ­networking, thus ­affording Talents the perfect platform to dis­cuss their in­ dividual work, styles and experiences. The Doc & Script ­Station will ­culminate in two public events that address ­strategic partners, international e ­ xperts and Campus Talents: “Storytellers to Watch”, moderated by Alby James, head of Devel­ opment at EON Screenwriters’ Workshop and a Script ­Station jury member, will have Talent actors reading two scenes from ­fiction scripts. Scriptwriting Talents will make brief ­presentations of their projects to producer David Thompson before giving the floor to the actors. “Reality’s First Appearance”, moderated by Sirkka Möller, doc­u­­­ mentary curator and project manager of the Doc & Script Station, will have Doc Talents present their documentary treat­ ments­and discuss them on stage with Hans Robert Eisenhauer, head of Thema for ZDF/ARTE.­ In its attempt to promote higher standards of scriptwriting and documentary treatments, the Doc & Script Station has been supported over the years by its generous partners. The Script Station has been developed with the assistance of Script House, an established script agency in Germany; the Concept ­Development Day 2009 has been planned in close cooperation with EON Screenwriters’ Workshop in London; and since 2007, the Doc Station has received support from ZDF/ARTE, one of the most important German television departments for the production and co-production of international documentaries, through mentoring and designing of the Concept Development­ Day 2009. SOURCES 2, the European Script Writers’ Training Pro­gramme, has lent its support by way of experts from their teaching staff. Moreover, the Doc & Script Station has been made possible by the generous financial contribution of the German Federal Film Board (FFA). Looking back at the pro­ gressive­ development of the Doc & Script Station, we owe a huge thanks to all these institutions for their vision and dedi­ cation­in ­supporting this programme.

wed 11 / 11:00 / HAU 3, Top Floor Doc Station: Reality‘s First Appearance (p.61) wed 11 / 17:00 / HAU 3, Top Floor Script Station: Storytellers to Watch (p.62)

portrait: kathrin brinkmann

docu­men­to­ring films Well- versed in the intricacies of the documentary­ film­making process through her multi-faceted work as commissioning editor for ZDF / ARTE, jury member, ­curator and tutor, Kathrin ­Brinkmann empowers ­Talents of the Doc Station in finding their voices, ­realising their stories and becoming critical filmmakers.

Theatre connoisseur and documentary film expert, Kathrin Brinkmann, started out studying applied dramatic arts. During a study visit to New York in early 1989, she worked as a stage actress, and in the same year was director’s assistant for “Danton’s Death“, a play staged by Ruth Berghaus at Thalia Theater in Hamburg. During her studies and thereafter, she work­ed for a number of years, amongst others, with René ­Pol­lesch, a prominent director of contemporary German ­theatre. A stint in the editorial department “Theater/Foyer“ at ZDF/3sat in 1992 set into motion a long-term career in television and the production of documentary films. Brinkmann’s first foray was as a freelance contributor for 3sat: she was responsible for the coordination and editorial supervision of the interactive television project, “Piazza Virtuale” by Van Gogh TV, a daily live transmission of the Documenta IX. Since 1994, she has been the commissioning editor for ZDF’s “Kleines Fernsehspiel” and in charge of the development and production of theme ­evenings for the European culture channel ARTE, as well as the development of innovative programme formats for the tele­ vision­ workshop “Quantum” for 3sat. Since May 2000, she is commissioning editor of the new department within ZDF “ARTE Theme Evenings“, and thereby one of the key persons within the television channel deciding on the production and co-production of international documentaries.

(the film was also part of the Berlinale Panorama 2008), and ­Tailor Made Dreams (2006) by Marco Wilms, to mention just a select few. A seasoned film industry professional with the ability to look beyond usual subjects, she has, in her role as commissioning editor for ARTE, supervised the production of over fifty theme evenings, covering the most diverse cultural and socio-political topics criss-crossing international ­borders. In addition, she has been on the jury of a number of festivals, and is since 1997 a member of ZDF’s festival commission.­ Together with the ­cinema theorist, Marie-Hélène Gutberlet, Kathrin Brinkmann also ­curates the monthly film series “reel to real” at the Künstlerhaus Mousonturm in Frankfurt. The two experts on cinema have been presenting since 2003 documentary, feature and experimental films, which are distinguished by a specific point of ­access to reality, in combination with lectures and work­shop discussions. Her in-depth knowledge in the field has made her an ­established figure on panels and a tutor at the workshops of the ­European Documentary Network in Bardonecchia, Jihlava, ­Lisbon, Riga, Tel Aviv and Thessaloniki, as well as for the European Audiovisual­ Entrepreneurs (EAVE) and Steps India. She is also a lecturer for content development for documentary films at the University of Design in Offenbach, Germany since 2002. For Kathrin Brinkmann, “it is not only the topic of the film that is important but also the filmmaker’s attitude to the subject, the unique access, personal motivation and filmic approach. I would like to and must understand why the author makes a conscious decision for a certain subject matter, where for him or her the creative potential lies and why this material or rather precisely the material presented demands a filmic form.” ­Talents of the Doc Station will have the benefit of her keen gaze and knowledgeable inputs in developing their films and their ­doc-making ventures.

Kathrin Brinkmann

Over the years, Kathrin Brinkmann has commissioned and ­supervised many documentary films that proceeded to win prestigious awards and critical acclaim at international ­festivals. Some of her most recent projects include Peace Mission (2008) by Dorothee Wenner, A Jihad for Love (2008) by Parvez Sharma

Berlinale Talent Campus #7



MEGA PLUS Master in Audiovisual Management A nine month postgraduate course to create a shortcut to the industry for young professionals, giving them a deep insight on the management of audiovisual companies. Former participants include: Alexei Boltho, Director of Coproductions and acquisitions at Paramount UK, Sofía Neves, Head of Sales Hanway Films, Phillipp Kreuzer, Head of Coproductions at Bavaria International. 3rd June - 4th September 2009: Academic Training. Ronda, MÁLAGA September to December: First internship period December 2009: Evaluation Week January - March 2010: Second internship period Deadline for applications April 1st 2009.

ME IN B ET US From E 7 to RLIN 1

2 Fe also brua in Me ry Febr dia Inf uary o Da y 9 Jo


s +34 é Garas 679 i 197 no Ana 548 La +34 608 guna 617 464

contact: Ana Laguna |

MD Marketing and Distribution


Summer 2009

An in-depth look at the marketing and distribution process with the prestigious and unique know-how of leading European distributors and marketing executives. Get an extensive insight into how to launch, promote and distribute feature films for theatrical release. This course is funded by the Skillset Film Skills Fund.

Training and networking european professionals since 1991

Ronda - Málaga, Spain. July 7-11 2009. Deadline June 1st 2009 contact: Laura Almellones |

MPBS MultiPlatforms Business School Summer 2009

An exclusive opportunity to understand how to create, develop and market original multiplatform content for internet, mobile phones and handheld devices. Grab the opportunity to be the first to master what everybody is talking about! Ronda - Málaga, Spain. August 4-8 2009. Deadline June contact: Laura Almellones |


2009 C/ Antonio Acuña 19 esc-derecha 1º izq. 28009 Madrid, Spain | T. +34 915 759 583 C/ Molino 1 bis 2ª planta 29400 Ronda, Spain | T.+34 952 873 944

talent project market

prime time for talent projects One of the practical-training programmes of the Ber­li­ nale Talent Campus, the Talent Project Market, makes it possible for promising directors and producers­ to in­ tro­­duce their film projects to prospective producers and financiers.

The Talent Project Market, in collaboration with the Berlinale Co-Production Market, provides direct practical experience to young film producers and directors through concentrated ­individual tutoring sessions led by international experts. An insider’s view on the working of the international co-production­ business also marks the Talent Project Market programme. ­Selected Talents – ten projects representing ten different countries chosen in early January – will present their projects at the sixth edition of the Berlinale Co-Production Market from Feb 8 – 9, 2009, gaining a remarkable­ oppor­tunity to inter­­­act with veteran producers, financiers, ­distri­­­butors, sales agents and broadcasters from around the globe.

Catalogue of the Berlinale Co-Production Market. As it has done for the past five years, the VFF – German Collecting Socie­ty for Inhouse and Commissioned Production of Film and TV Programmes – sponsors the “Highlight Pitch”, where three pre­selected Talent projects will be presented and each awared a development award of 3,000 euros. The Talent Project Market opens up a variety of informal net­ working possibilities in addition to being able to exchange ideas and discuss projects with fellow Talents. Selected for Talent Project Market 2009 are: Carjacking, written and directed by Lars Blumers , France Fe, written, directed and produced by Alejo Crisóstomo, Guatemala (alumnus) New Family, produced by Elad Gavish, Israel Cuando Llegues (When You Arrive), written, directed and produced by Gabriela Isas, USA/UK The Hanji Box, produced by Amy Lo, USA Palestinian Gangster, written and directed by Azza El-Hassan and produced by Meike Martens, Jordan / Germany Neither the Veil Nor the Four Walls, directed by Afia Nathaniel, Pakistan The Other End, written and directed by Felipe Sholl, Brazil Akyat-Baba, Paikot-Ikot, produced by Margie Templo, Philippines Exit 47, directed by Theresa von Eltz, UK/ Germany

A three-day programme, the first day of the Talent Project ­Market is committed to pitching practice and one-on-one mentoring sessions with industry experts, preparing the ­Talents for their meetings with potential partners. Day two ­pro­­­vides further insights into the international business and markets and participants receive feedback on their projects and pitches. A pitching expert, Sibylle Kurz, and other in­dustry specialists will be at the Talents’ disposal to guide them along the way and introduce the fine points of international ­co-­production, financing and markets. The individual pre-scheduled meetings with participants of the Berlinale Co-Production Market start on day two and con­ tinue on day three. During these sessions, Talents can present themselves and their projects to prospective pro­ducers,­ fin­anciers and ­distributors who come prepared, hav­­ing read up on the ­respective Talent projects through the Project

Berlinale Talent Campus #7

Last year‘s participants of the “Talent Highlight Pitch“: Ewa Borowski from ­Germany / Poland, Othman Karim from Sweden, and Rusudan Pirveli from Georgia.


berlin today award 2010

raring to have a go? Five young directors will have the special opportunity of making a short film on the theme “Straight to ­Cinema” in collaboration with a production company from ­Ber­linBrandenburg. The Berlin Today Award, the annu­al short film competition of the Berlinale Talent Campus, is within­ reach.

The short film competition of the Berlinale Talent Campus ­invites directors from all over the world to submit short film ideas inspired by the theme “Straight to Cinema”. In a digital age where film culture is undergoing fundamental changes, the cinema remains a unique public space, a centre for ­collective experiences and sensations. The Berlin Today Award theme for 2010 encourages young filmmakers to seek inspiration in ­cinema and all its possibilities and to develop a short film for the big screen. The top five film ideas will be produced in ­keeping with professional standards by five production ­companies from Berlin and Brandenburg – with funding from Medienboard Berlin-Brandenburg and in-kind contributions from the film i­ndustry.

Fifteen Talents selected prior to the Campus will be able to pitch their film ideas to participating producers during the ­Producers’ Meeting at the Berlinale Talent Campus 2009. The five excelling projects will take the leap towards production in summer 2009. A project and development phase (the residency)­ will bring the young directors back to Berlin before shooting begins. The short films will enjoy their world premiere at the opening of the Berlinale Talent Campus 2010 as part of the 60th Berlin International Film Festival. Every year, current and former participants of the Berlinale ­Talent Campus are invited to apply to The Berlin Today Award. For detailed information on the competition please visit: Medienboard Berlin-Brandenburg has been funding the Berlin Today Award since 2003.

Photo: David von Becker

Jury member Wim Wenders (left) and Kirsten Niehuus (Medienboard Berlin Branden­burg, right) with actress Anneke Kim Sarnau and director Maheen Zia presenting the Berlin Today Award 2008 for their film Match Factor.


berlin today award 2009

5 shorts on the silver screen

Wagah by Supriyo Sen (India) A documentary about an extraordinary event at the only ­border crossing between India and Pakistan: Every evening, thousands gather to witness border guards on both sides orchestrating a patriotic parade. Produced by DETAiLFILM. The Berlin Today Award 2009 is supported by Medienboard Berlin-Brandenburg, the Federal Foreign Office and the ­German film industry.

Sharing the limelight, the five short films competing for the Berlin Today Award 2009 celebrate their world premiere on the ­Opening Night of the Berlinale Talent Campus.

To commemorate the 20th anniversary of the fall of the Berlin Wall in 2009, “My Wall“ was chosen as the creative focus for this year’s short film competition held under the auspices of ­Federal Foreign Minister Dr. Frank-Walter Steinmeier. The jury com­prising of German directors Emily Atef, Andreas Dresen and Wim Wenders select the winner of the Berlin Today Award 2009:



1 | Die Berliner Mauer, Photo: Peter Himsel 2 | My Super Sea Wall, Photo: Millie Hawley 3 | Promenade, Photo: NEOS Film 4 | Teleportation, Photo: Christoph Busse 5 | Wagah, Photo: DETAiLFILM

Die Berliner Mauer by Paul Cotter (UK) One day, 75-year-old Werner Schlömerkemper starts to rebuild the Berlin Wall. Before long he is not alone: other enthusiastic helpers join in, although no one knows the true motives ­behind his actions. Produced by Kaminski.Stiehm.Film.


My Super Sea Wall by Gina Abatemarco (USA) On the tiny island of Kivalina, some 350 Inupiat Eskimos are amongst America‘s first climate change refugees. They build a man-made sea wall to save their homes from being ­swallowed by the sea. Produced by Anna Wendt Filmproduktion. Promenade by Sabine El Chamaa (Lebanon) Strolling in her war-ravaged home, an elderly woman is drawn by a familiar and distant song coming from the stones of her destroyed walls; slowly, she collects stone by stone… Produced by NEOS Film. Teleportation by Markus Dietrich (Germany) Ten-year olds Frederike and Fabian plan a secret experiment: to teleport their friend Jonathan to West Berlin. But ­everything goes wrong… An adventurous story about November 9, 1989, the day the wall fell. Produced by Schiwago Film.

Berlinale Talent Campus #7



sat 07 / 17:00 / HAU 1 Opening Ceremony & World Premiere of the Berlin Today Award Films 2009 (p.48) sun 08 / 19:30 / ext. Dine & Shine – Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2009 (on invitation only) (p.51) wed 11 / 20:00 / cinestar 5 Screening at the European Film Market (see Berlinale programme) sun 15 / 16:00 / cinemaxx 6 Public Screening at the Berlinale Kinotag (see Berlinale programme)




Scholarships for European Audiovisual Media Professionals in Berlin

Further studies for qualified applicants in the fields of � Film, television and video financing, production, marketing and distribution � New technologies (multimedia, interactivity) � TV computer design and computer graphics


Contact Kurfürstendamm 225 D - 10719 Berlin phone: +49 30 614 28 38 fax: +49 30 614 28 26 e-mail: visit:

filmmakers against racism

statement of solidarity Moving, powerful and thought provoking documentaries­ from the Filmmakers Against Racism collective stand up against ­xenophobic violence in South Africa.

“We proudly declare ourselves as Africans first, and South Afri­cans second. This campaign is a statement of solidarity to­ wards a more tolerant and unified continent.” In May 2008, a group of South African film professionals formed a collabo­ra­tive­ called Filmmakers Against Racism (FAR) to produce a ­series of anti-xenophobic documentaries and ­public service an­nounce­­ments (PSAs) in response to the horrific wave of ­racist attacks that raged in South Africa for more than ten days. Each of the nine films produced by FAR strikes a clear note that such ­prejudice has no place in South Africa and ­reaffirms a ­Pan-­African and indeed global vision of filmmaking and art in ­general. “We wanted to understand why people feel justified to make people suffer and why they want foreigners to leave the country.“ Rehad Desai The founding members of the initiative comprise Rehad Desai of Uhuru Productions, Neil Brandt of Luna Films, Desiree ­Markgraaff of The Bomb Shelter, Eve Rantseli of Women of the Son, Carolyn Carew-Maseko of Born Free Media, and actor/­ director, Xoliswa Sithole. They started to document various ­issues such as the identity of the extensively publicised ­“burning man” and the conditions that the refugees were ­living under having been forced out of their homes. In a press interview, Desai explained the collective’s common focus: “My ­colleagues and I set up this initiative to get the stories doc­umented. We wanted to understand why people are xenophobic, why they feel ­justified to make people suffer and why they want foreigners to leave the country.” Furthermore, the documentaries seek to remind us that we fought a long hard battle to overcome the brutal forces of racism in South Africa

Berlinale Talent Campus #7

– we cannot let racism defeat us again.” FAR is supported by the South African Screen Federation, the Independent Producers­ Organisation and the Producers Alliance, and brings together a collective of reputable film ­production houses and individual talent, in collaboration with independent producers and ­directors. In an interview, Neil Brandt confirmed that more and more filmmakers and companies are offering their services. “The three local broadcasters, M-Net, SABC and, have all ­offered air time for the PSAs, while Grey Advertising will come up with the concepts for the PSAs.” The documentaries produced by FAR were screened at the ­Durban International Film Festival in August 2008; four of them form part of the 2009 Berlinale Forum programme: Affectionately Known as Alex 2008, South Africa, directed by Danny Turken, produced by Neil Brandt & Khalid Shamis, Luna Films Baraka (Blessing) 2008, South Africa, directed by Omelga Mthiyane & Riaan Hendricks, produced by Marianne Gysae & Don Edkins, Steps / Day Zero Films The Burning Man “Ernesto Alfabeto Nhamuave” 2008, South Africa, directed by Adze Ugah, produced by Desiree Markgraaff, The Bomb Shelter Angels On Our Shoulders 2008, South Africa, directed and produced by Andy Spitz, produced by Left Eye Productions All four filmmakers, including founding member of FAR, Rehad Desai, will be present at the screenings. They can also be heard on the Campus panel, “Filmmakers Against Racism”, where they will discuss the impetus to create FAR, what lies in store and how they plan to tread onward.

Thought provoking documentaries from the FAR collective tue 10 / 14:00 / HAU 2 FIlmmakers Against Racism (p.58)


campus counselors

the talents‘ liaison officers With Talents joining the Campus from all over the world, five counselors are available for Talents with a special area of ­interest: this could be a non-western background, a focus on a special region because you're planning to film there, or a ­specific interest in visual art. The counselors will be your liaison officers to events and people linked to your region at the festival and will introduce you to the relevant festival‘s ­delegates. If you're interested in attending one of the ­coun­­­­­selor sessions and meeting fellow Talents, make sure you meet the counselor at the indicated time at the beginning of the ­Campus. Please note, the counselors will provide you with relevant ­in­­­for­mation on their area of interest only – not with general Campus information.

Middle-East and Northern-Africa Sun, Feb 8 – 12:30, HAU 1 meeting point in the lobby Bärbel Mauch

Latin America Sun, Feb 8 – 12:30, HAU 1 meeting point in the lobby Camilla Ribas

Visual artists Sun, Feb 8 – 13:30, HAU 1 meeting point in the lobby Bettina Allamoda

For all practical information on the Campus, the Talent Info Counter is the best place to visit. Asia Mon, Feb 9 – 12:30, HAU 1 meeting point in the lobby Sun-ju Choi

Sub-Saharan Africa Mon, Feb 9 – 12:30, HAU 1 meeting point in the lobby Julien Enoka Ayemba




39 – 65

programme 40 46 48 49 52 56 60 63

Timetable Meet the Experts Day 1 – Sat, Feb 07 Day 2 – Sun, Feb 08 Day 3 – Mon, Feb 09 Day 4 – Tue, Feb 10 Day 5 – Wed, Feb 11 Day 6 – Thu, Feb 12

saturday feb 07


9:00 9:30

HAU 1 foxbar

HAU 2 Ticketing and Talent Registration (p.48). Rise and Shine Breakfast Welcome to the Campus (p.48).


10 :15 – 11:15

Doc Station Welcome ­Meeting (p.30).


11:30 – 12:30


13:00 – 14:00


15:00 – 16:00


HAU 3 white stage

Taking Off Essential briefing on services, programme and hands-on-trainings (p.48).

Germans at the Campus In cooperation with Medienboard Berlin-Brandenburg, FFA, German Films, Perspektive Deutsches Kino. (p.48).

12:00 – 14:00

Actors Workshop Welcome ­Meeting (p.30).

Global Speed Matching Meet and greet session with Janine Marmot. In cooperation with Skillset (p.48).

Opening Ceremony & World Premiere of the ­Berlin Today Award Films Brigitte Broch, Dieter Kosslick, Kirsten Niehuus, Max Richter, Daniela Thomas. Moderated by Jenni Zylka. Supported by Medienboard BerlinBrandenburg (p.35, 48).

sunday feb 08 9:00 9:30 11:00

12:30 14:00



Ticketing Rise and Shine Breakfast Presented by Deutsche Welle (p.49).

Suddenly, It All Happened – Turning Points in Scriptwriting Anne Carey, Sir David Hare, Daniela Thomas. Moderated by Peter ­Cowie (p.20, 49). Lunch Break

Dealing with Reality Hala Galal, Michèle Ohayon, Anders Østergaard. Moderated by Matthijs Wouter Knol (p.49).

In the Limelight: Bertrand Tavernier Bertrand Tavernier. Moderated by Peter Cowie (p.50).

Meet the Expert (p.46-47).


Speed Matching Directors & pro­du­cers meet everyone (p.48).

Kill Your Darlings Editing master class with Susan Korda (p.50).

Meet the Expert (p.46-47).

Brussels in Berlin: Turning Your Film into an Award Winner Jacques-Henri Bronckart, Christer Nilson, Arnaud Pasquali. Moderated by Jürgen Seidler. In cooperation with MEDIA (p.51).

9:00 – 18:00

Doc & Script Station (p.30).

Events reserved for Talents are marked in black, events also open to the public are in magenta.

HAU 3 black stage

HAU 3 top floor

HAU 3 front house

other venues

9:00 – 16:30 Campus PostProduction Studio (p.26).

10:00 – 20:00

Volkswagen Score Competition Editing at Wave-Line and feedback session with Max Richter. In cooperation with Volkswagen (p.24).

11:00 – 17:00

BTA 2010 Coaching Supported by Medienboard Berlin-Brandenburg (p.34).

10:30 – 11:30

Talent Project Market Welcome Meeting (p.33).

13:00 – 16:00

Talent Project Market (p.33).

15:00 – 16:30

The Talent Press Editorial Meeting (p.28).

9:00 – 19:00 Campus PostProduction Studio (p.26).

10:00 – 20:00

Volkswagen Score Competition Editing at Wave-Line. In cooperation with Volkswagen (p.24).

Looking at HDCAM HDCAM workshop with Wolf Bosse, Philip Gröning, Grischa Schaufuß. In cooperation with Arri, Band Pro and Kamera Ludwig (p.49).

10:00 – 18:00

Talent Project Market (p.33).

10:00 – 13:00

Actors Workshop (p.30).

Reception Manfred Durniok Foundation For East Asian Talents. Supported by Manfred Durniok Foundation (p.16). Tales from the Casting Couch Leo Davis, Rie Hedegaard, Stephen Frears, Ole Christian Madsen. Moderated by Beatrice Kruger. In cooperation with European Film Promotion and Berlinale Competition (p.50).

15:00 – 18:00

Working through Digital Workflows Workshop with Claudia Meglin, Mark Read. In cooperation with Arri, Avid Technology, Band Pro, ­Barco, Filmlight, Kamera Ludwig, P & S Technik, ­Pictorion das werk (p.27, 51).


Berlinale Talent Campus #7

The Talent Press Editorial Meeting (p.28).


Excursion to European Film Market For producers (p.50).

Dine & Shine – Talents Rendezvous with Berlinale Guests and Award Ceremony of the BTA 2009 at ewerk. With Emily Atef, Andreas Dresen, Dieter ­Kosslick, Kirsten Niehuus, Dr. Frank-Walter Steinmeier, Wim Wenders. Moderated by Adrian Kennedy. Supported by ­Medienboard Berlin-Brandenburg and ­Robert Bosch Stiftung (p.35, 51).


monday feb 09


9:00 9:30 11:00

12:30 14:00



HAU 1 foxbar


HAU 3 white stage

Ticketing Rise and Shine Breakfast Presented by Avid Technology (p.52).

9:00 – 18:00

Doc & Script Station (p.30).

Brigitte Broch: The Language of Spaces and Things Brigitte Broch. Moderated by Ben Gibson (p.52).

Lunch Break

Fatal Attractions – On Chance and Accidents in Cinema Peace Anyiam-Osigwe, Arta Dobroshi, Raphaël Nadjari. Moderated by Dorothee Wenner. In cooperation with Berlinale Forum, Berlinale Shorts (p.53).

Meet the Expert (p.46-47).


Speed Matching Directors meet producers & editors (p.48). Watching the Titles: How to Start a Film? Karin Fong, Darius Ghanai. Moderated by Matthijs Wouter Knol (p.53).

Meet the Expert (p.46-47).

In the Limelight: Tilda Swinton Tilda Swinton. Moderated by Peter Cowie (p.54).

Snow Meets OReilly: Please Say Something David OReilly, Michael Snow. Moderated by Maike Mia Höhne and Stefanie Schulte Strathaus. In cooperation with Berlinale Shorts, Forum expanded (p.54).

Talent Short Film Night Moderated by David Thompson. In cooperation with Berlinale Shorts, Berlinale Generation (p.55).

18:30 Short Film Reception

In cooperation with Berlinale Shorts and Berlinale ­Forum expanded (p.55).

tuesday feb 10

9:00 9:30

11:00 12:30 14:00


Dreaming Reality Emily Atef, Andreas Dresen, Wim Wenders. Moderated by Jörg Taszman (p.56). Lunch Break

Meet the Expert (p.46-47).

Janusz Kamiński: Anatomy of the Shot Janusz Kamiński. Moderated by Peter Cowie. In cooperation with Robert Bosch Stiftung (p.57). Meet the Expert (p.46-47).


Doc & Script Station (p.30).

Rise and Shine Breakfast Presented by Robert Bosch Stiftung and Sarajevo Film Festival (p.56).



9:00 – 18:00

Provoking Cinema: Films That Marked Me Forever Patricio Guzmán, Jasmila Žbanić. Moderated by Vincenzo Bugno. In cooperation with Robert Bosch Stiftung (p.58).

Speed Matching Directors meet writers (p.48).

Filmmakers Against Racism Rehad Desai, Riaan Hendricks, Omelga Mthiyane, Andy Spitz, Danny Turken, Adze Ugah. Moderated by Dorothee Wenner. In cooperaration with Berlinale Forum, Goethe-Institut, Heinrich Böll Stiftung (p.37, 58). Two Producers Sharing Their Secrets Mark Herbert and Sandy Lieberson. In cooperation with Skillset (p.59).

13:00 – 15:00

Actors Workshop (p.30).

Events reserved for Talents are marked in black, events also open to the public are in magenta.

HAU 3 black stage

HAU 3 top floor

HAU 3 front house

other venues 9:00 – 18:00 Campus Editing Studio In cooperation with Avid Technology (p.26).

9:00 – 19:00

10:00 – 20:00

Volkswagen Score Competition Editing at Wave-Line. In cooperation with Volkswagen (p.24).

Campus Post-Production Studio (p.26).

10:00 – 18:00

Embodying the Character Acting master class with Jean-Louis Rodrigue (p.52).

Talent Project Market (p.33).

13:00 Excursion to “Meet the Docs“ at ­European Film Market For documentary filmmakers (p.50).

13:15 – 15:30

Excursion to the Costume House Theaterkunst In cooperation with Theaterkunst (p.53).

15:00 – 18:00

The Indie Filmmakers Guide to the Internet: Tales from the Online Frontier Liz Rosenthal. In cooperation with Skillset (p.54).

The Talent Press Editorial Meeting (p.28).

16:00 Excursion to European Film Market For producers (p.50).

Crash Course Perfect Pitching Jan Miller (p.55).

9:00 – 18:00

9:00 – 19:00 Campus Post-

Campus Editing Studio In cooperation with Avid Technology (p.26).

Production Studio (p.26).

10:00 – 17:00

BTA 2010 Producers‘ Meeting Supported by Medienboard Berlin-Brandenburg (p.34, 56).

It‘s the Mission that Matters Maite García Lechner, Bjorn Maes, Nicolai Niemann. Moderated by Don Edkins (p.56).

10:00 – 20:00

Volkswagen Score Competition Final Mixing at the HFF "Konrad Wolf". In cooperation with Volkswagen (p.24).

10:00 – 11:00

Excursion to European Film Market For producers (p.50).


Art Field Trip for Talents Bettina Allamoda. In cooperation with Berlinale Forum expanded (p.57).

The Indie Filmmakers Guide to the Internet: A Guide to Independence: New Online Tools and Services M dot Strange, Brian Newman, Slava Rubin. Moderated by Liz Rosenthal. In cooperation with Skillset (p.58).

13:00 – 15:00

Actors Workshop (p.30).

15:00 – 18:00

The Talent Press Editorial Meeting (p.28).

Remember Me? The Art of Following Up Jean-Baptiste Babin, Riina Sildos, Peter Wetherell. Moderated by Ido Abram (p.59).

Berlinale Talent Campus #7


wednesday feb 11


HAU 1 foxbar

9:00 9:30 11:00

12:30 14:00


HAU 2 Ticketing Rise and Shine Breakfast (p.60).

Imagining Istanbul Reha Erdem, Lloyd Phillips, Yeşim Ustaoglu. Moderated by Martina Priessner. In cooperation with Alfred Herrhausen Society, Berlinale Competition, Berlinale Forum (p.60).

Lunch Break

Meet the Expert (p.46-47).

Switching Roles: Multi-Talents in Film Julie Delpy, Christophe Honoré, Til Schweiger. Moderated by Ben Gibson. In cooperation with Berlinale Panorama (p.61).


Meet the Expert (p.46-47).

Telling Stories with a Score Composing master class with Max Richter. Moderated by Peter Cowie. In cooperation with Volkswagen (p.25, 62).

Speed Matching Directors meet everybody else (p.48). The Indie Filmmakers Guide to the Internet: Adventures in Independence: Filmmaker Case Studies M dot Strange, Timo Vuorensola. Moderated by Liz Rosenthal. In cooperation with Skillset (p.61). Happy Returns: The Future After the Campus Jon Baxter, Melissa Dullius, Atsushi Funahashi, Simon El-Habre and Kit Hung. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale ­Forum and Berlinale Forum expanded (p.62).

thursday feb 12

9:00 9:30


12:30 14:00

Ticketing Rise and Shine Breakfast à la française Presented by the French Embassy (p.63).

In the Limelight: Surprise Guest! Interview with a filmmaker-guest of the Berlinale. Stay tuned! (p.63).

Lunch Break Experiments in Facts and Fiction: The Work of Sharon Lockhart Sharon Lockhart. Moderated by Anselm Franke and Stefanie Schulte Strathaus. In cooperation with Berlinale Forum expanded (p.64).

16:00 20:00


Meet the Expert (p.46-47).

Speed Matching (p.48).


The Critical Dilemma – Does the Internet Improve Film Criticism? Ekkehard Knörer, Mick LaSalle, Dana Linssen. Moderated by Peter Cowie (p.65).

Meet the Expert (p.46-47).

Things to Take Home Kathi Bildhauer, Marcus Forchner, Sonja Heinen, Matthijs Wouter Knol, Christine Tröstrum (p.65). Closing and Award Ceremony of the Volkswagen Score Competition Moderated by Thomas Heinze and Matthijs Wouter Knol. Supported by Volkswagen (p.65).

Events reserved for Talents are marked in black, events also open to the public are in magenta.

HAU 3 white stage 9:00 – 18:00

Doc & Script Station (p.30).

HAU 3 black stage

HAU 3 top floor

9:00 – 19:00

9:00 – 18:00

Campus Editing Studio In cooperation with Avid Technology (p.26).

Campus Post-Production Studio (p.26).

9:15 – 10:45

Doc Station: Reality‘s First Appearance Hans Robert Eisenhauer. Moderated by Sirkka Möller. (p.30, 61).

Actors Workshop (p.30).

other venues

10:00 – 11:00

Excursion to European Film Market For all Talents (p.50).

10:00 – 15:00

Volkswagen Score Competition: Excursion to the German Film Orchestra Babelsberg and HFF“Konrad Wolf“ For sound designers and composers.­In cooperation with the German Film ­Orchestra Babelsberg, HFF “Konrad Wolf“, Volkswagen (p.60).

Legal Weapons John Sloss in conversation with Mareile Büscher. In cooperation with Hogan & Hartson Raue LLP (p.61).

15:00 – 18:00

The Talent Press Editorial Meeting (p.28).

Script Station: Storytellers to Watch David Thompson. Moderated by Alby James (p.30, 62).

9:00 – 15:30 Campus PostProduction Studio (p.26). 10:00

All You Should Know About: Berlinale Co-Production Market Kathi Bildhauer, Martina Bleis, Sonja Heinen. In cooperation with Berlinale Co-Production Market (p.63).


World Cinema Fund: How to Apply? Vincenzo Bugno, Sonja Heinen. In cooperation with World Cinema Fund (p.64).

10:30 – 15:30

Master Class at Costume House Theaterkunst For set designers. In cooperation with Theaterkunst (p.63).

11:00 – 14:00

The Talent Press Editorial Meeting (p.28).

13:00 – 14:00

Talent Project Market (p.33). Collaborative Filmmaking in the Spotlight Job ter Burg, Claudia Meglin. Moderated by Silke Zimmermann. In cooperation with Arri, Avid Technology,­Band Pro, ­Barco, Filmlight, Kamera Ludwig, P & S Technik, ­Pictorion das werk (p.64).

17:00 Beyond the Music: A Film Composer‘s Challenges Moderated by Martin Todsharow. In cooperation with Volkswagen (p.24, 64).


Closing Party at Adagio (basement Berlinale ­Palast). Supported by Volkswagen (p.65).

Berlinale Talent Campus #7


meet the experts

up close and personal Be inspired, amused and filled with ideas; join the

16:00 – HAU 2 | Lounge Sandy Lieberson Discuss your hopes and aspirations as filmmakers. What you want to do and how you're going to go about it. Sandy has produced over 20 feature and doc films and is also an experienced hand as a studio executive, developing and supervising the production of U.S. and European films. He also launched Film ­London’s Microwave Feature Film Fund for new filmmakers. 16:00 – HAU 1 | Foxbar Emma Clarke – Senior Executive, New Cinema Fund, UK Film Council This is your chance to talk to the Senior Executive at the New Cinema Fund. Emma is part of the team that assesses the applications, and oversees all aspects of production from development through financing, shooting and editing to completion.

film­making­ experts for focused discussions at HAU 1 Fox­bar and the HAU 2 Lounge for “Meet the Experts” ­sessions. The meeting point is at HAU 1, ten minutes prior

monday, feb 09

to the appointment. “Meet the Experts” is presented­in collaboration with Skillset.

sunday, feb 08 12:30 – HAU 1 | Foxbar Vicki Psarias – Filmmaker, Berlinale Talent Campus Alumna Vicki won the prestigious “Channel 4 Talent Award for Best Filmmaker“ in 2007 where the channel branded her as “a ­future creative hero“, and “one to watch“. She is here to talk to you about her work as a filmmaker and how to make the most of your Berlinale Talent Campus connections. 12:45 – HAU 2 | Lounge Agnieszka Moody – Director of MEDIA Desk UK Find out about MEDIA‘s funding schemes for development, ­access to finance, and TV broadcasting work, and how to ­sub­mit a successful application. Agnieszka will also provide information on a range of MEDIA -supported professional training courses, festivals and markets in Europe. In 2007 UK film­makers received 2.9 million euros of development funding alone from the MEDIA Programme. 13:15 – HAU 1 | Foxbar Alex Stolz – Senior Executive Distribution and Exhibition, UK Film Council Alex currently manages the £3.5m P&A Fund, which backs 20+ films a year for wider distribution in the UK. In addition, he ­develops and implements all of the distribution and exhibition strategies at the UK Film Council including the world‘s first Digital Screen Network and specific content-led projects.


12:30 – HAU 1 | Foxbar Sally Caplan – Head of Premiere Fund at the UK Film Council Sally will be free to talk about the UK Film Council's Premiere Fund which invests in commercial films, across the full range of budgets and genres, which offer quality and entertainment to wide audiences both in the UK and worldwide. 12:30 – HAU 2 | Lounge Janine Marmot – Director of Film, Skillset, London, Producer Your chance to talk to a BAFTA-winning working producer on any film related subject, from development to delivery. She will also be able to help you understand what Skillset has to offer filmmakers in the UK. 16:00 – HAU 1 | Foxbar Liz Rosenthal – Director, Power to the Pixel & Earthly ­Delights Films Liz was an early advocate and pioneer of digital filmmaking and distribution. Currenly, she advises international media companies, film financing organisations, filmmakers and film festivals about using cutting edge distribution techniques and new business models for independent film. 16:00 – HAU 2 | Lounge Emily Man – Producer, Manmade Films Emily is keen to discuss her work as a mentor for FirstLight Movies, Media Trust, Athena. She has also been tutoring film and theatre writers, directors and heads of department for the last ten years. Her company Manmade Films is ­currently in ­development with a slate of feature films. As a Campus alumna,­ she can also guide you on how to make the most out of your Campus ­experience and the contacts you will make here.

16:45 – HAU 1 | Foxbar M dot Strange M dot Strange is keen to spread the word and help his fellow viral filmmakers by offering practical advice and talking about his own experiences as an independent filmmaker.

tuesday, feb 10 12:30 – HAU 2 | Lounge Jan Miller – Pitch Consultant, Lowenbe Holdings / Director, Strategic Partners Jan will be available to talk to you after her Campus session. Jan has developed and honed one of the top pitching and project development workshops in the world. She will be happy to answer questions about her pitching workshop and the art of pitching and your creative development package. 12:30 – HAU 1 | Foxbar David Thompson This year, after over 10 years as head of BBC Films, David Thompson left to launch a new venture Origin Pictures. ­Origin produces both film and television and retains a strong ­relationship with the BBC through its first look deal. David is available to discuss with you his work at Origin Pictures. 16:00 – HAU 1 | Foxbar Brian Newman – President & CEO, Tribeca Film Institute Brian will be available after taking part in the session “A Guide to Independence: New Online Tools and Services“. He can give advice on new methods of distribution, building an ­audience for your work and new online marketing and ­busi­ness strategies. He will also be able to speak about his work at the Tribeca Film Institute. 16:45 – HAU 1 | Foxbar Slava Rubin Slava will be available after the session “A Guide to Indepen­ dence:­ New Online Tools and Services“. He will be there to answer any of your questions and queries and will also be able to speak about his founding of IndieGoGo which helps in­ dependent filmmakers overcome their fundraising challenges.

wednesday, feb 11 12:30 – HAU 1 | Foxbar Lenny Crooks – Head of the New Cinema Fund at the UK Film Council Lenny will be talking about the New Cinema Fund, one of the most commercially and culturally successful public funds

Berlinale Talent Campus #7

­ perating in Europe which aims to support emerging film­ o makers and established filmmakers working outside of the mainstream. 16:00 – HAU 1 | Foxbar Lizzie Francke – Development Producer, UK Film Council’s ­Development Fund Lizzie will be discussing her work with the Development Fund at the UK Film Council and her work as an independent ­pro­ducer and film critic. 16:45 – HAU 2 | Lounge Timo Vuorensola – Film Director Timo will be available after the “Adventures in Independence: Filmmaker Case Studies“ session to answer any questions or queries about his work and this session. He is keen to discuss how the Internet can provide various and very interesting ­possibilities to replace traditional production models.

thursday, feb 12 12:30 – HAU 1 | Foxbar Nikolai Petersen – Director of the Goethe-Institut Venezuela Learn about the inner workings of the Goethe-Institut and how their film programmes are organised and conducted. The discussion will also include information about how filmmakers can cooperate with the Goethe-Institut in South America and worldwide. 15:00 – HAU 1 | Foxbar C. Cay Wesnigk – Filmmaker & Chairman of the Onlinefilm AG C. Cay Wesnigk, filmmaker and CEO of the filmmaker-owned internet distribution company Onlinefilm AG which runs the European VOD portal will discuss with you the distribution possibilities the Web offers, the chances and the dangers for you as an independent filmmaker.

Attending but times to be confirmed:

Peter Buckingham – Head of Distribution & Exhibition at the UK Film Council Peter will be discussing the range of opportunities available to ­support the strategy of increasing the breadth and diversity of cinema-going across the UK, as well as assisting audience ­appreciation of UK films.


campus programme

saturday, feb 07 Ticketing & Talent Registration 9:00 – HAU 2 From 9:00am the Talent ticketing counter is open and ­Talents are invited to collect tickets for Campus events as well as ­Berlinale films. This is also where all queries related to Campus events and ­activities are answered. An overview of Campus projects, log­istics and event information are provided. Rise and Shine Breakfast 9:30 – HAU 2 We invite you to the informal welcome and get-together over breakfast. This is your chance to get to know fellow Talents and members of the Campus team, make your first friends, warm-up and get into the spirit and mood of the Campus. Taking Off 11:30 – HAU 2 This is an essential briefing on the services, overall programmes and hands-on-trainings of the Campus. Talents are introduced to Campus team members, informed about internet access, the particulars of the Campus database, as well as receiving information on Berlinale screenings. Moreover, you receive an introduction to the wide range of activities, events and panel discussions taking place during the Campus week, inclu­­d­ing the 2009 hands-on-trainings: the Volkswagen Score Competition,­ the Campus Studio, The Talent Press, the Doc & Script Station and the Talent Project Market. Germans at the Campus 13:00 – HAU 2 In cooperation with Medienboard Berlin-Brandenburg, FFA, German Films and Perspektive Deutsches Kino. This session is an opportunity for German Talents at the ­Campus to meet and get to know one another, and also for all Talents interested in acquainting themselves with the various


German film funding organisations, their respective initiatives, and their aims and objectives in promoting German cinema. Representatives of Medienboard Berlin-Brandenburg, German Federal Film Board ( FFA) , ­G erman Films and Perspektive ­Deutsches Kino will interact with Talents, providing them ­rele­vant ­information. Global Speed Matching 15:00 – HAU 2 Meet and greet with Janine Marmot. In cooperation with Skillset. Global Speed Matching may be the speediest event at the ­Berlinale Talent Campus but it opens the door for Talents to meet and achieve potential future cooperation. As a networking­ platform for young filmmakers from around the world, the Campus invites all Talents to kick-start this vital event at HAU 2. Led by Janine Marmot, Talents get to know each other in a succession of three-minute meetings before switching seats to encounter a new face, a good warm-up for efficient socialising­ over the coming days. This turbulent ­“global filmmakers’ village“ where you meet actors, directors, screen­writers, producers and music composers from different ­countries is a ride through which you enjoy a rich cultural tour. More focused and less frenetic speed matching sessions will ­continue every day at 12:30 at HAU 2 where you can meet ­potential work partners.­ This year’s speed matching sessions are as follows: Sunday 8: directors and producers meet ­everyone; Feb 9: directors meet producers and editors; Feb 10: directors meet writers; Feb 11: directors meet everyone else; Feb 12: general. Opening Ceremony and World Premiere of the Berlin Today Award Films 2009 17:00 – HAU 1 Brigitte Broch, Dieter Kosslick, Kirsten Niehuus, Max Richter and Daniela Thomas. Moderated by Jenni Zylka. Supported by Medienboard Berlin-Brandenburg. Dieter Kosslick, director of the Berlin International Film Festival,­ will officially open the Berlinale Talent Campus with his ­welcome address. Matthijs Wouter Knol, programme manager of the Berlinale Talent Campus, will also welcome guests and Talents in attendance, presenting the focus “Suddenly, It All Happened – The Turning Point in Close-Up”. The five short films competing for the Berlin ­Today Award 2009 will sub­ sequently have their World Premiere. For details on the ­Berlin Today Award see p.34-35.

campus programme

sunday, feb 08 Rise and Shine Breakfast 9:30 – HAU 2, Presented by Deutsche Welle. Ready, set, breakfast! Rise and shine to the aroma of fresh ­coffee, savoury and sweet delights. Today’s breakfast is hosted by Deutsche Welle and offers you a tasty start to the first day of the Campus. Meet Deutsche Welle representatives and catch up with co-Talents over a hot coffee and breakfast. Suddenly, It All Happened – Turning Points in Scriptwriting 11:00 – HAU 1 Anne Carey, Sir David Hare, Daniela Thomas. Moderated by Peter Cowie. Writing a novel screenplay is an adventurous journey, a process that begins with your imagination and ends with a story ­structure and script. What takes place in between embodies the art and craft of scriptwriting. This is the phase when you ­explore, clarify and focus your story, and figure out what’s really at stake in the film. The key turning points in a script draw people into the film, setting the entire story in motion or giving the plot a new critical direction. Acclaimed English playwright, screenwriter, theatre and film director, Sir David Hare wrote and ­directed the films Wetherby (1985) which bagged him the ­Golden Bear at the 1985 Berlinale, Paris by Night (1988) and Strapless (1989), amongst others. He is the scriptwriter of two Stephen Daldry films including The Reader (selected for the ­Berlinale 2009) for which he is nominated for an Academy Award. Daniela Thomas, acclaimed scriptwriter and director, she has worked with Walter Salles on a number of films including­ Foreign Land (1995) and most recently Linha de Passe (2008). The two writer/directors discuss with eminent independent film producer and co-founder of the ­production company This Is That, Anne Carey, the underlying dynamics of turning points in scriptwriting. Carey’s film portfolio­ comprises films such as The Savages and Thumbsucker (executive producer), which ­premiered at the 2005 Berlinale. Together the experts look at different ways in which turning points could be brought into a storyline and how to continue after the c­ limax of a story.

Berlinale Talent Campus #7

Looking at HDCAM 11:00 – HAU 3, Top Floor Wolf Bosse, Philip Gröning, Grischa Schaufuß. In cooperation with Arri, Band Pro and Kamera Ludwig. This workshop gives you a practical introduction to High ­Definition (HD) cameras, technology and controls for creative image making. Adopting a creative and technical approach, the session gives participants the opportunity to explore both technique and artistic possibilities of HD filmmaking. With High Definition cameras on hand, filmmakers can familiarise them­selves with HD format selection, choice of lens, lighting, audio capture, and many more relevant functions – what every filmmaker needs to know about the storytelling process. Dealing with Reality 14:00 – HAU 1 Hala Galal, Michèle Ohayon and Anders Ø ­ stergaard. Moderated by Matthijs Wouter Knol. Sifting the world through your camera and hopefully bringing out representations of reality, including emotional, physical and factual reality, requires exceptional filmmaking skills. An innate curiosity combined with the resolve to seek the reality beneath the surface is sometimes not sufficient when depicting­ capricious situations and events. Documentary filmmakers often shoot under hardship conditions and relying on unpredictable elements, they must put together a convincing ­argument in the form of a compelling narrative. As filmmaker Michèle Ohayon said in an interview on her documentary, Steal a Pencil for Me, “in my best scenarios, I wish that this will happen or that will happen, but I know that something entirely different­ may happen, too.“ For a non-fiction filmmaker, working in a visual medium means constantly translating “reality“ into good cinema. So what does a filmmaker do in a situation where the script becomes inadequate in the face of reality, which turns out to lead the shooting process and sweeps all the characters in a completely unexpected direction? Panellist Anders ­Østergaard narrates his experience while shooting Burma VJ – ­Reporting from a Closed Country, when real-life events meddled in ways that hindered him from treating his material as ­originally planned. It is equally challenging to make a film that presents no pre-packaged opinion on the status of Egyptian women ­today, as filmmaker, scriptwriter and producer Hala Galal has achieved in her film Women’s Chit Chat, which deals with ­generations of feminists in Egypt. These high-profile experts delve into the reality that documentary filmmakers deal with, discussing also how to go about making films under extreme circumstances, where the film moves beyond any sense of ­reality?


campus programme

sunday, feb 08 Kill Your Darlings 14:00 – HAU 2 Editing master class with Susan Korda. Editing is the one craft in the process of filmmaking that has the potential to mould, improve and even recreate a motion ­picture. The creative force of film reality, it can manipulate space, time, emotions, and emotional intensity and is limited only by ­individual instincts and creative ability. Susan Korda, editor, ­director and screenwriter imparts her mastery of the ­editing craft from an artistic point of view. Nominated for an Oscar for the editing of For All Mankind, she also edited the award-­winning film, Trembling Before G-d, recipient of the ­Teddy Award for Best Documentary at the Berlinale 2001. She is a teacher at the NYU Tisch School of Arts and a filmmaker in her own right, having made several award-winning experimental films including One of Us, which she presented at the Berlinale 2001. In her master class, she leads you through a selection of films where the visual transition in the editing room made all the difference. She displays how an editor can work to extract and weave together the best material from a daunting excess of footage, every decision shaping the tone and pace of the film. Tales from the Casting Couch 14:00 – HAU 3, Top Floor Leo Davis, Rie ­Hedegaard, Stephen Frears, Ole Christian Madsen. Moderated by Beatrice Kruger. In cooperation with European Film Promotion, Berlinale Competition. The delicate process of casting is the defining moment for a filmmaker and his or her creative vision for the film. Deciding which actors will embody the story’s characters, which faces will move audiences and make them laugh, cry, think, shake with fear and fall in love is a tough one. A talented casting ­director puts people into roles that make us want to emulate them when watching their on-screen performance. The often close ­collaboration between film directors and casting ­directors is the focus of this panel, giving an in-depth look at the complex choices that need to be made, looking beyond faces and


­ hysique, and fascinating examples of how dreams and wishes p were realised by clever casting. From the established film ­directors and their casting agents – Stephen Frears and Leo Davis who worked together on The Queen, Mrs. Henderson Presents, Dirty Pretty Things and The Deal, and Ole Christian Madsen and Rie Hedegaard who collaborated on Flames and ­Citrons, we hear captivating tales from the casting couch. Excursion to the European Film Market 16:00 – Meeting Point: at the entrance to HAU 1, always 15 minutes prior to the start. Sydney Levine, Fleur Knopperts. In cooperation with European Film Market. The business centre of the Berlinale Film Festival, the European Film Market (EFM), located in the magnificent renaissance hall of the Martin-Gropius-Bau and at the EFM Marriott Offices ­radiates a highly charged atmosphere. One of the most ­important annual events for the film industry, this is where ­international producers, distributors, buyers and sales agents converge to discover quality films. This year over 400 exhibitors from 55 countries and over 690 films will be presented to ­professional visitors. Guided by Fleur Knopperts (to “Meet the Doc“ on Monday, 13:00) and Sydney Levine (on all other dates), Talents­will be introduced to the format of the EFM. Mon 09 at 13:00 & 16:00 | Tue 10 at 10:00 | Wed 11 at 10:00 In the Limelight: Bertrand Tavernier 17:00 – HAU 1 Bertrand Tavernier. Moderated by Peter Cowie. One of France‘s first rank directors, screenwriters, and producers, Bertrand Tavernier’s association with the world of cinema has been long and varied. He evolved from an ardent film enthusiast and critic, press agent to ultimately become a prominent and versatile director in his own right. Regardless of the subjects they explore, Tavernier lends his films great introspection and humanity, something that has established him as one of the French cinema's more progressive and compassionate figures. His astounding range of films include his first The Clockmaker (1974, Special Jury Prize at the Berlinale), Life and Nothing But (1989) which won him the BAFTA for best film in a language other than English and a total of four César Awards, It All Starts Today (1999), which earned him awards at the Berlinale including the Jury’s Special Mention Prize, and his most recent In the Electric Mist which competes for the Golden Bear in the 2009 Berlinale. “My job is to dream and invent, and out of this produce something that will change the world“, he said in an interview at the 1999 Sydney Film Festival. He will talk about his initial involvement in the film industry and his socially politicised viewpoint reflected in the diverse themes of his films – familial relationships, World War I and contemporary social ills.

campus programme

sunday, feb 08 Brussels in Berlin: Turning Your Film into an Award Winner 17:00 – HAU 2 Jacques-Henri Bronckart, Christer Nilson, ­Arnaud Pasquali. Moderated by Jürgen Seidler. In cooperation with MEDIA. How to succeed as a young producer? In this panel, established European film producers will discuss their experiences and how they successfully produced award-winning films and ­developed their company. They will address the challenges and possibilities­ for co-production within Europe in general, the benefits of training, and the advantages of international networks. They will also tackle development issues and how the MEDIA programme has supported their development strategy. The MEDIA Programme of the European Union is one of the most important and influential support initiatives for the European film industry, aiming at increasing the circulation of work and talent in Europe and in the world. Providing financial support for the development and distribution of audiovisual work as well as enhancing the networking possibilities and training pro­grammes of professionals, it‘s one of the Berlinale Talent Campus‘ main partners.

­ roduction building-blocks designed for efficient and effective p production, in order to mix digital media with classic film ­values. Dine & Shine – Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award Films 2009 19:30 – ewerk. Emily Atef, Andreas Dresen, Dieter Kosslick, Kirsten Niehuus, Dr. Frank-Walter Steinmeier, Wim Wenders. Moderated by Adrian Kennedy. Supported by Medienboard Berlin-Brandenburg, Robert Bosch Stiftung. A formal sit-down dinner with a whole lot more on the menu than food! A special highlight will be the announcement of the winner of this year’s Berlin Today Award by the Federal Foreign Minister, Dr. Frank-Walter Steinmeier, Berlinale festival director Dieter Kosslick, the managing director of the Medienboard, Kirsten Niehuus and the Berlin Today Award jury members Wim Wenders, Emily Atef and Andreas Dresen. What’s more, each table will seat a prominent filmmaking guest of the ­Berlinale 2009, and as each new course is served, a new person of fame will move to your table to spark the conversation. This could be your chance for an in-depth conversation with a film personality­ whose work has inspired and directed your own. Guten Appetit!

Working through Digital Workflows 17:00 – HAU 3, Top Floor Claudia Meglin, Mark Read. In cooperation with Arri, Avid Technology, Band Pro, Barco, Filmlight, Kamera Ludwig, P & S Technik and Pictorion das werk. Visual Effects and Workflow specialists: Mark Read and Claudia Meglin introduce collaborative digital workflows from camera to distribution. Both tutors specialise in post-production and digital workflow design and have worked together on a number of international productions. The workshop includes a short overview of formats and current technology, designed to reinforce a solid foundation of understanding across various production techniques including digital camera, visual effects and digital intermediate. The workshop gives insight and inspiration­ on how to incorporate the entire production process­ under a universal production workflow methodology, with digital­

Berlinale Talent Campus #7

Dine & Shine: Rendezvous with Berlinale guests


campus programme

monday, feb 09 Rise and Shine Breakfast 9:30 – HAU 2 Presented by Avid Technology.

Photo: Melinda Sue Gordon, SMPSP

Today’s Rise and Shine Breakfast is hosted by Avid Technology and offers you a tasty start to a promising new Campus day. Meet Avid representatives and catch up with fellow Talents over a hot coffee, savoury and sweet delights.

Brigitte Broch did the production design for the Berlinale 2009 Competition film The Reader.

Brigitte Broch: The Language of Spaces and Things 11:00 – HAU 1 Master class set design with Brigitte Broch. Moderated by Ben Gibson. The job of set designers is to match their visual decisions ­perfectly with the themes and tone of each film they work on, and exemplary in this field is Brigitte Broch. Art director, set decorator and production designer, she entered the Mexican film industry as a producer of short documentaries in the late 1970s and early 1980s. She won the Academy Award for her work as set decorator of Baz Luhrmann’s Moulin Rouge!, shared with art ­director Catherine Martin. The duo had also been jointly­ ­nominated for an Oscar in the same capacities for their work on William Shakespeare’s Romeo + Juliet. Broch has worked


on four Alejandro González Iñárritu films – Babel, 21 Grams, Amores ­Perros for which she bagged a Silver Ariel Award, and the short film Powder Keg. Born in Germany, she emigrated to Mexico in 1968 where she worked in over a dozen Mexican movies in­­­­cluding Guita Schyfter‘s Los Caminos de Graham Greene, ­Guillermo del Toro‘s critically acclaimed Cronos and ­Alfonso Cuáron‘s debut feature Sólo con tu pareja (Love in the Time of Hysteria). Among her other credits as production ­designer are Antonio Serrano‘s Sexo, pudor y lágrimas (for which she also won a Silver Ariel Award), Patricia Cardoso‘s Real ­Women Have Curves, Stephen Daldry’s The Reader and Pete Travis’ Vantage Point. With a focus on how to highlight decisive narrative film moments in production design, she explores what it means to understand the fictional setting of the film and how to achieve a creative and specific design sensibility. Embodying the Character 11:00 – HAU 3, Top Floor Acting master class with Jean-­Louis Rodrigue. Voice, energy, breath and the ability to embody their character are the fundamental tools that actors need, and these are also what they most often lack. Jean-Louis Rodrigue’s unique ­approach to acting coaching and to improving levels of ­performance in film and theatre has brought him international recognition. Born in Morocco and educated in Italy and France, he is the combination of an acting coach, choreographer and physical therapist. His work as a movement specialist can be seen on a number of films such as W., Bee Season, and Seabiscuit to name just a few. He has worked with a number of prominent actors such as Juliette Binoche, Hilary Swank, Keanu Reeves, Kirsten Dunst and Jonathan Pryce. He is also the foremost teacher of the Alexander Technnique as applied to stage and film acting. The Alexander Technique is a method of self-­dis­ covery which explores the basic impulses of human movement, how we interfere with our own coordination, and it offers a means to change. As Larry Moss, US American acting coach puts it: “One of the most important things actors can possess is a relationship to their own body and breath. Jean-Louis works with actors in such a way that they immediately understand from deep within themselves their true impulses.“ Through mental and physical processes, the master class will allow ­actors and film directors to expand their level of awareness of themselves, in stillness and in movement, focus on connecting the body and breath to performance and creating characters. ­Helping actors gain access to themselves and teaching them to transform into characters requires an atmosphere free of fear. Jean-Louis promotes an environment that is both playful and daring. As Rodrigue emphasises, “when performers make the physical component of their work as important as the intellectual“­, he said, “they become far more convincing.“

campus programme

monday, feb 09 Excursion to Theaterkunst‘s huge collection of costumes

Excursion to the Costume House Theaterkunst 13:15 – Meeting Point: 13:00 at the entrance to HAU 1. In cooperation with Theaterkunst. Having fitted the cast of some of the most outstanding films of the 1920s such as The Blue Angel and Metropolis, Germany’s largest costume house for film, television, advertising and ­theatre, Theaterkunst is just as active today with films like The Baader-Meinhof Complex, The Reader and Inglorious Basterds costumed by their craftsmen. With a high quality collection covering all periods, styles and trends, it supplies both national and international productions of all sizes. Theaterkunst not only rents costumes – but it also designs a very personal and individual collection for each and every client according to their specifications. In the 100 years of its existence, it has brought together a collection of more than ten million items stored in three branches and the headquarters in Berlin. This general tour is open to ten Talents. Fatal Attractions – On Chance and Accidents in Cinema 14:00 – HAU 1 Peace Anyiam-Osigwe, Arta Dobroshi and Raphaël Nadjari. Moderated by Dorothee Wenner. In cooperation with Berlinale Forum and Berlinale Shorts. Chance, destiny, fate, karma or kismet: call it what you like, but each represents that single minute thing that we least control but desperately wish for when reality turns sour. Films work on the psychological level, the plot level, the political level – and the mythic level as well. Fate is a more or less accepted element in Eastern storytelling – but the good old days of deus ex machina expeditiously solving delicate situations are gone. And it isn’t just stories originating in the east; most stories of cultures are inevitably linked to fate. The nature of fate is that no matter how you try to avoid it, it tracks you down. Films tell stories about people coming together unexpectedly, exploring their full potential, the journey of discovering a dream job or changing careers – thus coping with the hand fate has dealt them and changing protagonists‘ lives dramatically. At the

Berlinale Talent Campus #7

same time, fate has also changed the course of life and careers of those participating in the films. And which filmmaker doesn‘t dream of recognition or a break-through enabling him or her to make films more easily in the future? Dorothee Wenner leads high profile experts into a discussion on how fate intervenes in film. Watching the Titles: How to Start a Film? 14:00 – HAU 2 Karin Fong, Darius Ghanai. Moderated by Matthijs Wouter Knol. Alfred Hitchcock started his career as a film credits designer and knew since how perfect opening titles could influence ­audiences from the very beginning. Think of Psycho and ­Vertigo. Film and graphic design have always unquestionably been connected to each other, originating from a soundless era when audiences simply had to understand what they were looking at. Since then, graphic design has evolved with the quick development of the film industry, attracting the attention­ of many artists, not just “those who didn't know how to paint or write very well“ (according to Buñuel), but a broad range of truly ­inventive and creative title designers. Creative director and founding member of Imaginary Forces, an entertainment and design company based in Hollywood and New York, Karin Fong has directed and designed a wide range of groundbreaking main title sequences for films such as Daredevil, The Break-Up, Ray and Pink Panther 2. Graphic designer­ Darius Ghanai has worked on an impressive array of films including Palermo Shooting, Perfume: The Story of a ­Murderer, Don’t Come Knocking and Goodbye, Lenin! In conversation with Matthijs Wouter Knol, they discuss the integral role a title sequence plays in the foundation of a movie, and how opening titles can greatly contribute to the narration of a story. They take a look at the kind of titles that package a film cleverly such that they prepare the audience for what is to follow but without undue distraction. Using examples, they ­illustrate how graphic design can play with the audience’s ­expectations, ­becoming an exclusive tool for marketing.


campus programme

monday, feb 09

2008 Berlinale Panorama. In the same year, she founded, cocurated and produced a film festival in her hometown Nairn, Scotland: The Ballerina Ballroom Cinema of Dreams. Jury ­president of the 59th Berlin International Film Festival, Tilda Swinton reflects on the defining moments in her illustrious ­career, her extraordinary work in art and experimental projects and her effortless switching between large Hollywood ­pro­ductions­and European art house films.

The Indie Filmmakers Guide to the Internet – Tales from the Online Frontier 14:00 – HAU 3, Top Floor Liz Rosenthal. In cooperation with Skillset. Filmmakers are harnessing the Internet and new digital tools to market, distribute and finance their work in alternative new ways to the traditional theatrical led model. Learn how feature, documentary and short filmmakers are reaching global audiences online. Presenting a variety of case studies, clips and websites, this session with Liz Rosenthal, director of Power to the Pixel, producer and digital media expert, will reveal how filmmakers can build loyal audiences that they can take with them to finance their future projects. In the Limelight: Tilda Swinton 17:00 – HAU 1 Tilda Swinton. Moderated by Peter Cowie. Her film debut in Caravaggio in 1986 was the first of seven ­critically acclaimed collaborations with director Derek Jarman over a period of ten years. The fiercely talented Scottish actress, Tilda Swinton began her career as a leading lady of European art cinema, working also with directors like John Maybury and Sally Potter and earning recognition for her dazzling and ­complex lead performance in the Academy Award-nominated Orlando (1992). Hollywood too picked up on her commanding on-screen presence and since 1997, she has successfully moved between the deep-left art house and quality Hollywood blockbusters. The thriller The Deep End (2001) earned her a number of critic‘s awards and her first Golden Globe nomination, her 2008 Oscar decorated performance in the legal thriller Michael Clayton and her iconic White Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) and Prince Caspian (2008), as well as the recent Burn After Reading are only a few examples of her stunning performances which have cemented her place as one of cinema‘s most outstanding women. In 2008, Swinton wrote and co-produced a remarkable film portrait of Jarman – Derek – directed by Isaac Julien and presented at the


Please Say Something by David OReilly

Snow Meets OReilly: Please Say Something 17:00 – HAU 2 David OReilly and Michael Snow. Moderated by Maike Mia Höhne and Stefanie Schulte Strathaus. In cooperation with Berlinale ­Shorts and Berlinale Forum e­ xpanded. Animator and illustrator David OReilly’s work stands out in many ways, but on first view, it would have to be the raw, pixellated­ style of graphics that burst and disintegrate on the screen, and his disregard for the traditional conventions of ­typical computer animated films. Please Say Something, a 25-part animated series with its high-contrast colours, geometrically­ severe and ambient touches snub the trend towards slick Pixar cuteness; it features in this year’s Berlinale Shorts programme.­ On this panel, OReilly interacts with legendary Canadian artist Michael Snow, considered one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan ­Brakhage, USA). Filmmaker, musician, visual artist, composer, writer and sculptor, he developed in the 1960s a reputation for being an important innovator in the fields of pop and minimalist­ art, with his “Walking Women” series, and with his film work. His latest film Puccini Conservato highlights the 2009 Berlinale ­Forum expanded. The two artists will discuss the origins of ­animation and where this optical illusion of motion is headed. Snow’s A to Z (silent, 1956), Corpus Callosum (2002) and OReilly’s Please Say Something will be presented during the event. Followed by the Short Film Reception.

campus programme

monday, feb 09 Crash Course Perfect Pitching 17:00 – HAU 3, Top Floor Jan Miller.

Slaves/Slavar at the “Talent Short Film Night“

Jan Miller is a pitching tutor whose workshops are world-­ renowned. She is just as much in demand in her home country in Canada, where she has conducted workshops at the Toronto International Film Festival, Hot Docs, the Banff Television ­Festi­val, the Atlantic Film Festival and for almost every provincial­ film agency across the country, as she is internationally, having presented her “Pitcher Perfect” workshops from Medi-Mart in Spain, to Sithengi in South Africa, from Australia’s AIDC to GZ Doc in China. She offers pitch training to producers, directors and writers pursuing all formats in the film and television ­industry. In her crash course on pitching, intended for producers­ and directors, she coaches participants on improving their pitching technique and learning the art of putting forward film projects to commissioning editors. Short Film Reception 18:30 – HAU 2 In cooperation with Berlinale Shorts and Berlinale Forum ­expanded. A casual meet-and-greet after the short film panel will provide an opportunity for filmmaking Talents to liaise with festival ­delegates, distributors, and buyers of short films. Through this network, filmmakers can make contacts for the exhibition and distribution of their films, as well as familiarise themselves with the market of alternative venues. In turn, short film representatives have the chance to promote their distribution companies to a pool of emerging short film professionals.

Berlinale Talent Campus #7

Part of “Talent Short Film Night“: Dish by Brian Harris Krinsky

Talent Short Film Night 20:00 – HAU 1 Moderated by David Thompson. In cooperation with Berlinale S­ horts and Berlinale Generation. The event offers a selection of Berlinale short films, including some directed by former Talents. David Thompson, former Head of BBC Films and now executive producer for UK-based Origin Pictures, will moderate the programme and open the floor to discussion. Enjoy the following short films: Aphrodite‘s Farm (15 min.) by Adam Strange from New Zealand, The Suffering of Mr. Karpf. The Birthday (10 min.) by Lola Randl from Germany, Oh, My God! (9 min.) by Anne Sewitsky from Norway, Dish (15 min.) by Brian Harris Krinsky from USA, Good Will/Buenas Intenciones (18 min.) by Ivan Lomelí from Mexico and Slaves/Slavar (15 min.) by ­David Aronowitsch, Hanna Heilborn from Sweden/Norway/ Denmark.


campus programme

tuesday, feb 10 Rise and Shine Breakfast 9:30 – HAU 2 Presented by Robert Bosch Stiftung and Sarajevo Film Festival. The Robert Bosch Stiftung and the Sarajevo Film Festival host today’s Rise and Shine Breakfast. It offers you a tasty start to a promising new Campus day. Meet representatives­ of today’s organisations and catch up with fellow Talents over a hot ­coffee, savoury and sweet delights. Dreaming Reality 11:00 – HAU 1 Emily Atef, Andreas Dresen, Wim Wenders. Moderated by Jörg Taszman. When it comes to portraying life upfront, with all its dreams, disappointments, daily struggles and sudden surprises until the very last moment, German cinema features diverse filmmakers who have their own strong personal styles specific to their films. An influential figure in New German Cinema in the 1970s, legendary filmmaker Wim Wenders’ cache of award-­ winning and critically acclaimed films include The American Friend (1978), Paris, Texas (1984), Wings of Desire (1987), Buena Vista Social Club (1999) and Don’t Come Knocking (2005). His new film, ­Palermo Shooting, enjoyed its world premiere in the official competition of the Festival de Cannes 2008. One of the most impressive directors of contemporary German cinema, Andreas Dresen has been a writer and director for film and television since the early 1990s. He gained international renown in 1998 for Night Shapes, which won, amongst others, the Berlinale ­Silver Bear. His other award-winning films include Grill Point (2002 Berlinale Silver Bear) and Summer in Berlin (2005) and the recent feature Cloud 9, which won the Heart Throb Jury Prize at the Festival de Cannes 2008. French-Iranian filmmaker born in Berlin, Emily Atef’s first ­feature length film Molly’s Way (2005) received the Jury’s Special Award


at the Mar del Plata International­Film Festival in Argen­tina.­Her most recent ­feature, The Stranger in Me, gained critical acclaim and was screened in the “International Critic’s Week“ of the ­Festival de Cannes 2008. She is currently in pre-production for her third film Kill Me. ­Representing three different generations of German cinema, these exemplary filmmakers join forces to throw light on how cinema is a splendid way of capturing dreams, allowing visions to become an integral part of life and making small dreams and great expectations come true on the big screen. It‘s the Mission that Matters 11:00 – HAU 3, Top Floor Maite García Lechner, Bjorn Maes and Nicolai Niemann. Moderated by Don Edkins. A number of international organisations aim to complement, enhance, entertain and at the same time promote literacy, ­gender equity, human rights, environmental responsibility, global health – in short, sustainable human development ­issues through the promotion and funding of creative art and cultural projects. Focusing a part of their resources on film projects that work towards these goals, they open up an alternative ­financing option for filmmakers. The session examines how filmmakers and these alternative financiers can expand their influence in society while meeting common goals. Representatives of the European Cultural Foundation, Africalia and GreenMe will ­pre­sent their respective organisations and its latest work with film(makers), explaining what they look for in terms of creative project proposals. This interactive session encourages ­attend­­ing filmmakers to partake in the discussion, get concrete ­infor­mation­ on existing initiatives, funding possibilities and procedures such that creative projects do eventually result. Berlin Today Award 2010. Producers‘ Meeting 11:00 – HAU 3, Front House. On invitation only. Supported by Medienboard Berlin-Brandenburg. For the Berlin Today Award 2010, the Talent Short Film ­Competition, five short films are to be produced under the theme “Straight to Cinema”, to be premiered at the Campus Opening in 2010. The Producers’ Meeting is a marriage market of shorts, where 15 pre-selected Talents meet 10 producers keen on pro­ducing one of the Berlin Today Award shorts. Opening with a round of brief introductions and project descriptions, Talents are offered the opportunity to present their projects in one-to-one meetings. After a day of scouting, pitching, debating and profiling, both Talents and producers will vote with whom they wish to produce their short film. From that wish list, the ­Berlinale Talent Campus will select the five final Talent / producer teams at the end of Februar/ beginning of March.

campus programme

Art Field Trip for Talents 12:00 – Meeting Point: Arsenal Bar (Filmhaus Basement), limited bus tickets Bettina Allamoda. In cooperation with Berlinale Forum expanded. Artists from a broad range of disciplines are experimenting with the medium of film more than ever before. Forum expan­ ded­ is exploring and documenting this phenomenon in “The Physicality of Film and the Skin of the Musicians“, continuing to bridge the gap between classical film festival formats and the spatial and visual practices of the art and gallery world. The ­artistic practices on view range from drawings (Stephen Andrews in the Wilde Gallery) to architecture films (Heinz Emigholz, Paulette Phillips) to object installation (Pavel Büchler in the Tanya Leighton Gallery) and beyond. The Berlinale Talent Campus and Forum expanded offer Talents an opportunity to take a new look at the characteristics of conventional formats like film, video, photography and television today with a view to future collaborative works crossing the art and film divide. ­Bettina Allamoda will take you on an exclusive Berlin sight-seeing tour that reflects the archaeology of the city in between.

Photo: David von Becker

tuesday, feb 10 Sven Daniel Vinge Madsen pitching a project at the 2008 Producers‘ Meeting

Crystal Skull. Some of Kamiński’s most evocative and expressionistic work was for The Diving Bell and the Butterfly which won him, amongst others, an award at the 60th annual Cannes Film ­Festival. The film revolves around the jet-setting editor of French Elle, who at 43 suffered a massive stroke. The only means of communication left to him is blinking his eyes. Kamiński‘s camera becomes the main character’s blinking eye, presenting audiences with what the man‘s life and impressions were in his paralysed state. “The camera became, as you know, almost an actor. When the actors are performing, they are performing to the camera and I happen to be reflecting what the actor […] is feeling and what he is seeing”, he said about his visual artistry in the film. Allowing Talents a chance to peer into his camera lens, Kamiński, who was a jury member at the 2006 Berlin International Film Festival, will elaborate on his unconventional visual approach and his use of experimental techniques that are rarely­ seen in narrative film, citing examples from his vast portfolio of notable films.

Janusz Kamiński: Anatomy of the Shot 14:00 – HAU 1 Master class cinematography with Janusz ­Kamiński. Moderated by Peter Cowie. In cooperation with Robert Bosch Stiftung. One of the most highly regarded cinematographers today, he is adept at using experimental techniques to create highly ­specialised concepts in his photography. The haunting and brilli­ant black-and-white images of Schindler’s List are the ­art­work of Polish-born cinematographer, Janusz Kamiński, and garnered him his first Oscar. Subsequently, he has shot a ­num­ber of Steven Spielberg films. Five years after Schindler’s List, he picked up his second Oscar for bringing the invasion of Normandy to life in Saving Private Ryan. And not long ago, the two legends worked on Indiana Jones and the Kingdom of the

Berlinale Talent Campus #7

Director of Photography Janusz Kamiński talking to Talents in 2006


campus programme

tuesday, feb 10 Filmmakers Against Racism 14:00 – HAU 2 Rehad Desai, Riaan Hendricks, Omelga ­Mthiyane, Andy Spitz, Danny Turken and Adze Ugah. Moderated by Dorothee Wenner. In cooperation with Ber­­li­nale Forum, Goethe-Institut and Heinrich Böll Foundation. The xenophobic violence that erupted in South Africa in May last year was horrifying, saddening and angering in different turns. These events were the impetus for the country’s leading independent filmmakers to come together and form a united front against violence and xenophobia. The collective Filmmakers­ Against Racism (FAR) launched on 23rd May 2008, has ­produced a series of documentary films and public service ­announcements which document the violence and their ­consequences, offering the most insightful perspective on ­xenophobia. Rehad Desai, founding member of FAR, said in an interview that he did not believe that the crisis had been dealt with properly. “We can not address the issues of xenophobia until we have addressed the core problems. I hope the documentary series keeps the issue alive, because we need to start asking the right questions if we are to find a lasting ­solution.” Far more than television or any other media, films have a longer life and larger relevance in their documentation of events. FAR’s attempt is thus not only to provide a lens on xenophobia but also to lead the way using film as a tool of intervention and ­affecting change. It underscores their wish to make a clear statement of their solidarity, their understanding and ­accep­tance of different cultures through the medium of film. Panellists, the socially conscious and activist FAR filmmakers, will reflect on how filmmakers can behave in situations of ­extreme duress. How one decides what is the right thing to do? What moral obligations do filmmakers have in a country in transition? They will throw light on the impervious circumstances that brought them together for the first time to act with immediacy, produce and distribute films within a relati­ vely­ short span of time. In a sense, the horrific events and the en­suing collective became a singular occasion for black ­soli­darity.­Dorothee Wenner will enquire into the future of their


endeavour and how they plan to proceed and sustain its ­actions once the acuteness of the event is past. The Indie Filmmakers Guide to the Internet – New Online Tools and Services 14:00 – HAU 3, Top Floor Brian Newman, Slava Rubin, M dot Strange. Moderated by Liz Rosenthal. In cooperation with Skillset. Traditionally independent filmmakers have been dependent on a long line of gatekeepers that stand between themselves and an audience for their films; financiers, festivals, sales agents, distributors, exhibitors, the press. Today, the Internet enables filmmakers to reach their audiences directly and therefore ­offers potential for a new business model independent of ­traditional gatekeepers. In this session leading online pioneers and experts will demonstrate a range of new tools available to filmmakers to help them build audiences, distribute their work and even collaborate with and finance their films.

Addresses the issues of xenophobia in South Africa: the Filmmakers Against ­Racism collective

Provoking Cinema: Films That Marked Me Forever 17:00 – HAU 1 Patricio Guzmán and Jasmila Žbanić. Moderated by Vincenzo Bugno. In cooperation with Robert Bosch Stiftung. Every once in a while, we come across a significant historical and socio-political film that influences our historical consciousness and shapes our perceptions of past events. Many people learn what they know of history – and this includes the political,­ economic and ideological situation of that time – through watching such films. It is like opening a ­historical document that enacts itself right before your eyes. The discussion among filmmakers dealing with events that might rather be forgotten

campus programme

tuesday, feb 10 is an effect interesting in itself. For example, it was Bosnian ­director, Jasmila Žbanić’s Grbavica – winner of the 2006 Berlinale Golden Bear for her portrayal of the aftermath of the ­Balkan war – that gave impetus to a campaign forcing the ­government to finally recognise victims of ethnic rape as war victims. For the most part, people preferred not to think that these women existed. At the same time, when cinema displays fixation for a specific topic, it is clearly responding to the sociopolitical and cultural context in which it finds itself. Thus, views portrayed in movies not only reflect the influence of social surroundings, they also draw on the audiences’ ambivalences. As outstanding Chilean documentary filmmaker Patricio Guzmán emphasised after his film The Pinochet Case: “Memory matters. The historical memory of a nation shapes its expectations. It may be terribly painful to speak of terrors and tragedies of the past. But the truth inspires hope.” Over the years, Guzmán has made a number of political documentaries such as Salvador ­Allende, Obstinate Memory and The Battle of Chile that mark the turning point in people’s ­contemplation of historical events. Based on these eloquent and daring explorations of revolution and repression, the ­discussion will focus on how films shape and change audience perception of times gone by. Two Producers Sharing Their Secrets 17:00 – HAU 2 Mark Herbert and Sandy Lieberson. In cooperation with Skillset. Balancing the business side of movies with the creative side is no mean feat. From the outset, the filmmaking process involves endless meetings, tight schedules, strict budgets, deadlines and innumerable revisions. How do producers juggle all these responsibilities and handle challenges such as creative control? Sandy Lieberson, former president of production at Twentieth Century Fox, converses with producer Mark Herbert, joint ­managing director of Warp Films and low budget digital studio – Warp X, exploring the gambles of the film business and the balance between art and money. Using his own productions as examples, he will discuss how it is possible to develop a film

Berlinale Talent Campus #7

project, raise funds for production, find locations and crew, cast actors and get permits and music rights. He will examine the ­studio system versus the independent producer and what ­lessons filmmakers could learn from it. Recipient of the British Film Talent Dunhill award at the London Film Festival in 2006 – an award that recognizes the achievements of new and emerging British writers, directors and producers – Mark Herbert has produced the award-winning This is England and Dead Man‘s Shoes, both Shane Meadows films, the short film Dog Altogether by Paddy Considine which he executive produced and My Wrongs by Chris Morris, winner of 2003 BAFTA Film Award in the short film category.

Producer Sandy Lieberson among Talents at the 2008 Campus

Remember Me? The Art of Following Up 17:00 – HAU 3, Top Floor Jean-Baptiste Babin, Riina Sildos, Peter Wetherell. Moderated by Ido Abram. “Send me the next draft of your script“ is something often heard when saying goodbye after a market meeting, but getting back to industry moguls and eager producers or financiers after they initially showed interest is easier said than done. Meeting many people during a few festival days, recognising everybody and remembering who‘s working on which project, is an art in ­itself. How to stay in touch successfully is the focus of this panel‘s experts will focus on. What are the best ways to ­follow up after that first meeting? Is there a right moment? Who is the right person to contact in a company? And what will these people really want from you? Is the script enough? What else may help your project stand out from the crowd? And last but not least: how do you develop a personal style in following up? Experienced producers and market professionals will talk about the practical do's and don'ts and discuss how following up the right way is a skill which both filmmakers and financiers can benefit from.


campus programme

wednesday, feb 11 Rise and Shine Breakfast 9:30 – HAU 2 Today’s Rise and Shine Breakfast offers you a tasty start to a promising new ­Campus day. Catch up with the Campus team and fellow Talents over a hot coffee, savoury and sweet ­delights. Volkswagen Score Competition: Excursion to the German Film Orchestra Babelsberg and HFF “Konrad Wolf” 10:00 – Meeting Point: 9:45 at the entrance to HAU 1. In cooperation with the German Film Orchestra Babelsberg, HFF “Konrad Wolf" and Volkswagen. The excursion to Berlin’s film music world, exclusively for sound designers and music composers, takes you to the ­German Film Orchestra Babelsberg, the only professional orchestra for film music in Germany, located on the premises of ­Studio ­Babelsberg where such films as The Blue Angel, Murderers Among Us and ­The Lifes of Others were produced. The tour proceeds to the oldest and largest of the five media academies in ­Germany, the ­University of Film and Television (HFF) “Konrad Wolf“. The HFF is an artistic media academy with training concentrations in film and television and is unique in its combination of artistic and scholarly departments, where theory and practice go hand in hand. Renowned sound mixer and vice president of HFF “Konrad Wolf”, Martin Steyer, will complement the tour with inputs on the working of artists and the studios. The tour will come to a close with a Q&A session with Volkswagen Score Competition mentor, Max Richter.


Imagining Istanbul 11:00 – HAU 1 Reha Erdem, Lloyd Phillips and Yeşim Ustaoglu. Moderated by Martina Priessner. In cooperation with Alfred Herrhausen Society, Berlinale Competition and Berlinale Forum. As the natural connecting point between the Orient and the Occident and situated at the easternmost point of the West and westernmost point of the East, Istanbul has inspired filmmakers for years. It is a city in which “the stones and earth are made of gold“ as many immigrants say when referring to the site of their projected hopes. Related directly to the myth and likewise the reality of this Turkish metropolis compelling stories have been told about cultural diversity, change of perspective, and of course love stories of 1001 nights. In an era where tensions ­between the East and the West, Islamic tradition and contemporary influences have intensified and where the main focus has gradually shifted from love stories to terrorist threats – a question pushes forth: Is Istanbul still a place where the East meets the West? How do filmmakers create and use the image of the city? How does Istanbul brand itself in times of political tension? A couple of recent films show Istanbul as a modern city, strongly­ linked to traditions. These films are as far away as possible from tourist postcard movies, the filmmaker’s­ passion for the city and its population is clearly ­evident. The opening film of the Berlinale 2009, Tom Tykwer‘s The International, partly shot in Istanbul, is produced by Oscar-winning producer and photo­ grapher, Philip Lloyd. His unique series of photographs de­ picting­the original locations of the film and the events behind the camera give an enthralling perspective to the process of filmmaking, as well as to the city of Istanbul. Filmmakers and artists coming from and working in one of the most alluring cities in the world tell its tales – about what‘s going on and how they see the future.

Doc Station: Reality‘s First Appearance 11:00 – HAU 3, Top Floor Hans Robert Eisenhauer. Moderated by Sirkka Möller. Turning an idea based on reality into a powerful documentary that makes a visual argument can be a lot of work. A popular misconception though is that documentary films happen just like that, once the director starts shooting. This may be true in a few cases, but most great documentaries started with a ­tremendous amount of research, careful planning, structuring and a lot of writing. Talents of the Doc Station present their documentary treatments and discuss them on stage with Hans Robert Eisenhauer, head of Thema for ZDF/ARTE. This session provides a unique insight into the development of documentary films and an encounter with some of the most exciting projects from around the world.

The Indie Filmmakers Guide to the Internet – Adventures in Independence: Filmmakers Case Studies 14:00 – HAU 2 M dot Strange, Timo Vuorensola.­ Moderated by Liz Rosenthal. In cooperation with Skillset. Trail-blazing filmmakers present detailed case studies of their online distribution strategies demonstrating how they use the Internet to connect directly with audiences to promote, sell, collaborate and finance their work. Hear in this session how to build a dynamic web presence and ways to retain a loyal ­fanbase. As audience behaviour evolves what is the potential for two-way filmmaking conversations between creators and audiences?

Switching Roles: Multi-Talents in Film 14:00 – HAU 1 Julie Delpy, Christophe Honoré, Til Schweiger. Moderated by Ben Gibson. In cooperation with Berlinale Panorama. The accomplished experts on this panel, their versatility matched only by their ambition, who shifted from one stream of filmmaking to another, narrate first hand experiences and the trying times that bridging the gap between two professions­ brings. The panel serves to investigate the difficulties they face taking this step, their expectations and the pressures involved in proving their capability vis-à-vis their new job. For most of them, it seems a natural progression to move on to writing or directing in contrast to the general public‘s tendency to pin people down to just one profession. You will hear from actor turned directors, Julie Delpy, awardwinning actress who co-wrote the scripts of Before Sunrise and Before Sunset and did triple duty as writer, director and star of the romantic comedy 2 Days in Paris; Christoph Honoré, who scripted and directed 17 Times Cécile Cassard, Les Chansons D’Amour and Ma Mère; and actor Til Schweiger, who juggled multiple jobs including direction and production in the making of, amongst others, Barfuss and Keinohrhasen. These multi-­ talented professionals will discuss life behind – rather than in front of the camera, the hurdles they encountered and how they managed to keep it all together on and off set, as well as the (im)possibility of getting work in the original profession again.

Berlinale Talent Campus #7

Watch the making of a score for the Volkswagen Score Competition at the excursion to the HFF “Konrad Wolf“

Legal Weapons 14:00 – HAU 3, Top Floor Mareile Büscher and John Sloss.­ In cooperation with Hogan & Hartson Raue LLP. The legal aspects of filmmaking can seem daunting to any filmmaker, but they are unavoidable, and more importantly critical in protecting your film, idea, script and music, as well as in knowing what to do when someone infringes on your intellectual property. Legal counsel for Hogan & Hartson Raue LLP, Mareile Büscher, converses with John Sloss about legal issues to keep in mind when working in film production or distribution, when ­developing a script or asking an agent to represent you or when dealing with fair use of archive footage. John Sloss has vast experience in all aspects of motion picture financing, production and distribution, and has worked with motion picture actors, writers, directors, producers, and other entertainment industry professionals. Using examples from their extensive portfolios of clients and projects in Europe and the U.S., these experts will ­advise on what to be beware of when making films.


campus programme

wednesday, feb 11 Telling Stories with a Score 17:00 – HAU 1 Film composing master class with Max Richter. In cooperation with Volkswagen. Sometimes the simplest tune can unlock so much more than anything else in a picture. Music is vital to the film plot, adding a third facet to the images and words. As film and music ­composer Max Richter puts it: “Music and film have to form a dialogue that fuses into something more than the individual parts – its really a sort of random alchemy – you never know what will work.” The trick and at the same time the challenge of composing music for film is that it should become a completely integral part of the film – but the music should be able to stand alone as well. The best film composers have the ability to do just this. Winner of the 2008 European Film Award and nominee­ for an Annie Award for the film score of Waltz with Bashir, Max Richter is one of them. This classically trained composer and pianist, with four solo albums to his name, engages with ­modern electronic music and the history and tradition of the classical mode. His recent scores have been for the films Hope (2007) by Stanislaw Mucha and Henry May Long (2008) by Randy Sharp. In this master class, he elaborates on the art of combining­ ­different musical styles and creating memorable scores that go to the root of the emotions of the film.

Simon El-Habre‘s The One Man Village, running in the 2009 Berlinale Forum, received intensive development at the 2006 Doc Station


Happy Returns: The Future After the Campus 17:00 – HAU 2 Jon Baxter, Melissa Dullius, Atsushi Funahashi, Simon El-Habre and Kit Hung. Moderated by Matthijs Wouter Knol. In cooperation with ­Berlinale Generation, Berlinale Forum, Berlinale Forum expanded. The Berlinale is a home to renowned maestros, but rejoices every year in the discovery of new innovative films by young filmmakers. Increasingly, these brand-new and brilliant films are from Talent alumni, filmmakers who attended the Berlinale Talent Campus a few years ago. These filmmakers will present their films and share how they managed to make them, their sleepless nights and their moments of great relief… ­giving helpful tips on getting films through trying times. Script Station: Storytellers to Watch 17:00 – HAU 3, Top Floor David Thompson. Moderated by Alby James. The ultimate expression of a script is when it interacts emo­­t­ion­ally­ with the audience. This is when the writer faces the people with whom he or she spent the most intimate moments over a stretch of time: the written characters. For the actor or the ­actress it is the first time to slip into the skin and mirror the personality of a stranger. Alby James, Head of EON Screenwriters’­ Workshop, presents a unique glimpse into this hands-on sector of the Berlinale Talent Campus: Acting talents reading selected scenes from Script Station screenplays in development. Former head of BBC Films, producer David Thompson, who launched his independent production company Origin Pictures in 2008, gives concrete feedback on all presented Script Station projects.

campus programme

thursday, feb 12

to-one meetings that facilitate “made-to-order matches”, ­accom­­pany practical information and new contacts through the numerous networking opportunities available during the market. Current trends in co-production and financing opportunities will be highlighted through case studies on Berlinale films. The possibility to exchange experiences with experts and colleagues on specific topics takes place during “Theme Talks”. “Country Tables”, where experts provide information about ­production conditions and co-production opportunities in a particular country, and speed matching sessions round out the programme. Head of the Co-Production Market, Sonja Heinen together with Kathi Bildhauer and Martina Bleis introduce the role and purpose of the market, explaining the application and selection process. Master Class for Set Designers at Costume House Theaterkunst 10:30 – Meeting Point at 10:15 at the Entrance to HAU 1. In cooperation with Theaterkunst.

The daily Rise and Shine Breakfast: a tasty start for a promising new Campus day

Rise and Shine Breakfast à la française 9:30 – HAU 2 Presented by the French Embassy. Today’s breakfast is hosted by the French ­Embassy and offers you a tasty start to a promising new ­Campus day. Meet representatives of the French Embassy and catch up with fellow ­Talents over a hot coffee, savoury and sweet ­delights. All You Should Know About: Berlinale Co-Production Market 10:00 – HAU 3, Top Floor Kathi Bildhauer, Martina Bleis and Sonja Heinen. In cooperation with Berlinale Co-Production Market.

Theaterkunst is Germany’s largest costume house for film, ­television, advertising and theatre. Their assortment of more than 10 million items includes all periods, styles and trends, with a speciality collection of 200,000 uniforms. This is where the cast of legendary films such as Fritz Lang’s Metropolis, ­Caroline Link’s Nowhere in Africa, Roman Polanski’s The Pianist were fitted. This master class is exclusively for production and set designer Talents and comprises a tour through the costume house. Talents will visit the uniform department and participate in a case study on the recent, Oscar, Golden Globe and BAFTA nominated German film, The Baader-Meinhof Complex, which costumed its characters from Theaterkunst’s vast collection. In the Limelight: Surprise Guest! 11:00 – HAU 1 A celebrated international filmmaking professional with vast experience will talk about his entry into the world of filmmaking­ and the central moments in his rich and varied career in films. You will be sure to benefit from the experience of this ­well-known personality, so stay tuned for more information.

The sixth Berlinale Co-Production Market takes place from ­Feb 8 – 10, 2009. Berlinale director Dieter Kosslick describes the ­Berlinale Co-Production Market as “a home for international producers and financiers attending the Berlinale”. A three-day event, this is where active players in the field of co-production find first-rate ­international projects, excellent business contacts and fresh opportunities for co-operations. Over 30 projects are presented at the annual Berlinale Co-­Production Market, a number of these projects have been filmed and screened at international festivals and in movie theatres. Intensive one-

Berlinale Talent Campus #7


campus programme

thursday, feb 12 World Cinema Fund: How to Apply? 11:30 – HAU 3, Top Floor Vincenzo Bugno, Sonja Heinen. In cooperation with World Cinema Fund. Launched in 2004, the World Cinema Fund, an initiative of the Berlin International Film Festival in co-operation with the ­German Federal Cultural Foundation and the Goethe-Institut, established itself within a short span of time as one of the leading­ institutions in the field of international film funding of artistically ambitious films whilst also enjoying a broad acceptance­ amongst filmmakers. In fact, WCF funding has ­become a stamp of approval for a project. It supports projects in regions of the world in which film production is in a critical state or barely even exists. At first, applications were “limited“ to Latin America, Africa, the Middle East and Central Asia; two years ago it added the Caucasus and South East Asia as ­funding regions. The second focus of WCF‘s activities is also ­gaining popularity, namely support for the distribution of films from these regions in Germany. Sonja Heinen and Vincenzo Bugno, project managers of the World Cinema Fund, give ­background information on the Fund before going into the ­aspects crucial to the application process: the kind of projects funded, ­prerequisites for funding, fields for which support is ­offered, amount granted per project. Collaborative Filmmaking in the Spotlight 14:00 – HAU 3 | Top Floor | Job ter Burg and Claudia Meglin. Moderated by Silke Zimmermann. In cooperation with Arri, Avid Technology, Band Pro, Barco, Filmlight, Kamera Ludwig, P & S Technik, Pictorion das werk. The Berlinale Talent Campus’ hands-on Campus Studio has been in full swing at HAU 3 with Talents and experts working closely together on short and documentary rough cuts in the Rough Cut Editing section and concentrating on post-production­ in the Digital Workflows segment. Claudia Meglin will showcase the results of the Digital Workflows segment, and the editors Susan Korda and Job ter Burg will present the ­polished rough cuts, discussing the p ­ rocesses of the editing room.


Experiments in Facts & Fiction: The Work of Sharon Lockhart 14:00 – HAU 1 Sharon Lockhart. Moderated by Anselm Franke and Stefanie Schulte Strathaus. In cooperation with Berlinale Forum expanded. Over the last 15 years Sharon Lockhart has made films and ­photographs that frame the quiet moments of everyday life while exploring the subtle relationship between the two mediums.­Much of her photographic work has involved staging scenes in a method reminiscent of filmmaking, while her films emphasise the photographic ­qualities of the moving image. While she sees herself as strongly­influenced by the structuralist­ film tradition, her work blends rigorous aesthetic concerns with anthropological explorations. She carefully manipulates formal elements as she explores ­certain concepts with regularity: ­portraiture, the relationship between photography and film, and the combination of fictive or choreographed performances with unscripted, intimate ­moments. Moving with ease between the worlds of art and film, Sharon Lockhart is at the same time very aware of the ­differences between the cinema and the ­gallery, and will elaborate on how she chooses and knows ­exactly what to shows in which context. She discusses with ­Stefanie Schulte Strathaus her experiments with reality and ­fiction and how her work manages to offer us a way to look at the everyday, taking what we feel to be certainty and what we sense in our minds to be evermore inexplicable. The Critical Dilemma: Does The Internet Improve Film Criticism? 14:00 – HAU 2 Mick LaSalle, Dana Linssen and Ekkehard Knörer. Moderated by Peter Cowie. The mushrooming of internet bloggers appears to be hijacking the discussion on films. The Internet not only provides a ­dyna­mic platform for reviewers but also free access to film ­reviews, both from established media as well as an ever-increasing horde of bloggers. With film criticism no longer under exclusive purview, where virtually anyone can write a review and post it online, what happens to the professional film critic? How does this apparent democratisation affect the style of writing and quality of ­reviews in terms of ideas they present? The proliferation of blogging is not alone responsible for the declining status of film criticism: The internet is today more proficient in attracting advertising; marketing and promotion strategically aim more and more at the internet for their campaigns. Film reviews are often manipulated by distributors; print editors afford less space to reviews, change ratings in compliance with advertising­

campus programme

thursday, feb 12 allegiances and often opt for the review of blockbusters. In contrast to print reviewers, bloggers have the advantage of free speech, owing no allegiance or responsibility to anyone. Society in general seems more to prefer “sponsored slogan to judicious assessment” as Nick James proclaims in his introduction to “Who needs Critics?“ (Sight & Sound, October 2008). Esteemed film critics will address the questions we are all ­asking: Is the internet today, as its proponents claim, a goldmine for discovering new cinematic gems? Has the penetration of a more informal internet-like writing through the advent of blogs, social networking website such as Facebook, etc. seeped into print reviews? Do these changes enrich or impoverish film criticism? And finally, what is the fate of film critics as their ­destiny is bound to the dictates of their editors and the wishes of the public at large? Beyond the Music: A Film Composer‘s Challenges 17:00 – HAU 3, Top Floor Vinicius Calvitti, Moritz Schmittat, Atanas Valkov. Moderated by Martin Todsharow. In cooperation with Volkswagen. Scoring for films requires playing musical chairs with dialogue and sound effects, while creating a convincing atmosphere of a time and place. Film scores imply the unspoken thoughts of a character or the unseen implications of a situation far better than dialogue can. The ability of music to make a psychological point in film is perhaps its most valuable contribution. The ­challenge for the film composer lies in creating compositions that mirror the film’s narrative, yet retain their own unique ­flavour, lingering in the memory long after the film. All this is achieved under strict time constraints and unyielding external demands that come with scoring a film. Led by film composer Martin Todsharow, the discussion will focus on the scores ­created for the Volkswagen Score Competition the experiences and challenges the three finalists faced in the process of ­composing their film scores. The finalists’ scores will be presented­during the event.

Berlinale Talent Campus #7

Things to Take Home 16:00 – HAU 2 Kathi Bildhauer, Marcus Forchner, Sonja ­Heinen, Christine Tröstrum and Matthijs Wouter Knol. Although the Campus comes to a close this evening, there’s a lot more in store. This session gives an overview of all that ­Talents can take home with them – the activities and opportunities that the Campus offers once you’re back in your countries and get busy with upcoming projects. Likewise, information on the Campus Abroad editions, the film co-ops, as well as ­navigating the Campus online database will be provided. Closing and Award Ceremony of the Volkswagen­Score Competition 20:00 – HAU 1 Moderated by Thomas Heinze and Matthijs Wouter Knol. ­Supported by Volkswagen. After six intense days of seminars, workshops, panel ­dis­cus­­s­ions, screenings and excursions, the 7th edition of the Berlinale ­Talent Campus reaches its conclusion with a farewell from the Campus team and the announcement of the winner of the Volkswagen Score Competition. The winning contestant will be presented his prize: a trip to the best sound studios in Los ­Angeles sponsored by Dolby Laboratories. And with the night still young, the celebrations will continue but in a more informal setting at the Closing Party to the music of the Volkswagen­ Sound Foundation band “The Cheeks“ at Adagio – Berlin’s after-hours hot spot. There will be plenty of time to ­unwind in the next days; stay with us until this night is all done.

Until this night is all done: the Closing Party at Adagio


5 pages

66 – 79

index 67

68 74




Index of Events Index of Experts Index of Talents Epilogue / Note of Thanks Team and Imprint Partners

index of

events A list of all Berlinale Talent Campus events including the page numbers where you find further information. a



All You Should Know About: Berlinale Co-Production Market (p.63) Art Field Trip for Talents (p.57)

Fatal Attractions – On Chance and Accidents in Cinema (p.53) Filmmakers Against Racism (p.37, 58)

Opening Ceremony and World Premiere of the Berlin Today Award Films (p.35, 48)



Berlin Today Award 2010: Coaching (p.34) Berlin Today Award 2010: Producers‘ Meeting (p.34, 56) Beyond the Music: A Film Composer‘s Challenges (p.24, 64) Brigitte Broch: The Language of Spaces and Things (p.52) Brussels in Berlin: Turning Your Film into an Award Winner (p.51)

Germans at the Campus (p.48) Global Speed Matching (p.48)


Imagining Istanbul (p.60) In the Limelight: Bertrand Tavernier (p.50) In the Limelight: Surprise Guest! (p.63) In the Limelight: Tilda Swinton (p.54) The Indie Filmmakers Guide to the Internet (p.54, 58, 61) It‘s the Mission that Matters (p.56)

Closing & Award Ceremony of the Volkswagen Score Competition (p.65) Closing Party (p.65) Collaborative Filmmaking in the Spotlight (p.26, 27, 64) Crash Course Perfect Pitching (p.55) The Critical Dilemma – Does the Internet Improve Film Criticism? (p.65) d Dealing with Reality (p.49) Dine & Shine – Talents Rendezvous with Berlinale Guests (p.35, 51) Doc Station: Reality‘s First Appearance (p.30, 61) Dreaming Reality (p.56) e Embodying the Character (p.52) Excursion to European Film Market (p.50) Excursion to Film Orchestra Babelsberg & HFF “Konrad Wolf“ (p.60) Excursion to the Costume House Theaterkunst (p.53) Experiments in Facts and Fiction: The Work of Sharon Lockhart (p.64)

Berlinale Talent Campus #7

h Happy Returns: The Future After the Campus (p.62) i


p-r Provoking Cinema: Films That Marked Me Forever (p.58) Remember Me? The Art of Following Up (p.59) Rise and Shine Breakfast (p.48, 49, 52, 56, 60, 63) s Script Station: Storytellers to Watch (p.30, 62) Short Film Reception (p.55) Snow Meets OReilly: Please Say Something (p.54) Speed Matching (p.48) Suddenly It All Happened – Turning Points in Scriptwriting (p.20, 49) Switching Roles: Multi-Talents in Film (p.61) t


Taking Off (p.48) Talent Short Film Night (p.55) Tales from the Casting Couch (p.50) Telling Stories with a Score (p.25, 62) Things to Take Home (p.65) Two Producers Sharing their Secrets (p.59)

Kill Your Darlings (p.50)



Watching the Titles: How to Start a Film? (p.53) Working through Digital Workflows (p.27, 51) World Cinema Fund: How to Apply? (p.64)

Janusz Kamiński: Anatomy of the Shot (p.57)

Legal Weapons (p.61) Looking at HDCAM (p.49) m Master class for set designers at Costume House Theaterkunst (p.63) Meet the Experts (p.46-47)


index of

experts a-b Abram, Ido Director of Binger Filmlab, he is the former director of ­CineMart. He is a consultant of the European Film Market of the Berlinale, the Producers Network of the Cannes Film Festival, member of the International Advisory Board of the Hong Kong Asian Film Financing Forum and board member of the MEDIA Desk Netherlands. (p.59) Allamoda, Bettina Artist working in the contextual field of visual arts in a transdisciplinary sense, reflecting architectural interdependencies of urban public spaces/spheres and projective functions of the built environment. (p.38, 57) Anyiam-Osigwe, Peace Founder and CEO of Africa Movie Academy Awards, she is also executive director, Global Music Movies and More. She was on the 2007 International Short Film Jury of the Berlinale. Her credits as a producer include Blind Date and Fear of the Unknown. (p.53) Atef, Emily Her first feature-length film, ­Molly's Way (2005) received the Jury‘s Special Award at the Mar del Plata Film Festival. Her most recent feature, The Stranger in Me, was part of the International Critic‘s Week series in Cannes 2008. She is a Berlin ­Today Award 2009 jury member. (p.35, 56) Babin, Jean-Baptiste A founding partner of Backup Films, a film ­financing agency, he is in charge of co-production agreements. The company’s references include more than seventy international production­companies. (p.59) Baxter, Jon Editor and cinematographer from New Zealand and 2005 Campus alumnus, he has ­edited The Strength Of Water which features in the 2009 Berlinale Generation. (p.62) Beyer, Klaus-Peter Artistic director of the German Film Orchestra ­Babelsberg, he was the music producer of the 2001 version of Lotte Reiniger’s The Adventures of Prince Achmed, music composer of Conversations With A Beast and studio manager of The Musketeer. (p.24) Bildhauer, Kathi Member of the Berlinale Co-Production Market team since its first year and manager of the Talent Project Market, she is the author of “Drehbuch reloaded” based on unconventional contemporary screenplays. She is also a lecturer at German universities. (p.63, 65) Bleis, Martina Member of the Berlinale Co-Production Market team since its first year; she is head of the Zurich Co-Production Forum since last year. (p.63) Boerema, Menno Award-winning editor, he has worked on numerous films, such as Jungle Rudy, Closure and Paradise Girls. Since 1998 he has been teaching at the Dutch Film School and has lectured in many countries around the world. (p.26) Bosse, Wolf Visual effects’ producer, he is the CEO and head of sales of Pictorion das werk Berlin, a digital post-production company. His


­ lmography includes The Soul of a Man, Land of Plenty, The Flying Scotsfi man and his latest, Contact High. (p.49) Brinkmann, Kathrin See portrait on p.31 (p.30) Broch, Brigitte Art director, set decorator and production designer, she shared the Academy Award for her work as set decorator of Moulin Rouge with art director Catherine Martin; the duo were also nominated for an Oscar for their work on William Shakespeare’s Romeo + Juliet. She has worked on such films as Babel, Amores Perros, The Reader. (p.48, 52) Bronckart, Jacques-Henri Co-founder of Versus Production in 1999, his production caché includes Eldorado, part of the Director’s Fortnight of the 2008 Cannes Film Festival, Horse Thieves, Cages, Days of Glory, Before We Forget and Ultranova. (p.51) Buckingham, Peter Head of Distribution & Exhibition at the UK Film Council tasked with increasing the breadth and diversity of cinema across the UK, he is an expert in film distribution and is a leader in the field of digital strategy. Prior to this, he was the deputy chief executive for FilmFour and was named Video Distributor of the Year in 2000. (p.47) Bugno, Vincenzo Film critic and journalist, he is an advisor to film ­festivals and the initiator and Project Manager­ of the Berlinale’s World Cinema Fund. He is a member of the programming­ committee of the Locarno Film Festival and head of its section “Open Doors“. (p.58, 64) Bühler, Urs Writer and script consultant, he has 12 years of on-set ­ xperience on a large number of European features and commercials. e He teaches screenwriting and is a story consultant for numerous Swiss, German and ­Austrian production companies. He is a coach for the ­Berlin Today Award 2010. (p.34) Büscher, Mareile Lawyer at Hogan & Hartson Raue LLP, she focuses on intellectual property matters, media and entertainment law, as well as copyright litigation and negotiation. She has lectured on the subject of art and copyright law for various institutions including the Federal Foundation of German Cinemas and the Humboldt-University, Berlin. (p.61)

c-d Caplan, Sally Head of Premiere Fund of the UK Film Council, the single largest public source of film finance in the UK. She is the former ­President of Icon Film Distribution as well as Senior Vice ­President of Acquisitions and Business Affairs at Momentum Pictures. (p.46) Carey, Anne Producer, partner and co-founder of the production ­company This Is That, she produced Adventureland (set for release in 2009), The Savages (“AFI Best Movie of the Year“ in 2007, two Oscar nominations), Trainwreck: My Life as An Idiot, The Door in the Floor, and exe­ cutive produced, amongst others, Towelhead and Thumbsucker. (p.49) Clarke, Emma Senior executive at the New Cinema Fund of the UK Film Council, she is part of the team that assesses the applications and she oversees all aspects of production. The films she has seen through this process include Bloody Sunday, Touching the Void and Red Road winner of the Jury Prize in Cannes 2006. (p.46) Cowie, Peter Film historian and long-time international publishing ­director of Variety Magazine, he has written some 30 books on film, and has contributed numerous commentaries to Criterion DVDs. He has been well known since 1963 as the founder/publisher and general ­editor of the annual International Film Guide. (p.28, 49, 50, 54, 57, 65)

Crooks, Lenny Executive producer and financier of prize-winning UK films, he is currently the head of the New Cinema Fund at the UK Film Council. Their releases include This is England, Man on Wire, Adulthood and Rage. He has also produced a number of award-winning films ­including Hallam Foe, Red Road, Young Adam and Morvern Callar. (p.47) Davis, Leo Casting director, his latest credits include 10,000 BC, Miss ­ ettigrew Lives for a Day, The Boy in the Striped Pajamas, Hannibal Rising, P Irina Palm, The Queen, Mrs. Henderson Presents, The Constant Gardener, Dirty Pretty Things among a multitude of others. He has been in charge of casting a number of Stephen Frears films. (p.50) Deckert, Heino Producer and managing director of MA.JA.DE Filmproduktion based in Leipzig and Berlin, in 1995 he founded, a union of seven independent European producers. He is also actively involved in distribution, starting the company’s worldwide ­distributor of documentary films Deckert Distribution in 2003. (p.30) Delpy, Julie Oscar-nominated screenwriter, she has directed, written, and acted in more than 30 films. She made her directorial debut in 2002 with Looking for Jimmy, 2007 saw the release of 2 Days in Paris in which she starred, directed, wrote, edited, co-­produced and wrote the music. Her ­latest film, The Countess features this year‘s Berlinale Panorama. (p.61) Desai, Rehad Head of UHURU Productions, based in South Africa producing documentary and drama work, he is also the director of the Tri Continental Film Festival, and the chairperson of the South African Screen Federation His directorial and production work include Born into Struggles, Take Back the Waves, The Heart of Whiteness, Bushmans Secret and Bhambatha: War of the Heads 1906. (p.37, 58)

Man Village to the Campus’ hands-on-training Doc Station. The film screens in the 2009 Berlinale Forum. (p.15, 62) Erdem, Reha Turkish director and screenwriter, he shot his first featurelength film Oh Moon in 1989. He has also made Run for Money, Mommy I’m Scared, Times and Winds and My Only Sunshine. He wrote all of his films except for Mommy I’m Scared, for which he was one of the writers. (p.60) Fong, Karin Director and designer of Imaginary Forces, she has designed sequences for numerous­ films, including the main titles of Ray, Charlotte’s Web, Daredevil, The Truman Show, Dead Man on Campus, and most recently, The Pink Panther 2. Her work in this arena has won many awards, including an Emmy for outstanding main title design. (p.53) Fontaine, Dick Documentary filmmaker, currently head of documentary­ direction at NFTS (UK), he has made over 40 films for television and the independent media. A founding member of Granada Television’s World in Action, he developed experimental art films with John Cage, Roland Kirk, Johnny Rotten & Kathleen Battle. (p.30) Francke, Lizzie Currently working for the UK Film Council’s Development Fund, she was previously an executive producer for EM Media where her credits include Control, Complete History of My Sexual ­Failures, and ­Better Thing. Recently, she co-produced Vinyan by Fabrice du Welz, which will be released later this year. (p.47) Franke, Anselm Curator and writer, he is currently the Artistic Director of Extra City Centre for Contemporary Art in Antwerp. He has edited and published with different publishing houses and is on the advisory board of the Berlinale Forum expanded. (p.64)

Dobroshi, Arta Award-winning actress, she received critical acclaim for her role in The Silence of Lorna, which won the best screenplay award at the 2008 Cannes Film Festival. She has played the leading role in films as Magic Eye by Kujtim Cashku and Vera by Arta Minarolli. (p.53)

Frears, Stephen Academy Award nominated film director, his cache of films include My Beautiful Laundrette, Dangerous Liaisons, The Grifters, Dirty Pretty Things, Mrs. Henderson Presents, The Queen, and his latest Cheri which runs in this year‘s Berlinale Competition. (p.50)

Dresen, Andreas One of the most high-profiled directors in contemporary German cinema, he also has been a director for theatrical productions. His internationally award-winning films include Night Shapes, Grill Point (both winner of the Berlinale Silver Bear) and most recently Cloud 9. He is a Berlin ­Today Award 2009 jury member. (p.35, 56)

Funahashi, Atsushi Japanese filmmaker, his Big River featured in the Berlinale Forum 2006, just as his third film highlights the 2009 Berlinale Forum. He was a Talent of the 2004 Berlinale Talent Campus. (p.15, 62)

Dullius, Melissa Brazilian director, production designer, art ­director and 2006 Campus alumna, she has directed Triangulum, which runs in the 2009 Berlinale Forum expanded. (p.62)


Galal, Hala Filmmaker, scriptwriter and producer, she is a member of the Egyptian Documentary Filmmakers Association. Among others, she has written and directed People’s Affairs, Women Chit Chat and is currently preparing The Light Point. Co-founder of the production company, S­ emat, she is on the company’s board and is head of project. (p.49)

Edkins, Don Documentary filmmaker and producer, his production portfolio comprises the Southern African series on truth and reconciliation Landscape of Memory (1998), and the multi-awarded documentary­ project Steps for the Future (2001). He is Executive Producer of the STEPS International global documentary project “Why Democracy?”. (p.56)

García Lechner, Maite She has worked among others as an assistant curator at the Netherlands Institute for Cultural Heritage, as a project coordinator at the Flemish Cultural Institute De Brakke Grond and at the Centre for International Cultural Activities. Currently, she is the grant officer at the European Cultural Foundation in Amsterdam. (p.56)

Eisenhauer, Hans Robert Former head of the Berlin Film Fund, he was responsible for founding the European Film Academy. He later became the deputy programme director of ARTE and head of Thema since 2005, working on more than 2,000 programmes. His projects as ­commissioning editor include The Geo Reportage, Buena Vista ­Social Club and Nach­ ­Saison, as well as many other international co-productions. (p.30, 61)

Gazdag, Gyula Director of theatre, film, and television, his films include the multiple award-winning A ­Hungarian Fairy Tale and also Stand Off and The Whistling Cobblestone as well as documentaries like Hungarian Chronicles and The Banquet. Professor at UCLA School and the Binger Institute, he is the artistic director of the Sundance Filmmakers Lab. (p.30)

El-Habre, Simon Lebanese filmmaker, he first attended the Campus in 2005, returning in 2006 with the script of his directorial debut The One

Berlinale Talent Campus #7


Ghanai, Darius Graphic designer, he has done the title design for such films as Mongol, Palermo Shooting, Perfume: The Story of a Murderer, Don’t Come Knocking and Goodbye, Lenin! (p.53)


Gibson, Ben Director of the London Film School, he has commissioned and produced films by Terence Davies, Derek Jarman, John Maybury and many others as an independent producer and head of production at the British Film Institute. He is co–founder of the London ­International Festival of Theatre, and founding chairman of The Script Factory. (p.52, 61) Gough, Louise Script editor and dramaturg, she has scriptwriting and script editing experience in film and theater. She has worked as a script manager, has edited a number of feature film scripts, and has developed over forty ­professionally produced plays. She works for Robyn Kershaw ­Productions, Australia, as a development executive, and with SOURCES 2­at their Script Development Workshops. (p.30) Gröning, Philip Award-winning German filmmaker and producer, he founded his own production company Philip Gröning Filmproduction in 1986. His features and documentaries include Summer, The ­Terrorists, L’amour, L’argent, L’amour and Into Great Silence. (p.49) Guzmán, Patricio Award-winning Chilean documentary filmmaker, his film portfolio includes The Battle of Chile, In the Name of God, The Pinochet­ Case, Salvador Allende and My Jules Verne. He teaches documentary film in Europe and Latin America, and is the founder and director of the ­International Documentary ­Festival of Santiago (FIDOCS). (p.58) Hare, Sir David An English playwright, theatre and film director, he founded Greenpoint Films in 1982, and scripted and directed such films as Wetherby (Golden Bear 1985), Strapless and Paris by Night. He has written teleplays such as Licking Hitler, and Saigon: The Year of the Cat. He is the scriptwriter for Stephen Daldry’s The Hours and The Reader. (p.49) Hausswolff von Baumgarten, Marietta von A Swedish script doctor and screenwriter, she heads the development of film company Automat/ MotherOfSons. She works as consultant and tutor for script and pitch workshops, Torino Film Lab, Binger Film Lab, Berghs School of Communication and others. (p.30) Hedegaard, Rie Casting director, her film credits include Lars von ­Trier’s The Idiots, The Celebration by Thomas Vinterberg, The Bench and Manslaughter by Per Fly, and the TV mini-series Edderkoppen by ­director Ole Christian Madsen. (p.50) Heinen, Sonja Head of the Berlinale Co-Production Market and project manager of the World Cinema Fund, both are initiatives of the Berlinale and dedicated to international co-productions. (p.63, 64, 65) Heinze, Thomas German actor, he has worked in Homo Faber, Das ­Superweib, Der große Bagarozy and Time of the Comet, amongst others. He was nominated for the German Television Award in 2005. (p.65) Hendricks, Riaan Documentary filmmaker and member of the F­ ilmmakers Against Racism (FAR) initiative, he has produced six doc­u­ mentaries over the last few years, and directed three titles reflective­of his work including the multi award-winning Fisherman’s Tale, Revolutionaries Love Life and The City that Kills Somalians. (p.37, 58) Herbert, Mark Joint managing director of Warp Films and digital ­studio Warp X, he received the 2006 British Film Talent Dunhill Award. He won a BAFTA for My Wrongs and also produced the first series of Peter Kays Phoenix Nights. For Warp Films he has produced Dead Man‘s Shoes, This is England and Le Donk, all three by Shane Meadows. (p.59) Höhne, Maike Mia Programme curator of Berlinale Shorts since 2007, she is a freelance writer, director, curator and photographer in various


contexts. Amongst others, she wrote, directed and produced About ­Devotion, A Simple Love, and End of the Century. (p.54) Honoré, Christoph Scriptwriter and director of 17 Times Cécile Cassard, Les Chansons D’Amour, Love Songs, Ma Mere and The Clan, he has also directed Inside Paris and scripted the films Girls Can’t Swim, Novo and Three Dancing Slaves. (p.61) Hung, Kit Writer, producer and director from Hong Kong, he participated in the 2004 Campus’ Talent Project Market with Soundless Wind Chimes, which screens in the 2009 Berlinale Forum. He has also directed I Am Not What You Want and Buffering. (p.15, 62)

j-k James, Alby Scriptwriter and head of development for EON Screenwriters’­Workshop in London, which is a subsidiary of the James Bond production company, Eon Productions. He is a board member of First Light Movies in the UK. He is a jury member and mentor for the Script Station’s Concept Development Day and Actors Workshop, and a panel member of the Berlinale’s World Cinema Fund. (p.30, 62) Kamiński, Janusz Cinematographer and film director, he won Oscars for his work on Schindler’s List and ­Saving Private Ryan. In 2008, he received the Independent Spirit Award for Best Cinematography for The Diving Bell and the Butterfly. Amongst others, he has shot Munich, ­Indiana Jones and the Kingdom of the Crystal Skull, and recently, Funny People, set to be released in 2009. (p.57) Kennedy, Adrian Television actor, stand-up comedian and moderator of the short film festival Interfilm, his credits include The Cops, A Good Thief, International, Murder Mystery and Hotel Getaway. (p.51) Knopperts, Fleur Former director of the FORUM for International ­Co-Financing of Documentaries at the Documentary Film Festival ­Amsterdam (IDFA), in 2007 she worked for Doc/Fest in Sheffield where she set up MeetMarket – the new international marketplace in the UK for independent documentary projects in development. She is ­currently working as a freelancer on various projects. (p.30, 50) Knörer, Ekkehard Film and DVD critic, among others, for the German daily newspaper taz and the online magazine “Perlentaucher“. From 1998 to 2008, he was publisher of the website “Jump Cut”. Since 2002, he has his own blog In 2008, he co-founded and is the editor of the film magazine “Cargo“. (p.65) Korda, Susan Teacher at NYU Tisch School of the Arts, she has worked as a writer, director and editor on documentary and narrative films ­including Swimmers, The Kinds of Farmville, Trembling Before G-D, and her own One of Us. (p.26, 50) Kröger, Merle Filmmaker and editor for documentary films and video art projects, her production company Pong has produced the awardwinning films Peace Mission and Halfmoon Files, the latter premiered at the Berlinale 2007. She has authored two crime novels and is presently working on the script of The Face for Four Front Films, India. She was project manager of the Doc & Script Station in 2007 and 2008. (p.30) Kruger, Beatrice Actress and casting director with Rome-based company FBI Casting, she has been the casting director for over 25 films, and a European casting specialist for many more including Miracle at St. Anna, Silk, A Room with a View and The International, the opening film of the Berlinale 2009. (p.50)

Kurz, Sybille Pitching trainer and consultant for film schools and filminstitutes all over Europe, she specialises in intensive pitching training, project presentation, proposal development, dramaturgical doctoring and consultancy work for professional and personal issues. She is a member of the pedagogical team of EAVE, and is the author of three publications. She is a coach for the Berlin Today Award 2010. (p.33, 34)

l-m LaSalle, Mick American film critic, he is currently writing for the San Francisco Chronicle. LaSalle has lectured on film subjects at various film festivals, taught at the University of California, Berkeley and now teaches­film courses at Stanford University. (p.65) Levine, Sydney Over 25 years experience in the entertainment in­ dustry,­ she established the video rental division of Republic Pictures. Her international contacts have resulted in acquisitions ranging from international ­features to artistic and commercial genres. Founder of FilmFinders which was acquired by IMDb in 2008, she will develop new business for ­IMDbPro both domestically and internationally. (p.50) Lieberson, Sandy Chairperson, Film London, he has been a major ­figure in the film industry in Europe and America since the 1960s. He was president of 20th Century Fox from 1979 to 1980. Sandy is currently an advisor and contributor to a wide range of organisations and projects dedicated to the development of talent and skill in the film and media industries. (p.46, 59) Linssen, Dana Worked in a cinema during her philosophy studies. Since 1997, she is working as a film critic for the Dutch daily “NRC Handelsblad«, and since 1998 she is also the editor-in-chief of the Dutch independent film monthly “De Filmkrant“. (p.28, 65) Lockhart, Sharon American artist and filmmaker, her work has won many awards. Recipient of fellowships from the Guggenheim Foundation, the Rockefeller Foundation and the Asian Cultural Council, her films No and Teatro Amazonas have screened at the Berlinale Forum and Pine Flat at the Berlinale Forum expanded. (p.64) M dot Strange / Belmont, Mike Self-taught writer, director and ­ roducer of the feature We Are the Strange, which debuted at the 2007 p Sundance Film Festival and won two HDFEST Deffie Awards, he is ­currently working on his next animated feature film Heart String ­Marionette. (p.47, 58, 61) Madsen, Ole Christian Danish director and scriptwriter, he was launched on the international festival circuit with his Dogma film Kira’s Reason: A Love Story. He has written and directed the WWII drama Flame & Citron, Prague, the television film Angels in Fast Motion, and the TV mini-series Edderkoppen, amongst others. (p.50) Maes, Bjorn Artistic Coordinator for cultural projects in Southern Africa at Africalia, Belgium, he has previously worked for the arts center De Beursschouwburg and was responsible for programming chiefly socioartistic projects. The last few summers he established the thematic ­festival market of the music festival Klinkende Munt. (p.56)

winning short film, Mercy. Her company Manmade Films is currently in development with a slate of feature films including Jump by Bindu De ­Stoppani. She is a 2006 Berlinale Talent Campus alumna. (p.46) Marmot, Janine Award-winning film producer and director of film at Skillset, she has produced films such as Institute Benjamenta, I Could Read the Sky and Made In Heaven. She is currently developing a slate of feature films through her company Hot Property Films, Niall Griffiths’ Kelly + Victor, Margaret Atwood’s The Edible Woman, Simon Pummell’s Slow Motion Explosion and William Gibson’s Dogfight. (p.11, 46, 48) Marten, Gesa Editor and dramaturg, her recent edits include ­Pere-STROIKA and Fräulein Stinnes fährt um die Welt. She was nominated in 2000 and 2005 in the best edit categories of the ­German Television Award for Abnehmen in Essen and the German Camera Award for Geschwister Vogelbach respectively, and won, amongst others, the Film+’s Bild-Kunst Schnitt prize 2005 for Was lebst du? (p.26) Mauch, Bärbel Founder of Bärbel Mauch Film, she has considerable experience in production and distribution as well as with film festivals in Germany, France and Africa. She has produced Faro, la reine des eaux (Berlinale 2007), Le Malentendu Colonial, and currently L’aventutier. (p.38) Meglin, Claudia See portrait on p.27 (p.26, 51, 64) Messel, Esther van Chief executive of First Hand Films, an international­ sales company for documentaries and fiction films, she was previously head of distribution at Warner Bros. Israel. She is a lecturer and consultant­ to various organisations such as EAVE Brussels, IDFA Forum Amsterdam, Cinemart Rotterdam, Eurodoc Paris, among others. (p.30) Miller, Jan Award-winning pitching coach, she began her career in entertainment as an actor and a clown. She has created and developed one of the top pitching and project development workshops which she has presented all over the world. She is also the director of the Strategic Partners, Canada‘s premier international co-production market. (p.47, 55) Moody, Agnieszka Director of the MEDIA Desk UK, the information office for the MEDIA Programme. For over seven years, Agnieszka has helped over three hundred British companies secure funding for their projects from the EU and also organised a range of industry events and conferences fostering international collaboration. (p.46) Mthiyane, Omelga Award-winning filmmaker, her film Ikhaya was ­selected for Durban International Film Festival. She directed A Different Pigment for the SABC1 and the Encounters Black on White Series. She is currently a ­senior director on Headwrap 3 after successfully contributing­ to the first series for Plexus Films. She is a member of the Filmmakers Against Racism initiative. (p.37, 58)


Malcolm, Derek See portrait on p.29 (p.28)

Nadjari, Raphaël Writer and director for film and television, he has directed films such as The Shade (Un Certain Regard, 1999 Cannes Film Festival), I Am Josh Polonski’s Brother (Berlinale Forum 2001), Avanim (Berlinale Panorama 2004) and Tehilim (Official Competition, 2007 Cannes Film Festival) He received the France Culture Prize for best filmmaker of the year in 2005. (p.53)

Man, Emily Producer, she has been developing film and theatre ­writers and directors for ten years, and is a trained ­executive coach. For the past six years she has mentored for FirstLight Movies, among others. She worked on David Cronenberg’s Spider and produced the award-

Newman, Brian President & CEO of the Tribeca Film Institute (TFI), he launched the Reframe project of TFI, a unique initiative that is digitizing and making available films for DVD and video on ­demand. He speaks regularly on new media, audience development and the future of the web. He

Berlinale Talent Campus #7


serves on the editorial advisory board for Art Papers magazine and the board of Grantmakers in Film & Electronic Media (GFEM). (p.47, 58) Niemann, Nicolai Director, scriptwriter and co-founder of GreenMe, he is the initiator of the GreenMe Story Green film script development and support. He has scripted the The Insecurity of the Watchman and scripted­ and directed the short film The Moment, amongst others. (p.56) Nilson, Christer Managing director of GötaFilm, he has produced and co-produced a great number of feature films, prime-time drama series, documentaries and short films. He is a former chairman of the Swedish Film Producers Association, and has been a member of the ACE Producers­ Club since 1996. He is also a visiting professor in The Production­of Film at HV, University West in Sweden. (p.51) Ohayon, Michèle Award-winning director, writer and producer, she has made the critically acclaimed films Pressure, It Was a Wonderful Life, Colors Straight Up and Steal A Pencil for Me. She has written numerous screenplays developed by major studios. She is currently in production on a new documentary entitled Y.G.F.Y. (p.49) OReilly, David Irish film director and artist based in Berlin, he is known for creating innovative animated shorts using a raw, stripped down aesthetic. He has created the 3D animated series Please Say Something, and the iPhone concept application, iHologram. His short films include Octocat Adventure, Serial Entoptics, RGBXYZ and Wodl2106. (p.54) Østergaard, Anders Writer and director of a number of award-winning documentary films such as Burma VJ: Reporting from a Closed Country, Gasolin’ and Tintin et Moi. Østergaard‘s Så kort og mærkeligt livet er was selected for the opening gala at CPH International Film Festival. (p.49) Pasquali, Arnaud Head MEDIA Promotion (Markets & Festivals) and MEDIA Training. MEDIA programme of the European Union and for the Education, Audiovisual & Culture Executive Agency (EACEA). (p.51) Petersen, Nikolai Director of the Goethe-Institut in Caracas, Venezuela,­ he was previously head of cultural programmes at the Goethe-Institut Johannesburg where he played a crucial role in the cooperation between the Berlinale and the Sithengi Film and Television Market. (p.47) Phillips, Lloyd Photographer and producer, he won an Oscar for his first film The Dollar Bottom. He has produced Vertical Limit, Beyond ­Borders, The Legend of Zorro, Racing Stripes, Running Free, Twelve ­Monkeys, The International, and is filming Inglorious Basterds. (p.60) Priessner, Martina Director and scriptwriter, she has written and co-­ directed Wet Shave with Tuncay Kulaoglu and the documentary Wir sitzen im Süden, produced by ZDF/ Das kleine Fernsehspiel. (p.60) Psarias, Vicki Award-winning writer and director, she has made several short films including the critically acclaimed Broken. This film along with her short, Rifts, garnered Vicki the Channel 4’s 4Talent Award 2007. She has also directed documentaries, promos and drama for diverse companies. She attended the Berlin Talent Campus in 2006. (p.46)

r-s Rabarts, Marten Artistic director of the Binger Filmlab Amsterdam, he is a producer, and screenwriter for cinema and television. As head of studies at Amsterdam’s Maurits Binger Film Institute, he was instrumental in the realisation of the film series Project 10 – Real Stories from a Free South Africa which premiered at the Forum in 2004. (p.30)


Rauch, Oliver An instructor for content development and seminars for pitching, he is also a scriptwriter and director of his own documentary and short feature films. He is a conception and project manager of events for the European Film Academy and the Deutsche Filmakademie as well as a coach for the Berlin Today Award 2010. (p.34) Read, Mark Specialist in post production, he is known for his work on a number of recent films such as Captain Abu Raed, Changeling, Tropic Thunder and Letters of Iwo Jima. He has developed new post-production­ software, and has developed and built post-production­ studios for many American television and film studios. (p.26, 51) Richter, Max See portrait on p.25 (p.24, 62) Rodenkirchen, Franz Script advisor, teacher and tutor in workshops and individual project development all over Europe, he heads the ­dramaturgy department at Script House in Berlin, is a script advisor of the ­Binger Filmlab and head of selection for TorinoFilmLab. For the Campus he selects and tutors projects at their annual Script Station. (p.30) Rodrigue, Jean-Louis Theatre and movement director, he is on the f­ aculty at the UCLA School of Theater, Film and Television. His unique style of acting coaching, movement training, and choreography can be seen in many feature films including the recent W. with Josh Brolin, ­Passion Fish with Mary MacDonnell, Seabiscuit with Elizabeth Banks, and Bee Season with Juliette Binoche. (p.52) Rosenthal, Liz Founder and director of Power to the Pixel, she is also the founder of Earthly Delights Films, a company that develops ­independent media projects. She launched the online animation project, Marsipan, and has recently been appointed as the digital ­distribution strategy advisor to the UK Film Council. (p.46, 54, 58, 61) Rubin, Slava Co-founder of IndieGoGo which helps independent filmmakers overcome their fundraising challenges, he frequently speaks at conferences and writes on the disruptive technologies impacting the media industry from finance to distribution. One of his recent projects was the production of the short, The Wonder of Seasaws. (p.47, 58) Schaufuß, Grischa Director of photography and producer, he offers production services for corporate, documentary and commercial films. He conceptualised Two Revolutions 1848/1989, and worked on Die Häuser des Mr. Wong, among others. (p.49) Schulte Strathaus, Stefanie Curator at the Arsenal – Institute for Film and Video Art in Berlin, and a programmer at the Berlinale Forum, she is a co-founder and member of the Board of Kinothek Asta Nielsen in Frankfurt. (p.54, 64) Schweiger, Til German actor, he won the Max-Ophüls award for his role as boxer in Ebbie’s Bluff. He was actor/co-writer/producer of Knockin’ On Heaven’s Door, and actor/director/producer on Der Eisbär and Barfuss, and is in production with his latest projects like Keinohrhasen 2, for which he is screenwriter, actor and director. (p.61) Seidler, Jürgen Managing director of Script House, script consultant, author, he co-founded Aufbruch Film Produktion in 1989. He has ­produced stories for the television, directed various films and has lectured in the production­department of the HFF “Konrad Wolf“. (p.51) Shedde, Meenakshi A film critic, she is festival consultant India to the Berlinale, Asia Correspondent to the Cannes Film Festival‘s International Critics‘ Week, India advisor to Venice, ­Toronto, Pusan. She was on the

FIPRESCI Jury of Cannes, Berlin and Venice. She contributes to Variety, Film Comment, Cahiers du Cinema, Sight and Sound. (p.28)

Sildos, Riina One of the founders of the Tallinn International Film ­Festival, she started her own production company Amrion in 2003. A production from her cache, Lotte From Gadgetville, premiered at the Berlinale 2003. She is one of the founders and organisers of Baltic Event Co-Production Market. (p.59) Simonen, Ulla Freelance producer employed at Aamu Film company, Finland, a project developer for Klaffi Productions, Finland, she ­returned to production after four years in AVEK (the Promotion Centre for Audiovisual Culture in Finland), where she worked as the sole decision maker over the budget for the support of short and documentary films. (p.30) Sloss, John Legal Counsel, he represents clients in all aspects of ­motion picture financing, production and distribution, including motion ­picture producers, directors, writers, actors and broadcast networks. He is also consultant to high profile film financiers and producers, and is a founding partner/producer in Independent Digital Entertainment. (p.61) Snow, Michael Filmmaker, musician, visual artist, composer, writer and sculptor, he is considered one of the most influential experimental filmmakers. His filmography includes A to Z, Wavelength, Prelude, Corpus Callosum and Puccini Conservato; the latter features in the 2009 ­Berlinale Forum ­expanded. (p.54) Spitz, Andy Producer and director of Angels on our Shoulders, which is part of a 10-film package by local filmmakers who launched the Filmmakers Against Racism initiative in response to the violent xenophobic outbreaks across South Africa in 2008. The films were screened at the Durban International Film Festival (DIFF). (p.37, 58)

Midnight, Life and Nothing But, Daddy Nostalgie, D‘Artagnan's Daughter, It All Starts Today, Safe Conduct, Holy Lola and In The Electric Mist (Berlinale Competition 2009). (p.50) ter Burg, Job Film editor, he has worked on a wide range of feature films, documentaries, short films, trailers, music videos and commercials,­ and is winner of Best Film Editing for Joy Meal at the Lucca Film Festival, Italy 2003. He has worked on the award-winning films Suzy Q, Godforsaken, Black Book and Schnitzel Paradise, and most recently, The Last Days of Emma Blank. (p.26, 64) Thomas, Daniela Worked in film, theatre and opera for the last 25 years as director, set designer and writer. As filmmaker, she has written and codirected Foreign Land, Midnight and one episode of Paris Je T’aime with Walter Salles. She has directed and designed for over a hundred international theatre and opera productions, and received the “Golden Triga“ at the Prague Quadrennial, the highest honour in set design. (p.49) Thompson, David British film and television producer, he was until r­ ecently the head of BBC Films, which produced films such as Billy Elliot, Mansfield Park, Scoop, Dirty Pretty Things and In this World. In 2008, he launched Origin Pictures which produces for both film and television. He continues to executive produce projects developed during his time at the BBC such as In the Loop, Bright Star and The Edge of Darkness. (p.30, 47, 55, 62) Todsharow, Martin Film music composer, arranger, producer and ­ usician, he has scored for a host of films including Phantomschmerz, m Lulu and Jimi, Max Frisch – Citoyen, Nothing but Ghosts, Minotaur, Under the Ice, and most recently, Hilde. He is a lecturer at the Film Academy Ludwigsburg and the dffb Berlin. (p.24, 64)

Steyer, Martin Sound mixer, he has worked on numerous ­critically ­acclaimed films including Yella, The Last King of Scotland and Requiem. His most recent work was on Contact High and Effi Briest, ­which features this year‘s Berlinale Special. He is also the vice president of the University of Film & Television “Konrad Wolf”. (p.24)

Turken, Danny Director, her first film Affectionately Known as Alex, which is part of a 10-film package by local filmmakers who launched the Filmmakers Against Racism initiative in response to the violent xenophobic outbreaks across South Africa in 2008. The films – some of which were shot during the violence – were screened at the Durban International Film Festival. (p.37, 58)

Stolz, Alex Senior executive distribution and exhibition, UK Film Council,­ he currently manages the £3.5m P&A Fund. He also works across all of the distribution and exhibition strategies at the UK Film Council including the world‘s first Digital Screen Network and specific content-led projects, recently producing the groundbreaking digital event The Summer of British Film. (p.46)

Ugah, Adze Director of Burning Man: Ernesto Alfabeto Nhamuave, the film is part of a 10-film package by local filmmakers who launched the Filmmakers Against Racism initiative in response to the violent ­xenophobic outbreaks across South Africa in 2008. The films – some of which were shot during the violence – were screened at the Durban International Film Festival. (p.37, 58)

Swinton, Tilda Academy, BAFTA and Coppa Volpi award-winning ­Scottish actress known for both art house and mainstream films, she worked in seven critically acclaimed films of director Derek Jarman. President of the International Jury of the Berlinale 2009, her portfolio of films is vast, and her most recent ventures include Michael Clayton, Burn After Reading and The Curious Case of Benjamin Button. (p.54)

Ukwuoma, Selina Formerly development executive at EON Screenwriters‘ Workshop and Cuba Pictures, Selina now works freelance as a script editor and consultant. She has worked on a number of projects including the feature Boy A, which screened at the 2008 Berlinale Panorama. Selina has also tutored on the MA in Screenwriting and Producing at the University of Westminster. She is a mentor of the Campus’ Script Station (also in 2008) and the Concept Development Day. (p.30)

t-v Taszman, Jörg Film critic, journalist and radio broadcaster, he completed his studies at the Budapest Film School in 1991. He specialises in East European cinema, he reviews films for the German Deutschlandradio­ Kultur and the German publications Die Welt and epd Film. (p.56) Tavernier, Bertrand French director, screenwriter and producer, his large palette of internationally acclaimed films include The Clockmaker, The Judge and the Assassin, Clean Slate, Sunday in the Country, Round

Berlinale Talent Campus #7

Ustaoglu, Yeşim Producer and director, her award-winning films ­include Pandora’s Box, Waiting for the Clouds (winner of the Sundance/ NHK International Filmmakers Award 2003 for the screenplay), and Journey to the Sun (in Competition, Berlinale 1999). She is the cofounder­ of the independent production company Ustaoglu Film. Her upcoming films include Limbo and Broken Mussels. (p.60) Vuorensola, Timo Finnish film director, he has directed short films, ­ usic videos and ads. He is interested in the effect Internet has on m


t­ raditional production models. Currently Timo is working on a new ­sci-fi comedy called Iron Sky which tells the story of Nazis who come from the Far Side of the Moon. (p.47, 61) w-z Wenders, Wim Director, producer and photographer, he is known for being an influential figure in New German Cinema. His films The American Friend, Paris, Texas, Wings of Desire, Buena Vista Social Club and Don‘t Come Knocking, amongst others, have won numerous prestigious awards and international critical acclaim. He is a Berlin ­Today Award 2009 jury member. (p.56) Wenner, Dorothee Former director of the Berlinale Talent Campus, documentary filmmaker, author and journalist, she has been on the ­selection committee of the International Forum of New Cinema since 1990 and serves as the Berlinale’s special representative for India and sub-Saharan Africa. Her latest film, Peace Mission, released in 2008, ­received critical acclaim at numerous international festivals. (p.53, 58) Wesnigk, C. Cay Chairman of the Onlinefilm AG, author, director and producer of numerous films; recipient of the Grimme-Preis 2005 for Hitler's Hitparade; associate director of the Arbeitsgemeinschaft Dokumentarfilm (AG DOK), Germany‘s largest alliance of independent film producers; and member of the administrative board of VG Bild-Kunst. (p.47) Wetherell, Peter Veteran of the US independent film community, he spent eleven years as an international film sales and distribution ­executive, before forming Magus Entertainment in 1996. He has also executive produced numerous films and is currently working on new features including Long Tan to be directed by Bruce Beresford. (p.59) Wilson, David G. Vice president of global business strategy, EON ­Productions Ltd., he has worked on the last five James Bond films, most recently as script editor on Bond22 and assistant producer of Casino Royale. He has extensive experience in film marketing, merchandising and franchise management, having spent five years managing the European and Far East licensing operations for EON Productions and product placement on Die Another Day. (p.30) Wingate, David Board member and a script ­advisor for feature and documentary projects, he is a consultant­ and dramatic advisor, script advisor and teacher in several ­European countries. As dramatic advisor his credits include Fucking Åmål, Lucky People Centre International and The Souvenirs­Of Mr. X. (p.30) Zacharek, Stephanie Senior writer and film critic for, her writing on books and pop culture has also appeared in The New York Times, the Los Angeles Times, Entertainment Weekly, Rolling Stone, New York Magazine and Sight and Sound. She is a member of the New York Film Critics Circle and the National Society of Film Critics. (p.28) Žbanić, Jasmila Screenwriter and director, she won the 2006 Golden Bear for Grbavica, and directed the short film Birthday (2004, part of the omnibus film Lost & Found), Images from the Corner, amongst others. In 2007, she founded an artist‘s association “Deblokada“. She is at present in post-production of her second feature film On the Path. (p.58) Zylka, Jenni Freelance journalist, she writes on film, music and people for newspapers and magazines and is the author of two impressive novels. She hosts a radio show on literature, works for the Berlin International Film Festival and the Adolf Grimme ­Institute of Arts and Media, and moderates press conferences for movies. (p.48)


index of

talents a

Castelli, Claudio Castro, Carol Abrahamyan, Armine Cesari, Giacomo Adeleye, Mike-Steve Chainey, Bryn Aguirre Garcia, Miguel Chan, Siu Hei Ahmedov, Fariz Chattopadhyaya, Sudip Al Mansour, Haifaa Chen, Chieh-Yao Alpar, Balazs Citarella, Laura Arendt, Lars Clement, Cogitore Ariza, Glendys Conz, Filippo Aufdermauer, Heiko Coomber, Michelle Ayite, Sitou Cordova, Veronica Corsten, Anne b Cosio, Claudia Costa Amarante, Diogo Baid, Nitin Crisóstomo, Alejo Balasubramaniam, Sutharsan Curry, Jessica Banu, Syeda Neegar Barath-Bastaic, Csilla d Barth, Josie Torres Bartsch, Kata Dabrowska, Marta Ewa Bausenwein, Thomas Daenens, Nicolas Behl, Kanu Daly, Rebecca Behtaji, Roozbeh Daniyan, Adeyinka Beissler, Conny Darwazah, Mais Belleville, Charles-Henri Davila, Victor Ben Ali, Refka Daws, Tristan Bezerra, Bruno Diaz, Juan Blumers, Lars Diaz Diaz, Rodrigo Boersma, Rosan Dixon, Bryan Bolsø Berdal, Ingrid Doignon, Géraldine Borgeaud, Rémi Dosse, Jeanne Borgia, Federico Duarte, Douglas Borts, Nikolay Duesterberg, Alexander Botelho, Alberto Dvorakova, Marie Bradbury, Jason Breuer, Chris e-f Brice Eteki, Assoua Achille Brook, Yoni Eichtinger, Thomas Christian Brudermann, Sepp R. El-Hassan, Azza Bruun-Gazelleh, Louise Elbaum, Chaim Bryson, Kathleen Elezi, Iris Burke, Joel Eltz, Theresa von Butler, Patrick Eminue, Arit Etet, Pauline Darline Ferguson, Conor c Fernandes, Marcos Cabral, Miguel Fessa, Elina Calvino de la Torre, Claudia Filiz, Cihan Asli Calvitti, Vinicius Fonseka, Tharidi Caspar, Barbara

g Gallagher, Stephen Galvagno, Fabrizia Garcia, Heidi Gates, Henry Gavish, Elad Gavrilovic, Jelena Gebbe, Katrin Gerdolle, Caroline Gerofoka, Eleftheria Ginn, Rupak Gjocaj, Ilir Glaubacker, Christoph Gómez, Johanne Gonzalez, Javier Graham, Aaron W. Grassetti, Daniele Grau, Mia Greenspan, Gal Grigorakis, George Guibunda, Amiel Günther, Tim Guo, Shang-Sing

h Habie, Jessica Haikali, Joel Janus Kaudife Harris, Emily Hayes, John Hebert, Elaine Heim, Amara Helde, Martti Hermanowicz, Milosz Hesse, Likka Hesse, Uli Higgs, Anna Hinton, Andrew Hoel, Anniken Hoeneisen, Anahi Holmberg, Jonas Human, Kurt

i Id Massaou, Latifa Ikonen, Veera Irache, Juan Irving, Oliver Isas, Gabriela Iversen, Torfinn

j J., Geetha Jacobson, Avril Janecek, Damir Jang, Junyoung Jansen, Cindy Jaroszuk, Grzegorz Jashi, Salome Jiwarangsan, Chaisiri

Berlinale Talent Campus #7

Johnson, Esther Jokela, Jesse Jones, Mike Jonsson, Patrick Jurkovskis, Janis Juskeviciute, Rasa

k Kaempfer, Olivier Kancler, Tjasa Kasperski, Wojciech Katsoura, Sophia Kegler, Ben Khaitan, Abhyuday Khin, Myo Min Kiely, Pat Kinirons, Michael Kinsler, Lauren Kjaer Pedersen, Jacob Klapper, Judith Kogge, Michael Kohlweyer, Arne Kolovos, Nicolas Kortoshev, Jane Kostic, Nikola Kosuth, Daniel Krajcova, Daniela Krarup, Jacob Oliver Krigler, Gabor Kuosmanen, Juho Kurnosenko, Aglaya Kvatashidze, Alexander Kyo, Mikito

m Ma, Dahci Mackenzie, Lauren Mahmoud Hanafy, Karim Maigre-Touchet, Aida Mamatkulova, Nargiza Marr, Corey Martens, Meike Maynard, Robert Mbuthia, Njoki Menart, Ursa Menéndez, Arturo Mendes, Ana Metev, Ilian Mittermaier, Helmut Moeng, Gothataone Molapo, Mpaki Montoya, Alex Mrad, Najib Mrevlishvili, Giorgi Muck, Daniela Mungwe, Tiny Munteanu, Stefan

n Nance, Terence Nathaniel, Afia Ndarimani, Yeukai Ndasowa, Villant Nguyen, Thi Nimik, Liis Nunes, Luis



Lääne, Madli Laing, Erin Lanxinger, Markus Laxe, Oliver Lazarescu, Laura Lazuardi, Rizki Le Cordeur, Matthew León, Montserrat de Leong Huat, Kam Leuchtenberg, Stefan Levine-Heaney, Nathan Lin, Chun-Chieh Lino, Pedro Lisowski, Kacper Listorti, Leandro Litz, Nadia Livingstone, Mischa Lkhagvajav, Bat-Amgalan Llado, Prohens Llado, Elisabet Lo, Amy Lohmann, Julia Lunzer, Martina Lwanga, Frobisher

Oana, Bianca Oguamanam, Uduak Olsson, Iris Onah, Julius Ondine, Anita Ozbanazi, Esin

p Pablos, David Padilla, Maria Lorena Palomar, Jonathan Panahandeh, Ida Pasler, Pierre Patané, Denis Pemberton, Daniel Peric, Stjepan Périot, Jean-Gabriel Perlmann, Karchi Peruzovic, Filip Pervolovici, Eva Pest, Ruben Peter, Suuna Petrik, András Pillai, Siddharth Pinto, Elisabeth

Pitarch, Aleix Planefeldt, Johan Politsch, Barbara Pontikos, Urszula Pope, Vicky Portabella, Sergi Poti', Paolo Pous, Jean-Julien Powell, Alice Prosenc, Sonja

q-r Quantic, David Raberger, Christian Racz, Erzsebet Rahikainen, Eriikka Rantamaki, Jussi Reid, Kate Reifgerst, Hanna Reiss, Addie Rieger, Astrid Rogan, James Roig de Puig, Montserrat Ronningen, Kenneth Roukoz, Chady Rubinstein, Jolyon Ruhorahoza, Daddy

s Sacher, Jan Saito, Yuki Sajedi, Heydar Sakala, Henry Joe Samulionyte, Jurate Sani, Elhadj Magori Saúl, Eugenia Schillaci, Rossella Schmittat, Moritz Schmueck, Margaret Schory, Boaz Schroeder, Laura Seib, Alexander Seif, Louly Senecal, Richard Serge, David Sesink, Josa Sevinc, Selin Shapiro, Miri Shawky, Mohammad Sholl, Felipe Shtyka, Ella Shukri, Elyna Simpson, Dan Siregar, Shalahuddin Skott, Anton Sorri, Salla Sotomayor, Dominga Specht, Franziska Spencer, Tomas Stankovic, Goran Stegmann, Sebastian

Strasser, Andreas Straub, Katja Stuart Wallace, Megan Suhm, Johannes

t Tampubolon, Tumpal Tang, Eva Tanios, Wassim Tara, Tereza Tatari, Aida Templo, Margie ten Horn, Michiel Tesprateep, Pathompon Tezel, Aylin Thomas, Victoria Tocci, Tommaso Toivoniemi, Jenni Tomety, Anthony Topp, Niina Torre, Danilo Torres, Ignacio Tsutsumi, Hana Turajlic, Mila Tzoura, Vilka

u-w Ugrinska, Bilyana Ünlü, Sila Valkov, Atanas van Couwelaar, Wouter van Maele, Narayan van Vulpen, Paul Velásquez, Patricia Verso, Nicholas Villacob, Tatiana Vitkova, Maya Volte, Denis Wachell, Davyde Wang, Dong Wasiak, Agnieszka Wasley, Keidrych Wegner, Ari Wilson, Keith Wilton, Robert Wittlin, Myriam-Anouk

y-z Yao, Rui Yavuz, Meryem Yeo, Edmund Yepes, Gabriela Yiallourides, Costas Yulai, Lu Zabarauskas, Romualdas Zalokar, Suzana Zambrano, Annarita Zelger, Lucie Zulkifli, Aliff



tune in!­ around the world under the rubric, “Suddenly, It All ­Happened – The Turning Point in Close-Up”, as the ­annual Campus does, implies in differing ways the ­distinctive proclivity for learning, experimenting and for achieving a level of excellence in the field of filmmaking.­ ­Turn­ing points are key aspects in the ­filmmaking ­process and they can affect not only the professional careers of those involved, but are also linked to our personal turn­­ing points.

Our turning point was in a crowded midnight bus in Guada­ lajara, Mexico, March 2008. Meeting amongst mostly ­Spanish speaking Talents, far away from home, small talk and tequila created a strong basis for a fruitful collaboration later that year in Berlin. We found that turning points can be quite ­unexpected, can take place when you’re tired and ­longing for sleep, and needn’t be shiny and glamorous at all. Recognizing turning points might be as easy as wondering what you would like the best and decide to do so effectively. The Campus is made possible by an ever evolving and very dynamic team. This year, people from 12 different countries joined the Campus headquarters in Berlin – and for us it has been a thrilling and very enriching process to set up this year’s Campus with them, on both the content and the organisational­ side. We would also like to emphasise here the backing of our partners and sponsors: their ongoing support and inspiration enables the Campus to set up a programme covering a broad range of sessions with multiple and diverse angles. By ­placing turning points under the microscope, where the ­experience of the experts equals the inspiration and ­aspiration of ­Talents, the Berlinale Talent Campus endeavours­ a personal and ­professional catharsis for all of us. The filmic encounters, screenings, discussions, networking with future colleagues and celebrations during the six days of the Berlinale Talent Campus may be fleeting, yet they play a significant role in sparking new project ideas, making progress on a script or taking films to the next stage of the filmmaking­ process. Since its inception in 2003, the Berlinale Talent ­Campus has been developing as an established creative


platform for filmmakers around the world by way of the annual­ Campus and the full-fledged virtual Campus. And today, the proof is there; the Campus community is growing in number each new year, as are the Campus satellite programmes around the world. The ability to enhance and ­improve the platform for filmmakers of the near future is starting to bear its fruits after several Campus editions; a new generation of flourishing filmmaking professionals is beginning to appear on the scene, professionals with a difference, and an even more ­global awareness and appeal. The ever-increasing number of Talent alumni invited with their films to the Berlinale every year, is a simple proof of that. The Campus week is a short week. But we hope a surprising and exciting one for each one of you. We sincerely hope that, in the near future, we’ll see you again with your film packed in your luggage. It might be in a bus somewhere in the world, you never know. We’re looking forward to that!

Photos: Ali Ghandtschi

Assembling 350 filmmakers and 150 experts from

Christine Tröstrum Project Manager

Matthijs Wouter Knol Programme Manager

our sincere

thanks to: Alfred Herrhausen Society Wolfgang Nowak, Ute Weiland and Jessica Barthel. Arte Hans-Robert Eisenhauer, Kathrin Brinkmann. Auswärtiges Amt (Federal Foreign Office) Dr. Frank-Walter Steinmeier, Dr. Andreas Görgen, Martin Kobler, Max Maldacker, Hubert Kolb and Michael Kröner. Avid Technology Michael Dalock-Schmidt and Veronika Lode. Band Pro Gerhard Baier and Hendrik Vogt. Barco Lieven Bertier and Lutz Germer. Berliner Pilsener Bettina Pöttken, Harro Fischer and Dirk Streich. Berlin Today Award Jury Emily Atef, Andreas Dresen, Wim Wenders. Berlin Today Award Producers 2009 Anna Wendt Filmproduktion/ Anna Wendt; DetailFilm/ Henning Kamm and Fabian ­Gasmia; ­Kaminski.Stiehm.Film/ Frank Kaminski, Ulrich Stiehm and Miriam Klein; NEOS Film/ Andreas Atzwanger and Torben Struck; Schiwago Film/ Michael Schiering. Binger Institut Ido Abram and Marten Rabarts. Boxfish Films Christiane Steiner, Philipp Graf, Karen Rudolph, Katrin Wirth and Kerstin Herkenrath. British Council Paul Howson, Satwant Gil and Elke Ritt. Canon Bettina Steeger. Der Beauftragte der Bundesregierung für Angelegenheiten der Kultur & Medien Dr. Bernd Neumann and Ingeborg Berggreen-Merkel. Deutsche Filmakademie Christiane Teichgräber. Deutsche Weine Monika Reule and Thomas Klaas. Deutsche Welle Rainer Traube, Melanie Matthäus, Bettina Kolb, Fred Oelschlegel and the DEUTSCHE WELLE trainees. Deutsches Filmorchester Babelsberg Klaus-Peter Beyer and the musicians. Digital Film Design Claudia Meglin and Mark Read. Dolby Hubert Henle and Julian Pinn. EON Screenwriters' Workshop Alby James, David G. Wilson and Selina Ukwuoma. European Film Academy Marion Döring and Pascal Edelmann. European Film Market Beki Probst, Catherine Buresi, Wolfram Lutz. European Film Promotion Renate Rose and Karin Dix. ewerk Ralf Regitz, Friederike Tiedtke and Katajun Fakhoury. FFA – German Federal Film Board Peter Dinges, Katja Jochum, Christine Berg. Filmlight Mark Burton. FIPRESCI Klaus Eder. French Embassy Jean d‘Haussonville, Anne Tallineau and Carole Lunt. Goethe-Institut Prof. Dr. Klaus-Dieter Lehmann, Dr. Hans-Georg Knopp and Dr. Christian Lüffe. Goethe-Institut Johannesburg Peter Anders. Goethe-Institut Kyoto Andreas Schiekofer, Junko Yamaoka and Akiko Yamashita. Gahrens & Battermann Michael Kugel. Gorol & Partner Stephan Gorol, Anne Reckmann and Leonie Würfel. Heinrich Böll Stiftung Kirsten Maas-Albert, Nicola Egelhof. Hebbel am Ufer (HAU 1-3) Matthias Lilienthal, Sonja Hildebrandt, Elisabeth Knauf, Kirsten Hehmeyer, Matthias Schäfer and the entire HAU team for their cool location.

Berlinale Talent Campus #7

HFF – Academy for Film and TV “Konrad Wolf" Prof. Dieter Wiedemann, Prof. Martin Steyer, Prof. Frank Gessner and Holger Lochau. HUGO BOSS Philipp Wolff and Claudia Schmidt. London Film School Ben Gibson. Ludwig Kameraverleih Martin Ludwig, Günter Neuhaus. Manfred Durniok Foundation Michiko Teramoto. MEDIA Training Programme of the European Union Aviva Silver, Costas Daskalakis, Arnaud Pasquali, Pauline David and Maria Antonia Cuadrado. Medienboard Berlin-Brandenburg Kirsten Niehuus, Petra Maria Müller, Rangeen Horami and Daniel Saltzwedel. Nipkow Programme Uta Ganschow. L‘Oréal Kenneth Campbell and Heike Leder. Pakt / Grafische Gestaltung Sonja Jobs and Sylvia Böhm. P&S Technik Anna Piffl. Razor Film Gerhard Meixner and Roman Paul. Robert Bosch Stiftung Frank Albers and Enrico Battaglia. Script House Berlin Franz Rodenkirchen and Jürgen Seidler. Sarajevo Film Festival Mirsad Purivatra, Emina Ganic and Riada Asimovic. Serve-U Phillip Sünderhauf and Andreas Buchholz. Skillset Janine Marmot, Dan Simmons, Emily Bullock, Claire Doughty, Sandy Lieberson and Liz Rosenthal. Special thanks to: Walter Salles, Peter Cowie, Dorothee Wenner, Merle Kröger, Martin Todsharow and Antonio Boneu. SOURCES 2 Renate and Marion Gompper. Talent Project Market Sonja Heinen and Dr. Kathi Bildhauer. TOP-IX Torino e Piemonte Internet Exchange Silvano Giorelli and their entire team. Theaterkunst Susanne Franke, Nikola Fölster, Birgit Raabe. Stefan Liske, Maren Beckmann and Leah Whitman-Salkin. U.S. Embassy Berlin Peter Claussen and Wolfgang Brandt. Volkswagen Stephan Grühsem, Jochen Sengpiehl, Heike Lichte, Maren Weißner and Florian Lange. Wallflower Press Yoram Allon and Sara Tyler. Wave-Line Matthias Behrens. Jens Rietdorf and Robert Wagner. KBB – Kulturveranstaltungen des Bundes in Berlin GmbH Dr. Thomas Köstlin, Charlotte Sieben, Johannes Emig, Andrea Schreiber, Susanne Grünberg, Petra Hemprich, Stefan Martin. Berlin International Film Festival Our colleagues at the Berlin Inter­national Film Festival: Thomas Hailer, Bernadette Kamp, Juliane Grieb, Karin Hoffinger & Daniela Weber, Hendrikje Schwarze & Antonia Pössinger. Johannes Wachs and Wolfgang Janßen for… everything! Anne Gebhardt, Sabine Kaszemeik, Kerstin Iskra and Eva Simhart for beeing the good fairies. The section heads Alfred Holighaus, Christoph Terhechte, Maike Mia Höhne, Dr. Rainer Rother, Maryanne Redpath, Florian Weghorn and Wieland Speck and their teams. Vincenzo Bugno and Stefanie Schulte Strathaus. Dagmar Forelle, Jolanda Darbyshire, Nina Klapp­roth, Alex Steffen and Tim Gutzeit for handling our industry sponsors. Markus Hönle, Gunnar Gilgen and Irena Akopjan; Elisabeth Lequeret, Meenakshi Shedde, Norman Wang, Nuria Vidal for strategic expert approach; Anne Marburger, Johanna Brücker and Sabine Buske for the splendid communication, Frauke Greiner for being with us at even odd hours; Dr. Rainer Chemnitius. AND: Dieter Kosslick! Campus Team 2009 Andrea, Andrew, Anna, Anouk, Brigid, Camilla, Christina, Jana, Janne, Johannes, Julien, Kathi, Kevin, Lea, Lira, Marcie, Marcus, Maria, Marjorie, Melanie, Merle, Oli, Rubaica, Silke, Sirkka and Susanne. Special Thanks to our location partners:




Event Agency Gorol & Partner – Stephan Gorol, Anne Reckmann, Leonie Würfel IT Project Management – Jens Rietdorf IT Technology serve-u – Phillip Sünderhauf, Andreas Buchholz

Berlinale Talent Campus 2009 Programme Manager Matthijs Wouter Knol Project Manager Christine Tröstrum Programme Assistant Andrea Rieder Events & Administration Assistant Christina Janitz Communication Assistant Susanne Schneider, Lea Benirschke Programme Support Anna Rose Trainee Melanie Lage

Consultants Peter Cowie, Dorothee Wenner Berlin International Film Festival Festival Director Dieter Kosslick Festival Manager Johannes Wachs Head of Sponsorship Dagmar Forelle Imprint Circulation 5.000 Editorial Office Oliver Baumgarten, Rubaica Jaliwala, Matthijs Wouter Knol

Cartography Runze & Casper, Berlin Photography Berlin International Film Festival, David von Becker, Peter Himsel, Alexander Janetzko, mai.foto – Ute Langkafel, Filmarchiv Schnitt Verlag, Köln, and all cooperation partners, distributors, film productions Design Paul Snowden (cover design), Pakt, Sonja Jobs (graphic design) Print Office Königsdruck, Berlin Publisher Berlin International Film Festival Berlinale Talent Campus Potsdamer Straße 5, 10785 Berlin Phone: +49 30 25 92 05 15 Fax: +49 30 25 92 05 19 Email: an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH.

Talent Administration Marjorie Bendeck, Lira Lousinha, Maria Casas, Brigid O‘Shea, Andrew Preble, Marcus Forchner­ Selection Commitee Marcie Jost, Camilla Ribas, Julien Enoka ­Ayemba, Kevin Murphy, Marjorie Bendeck Hands-on-training Marcie Jost, Janne von Busse (Volkswagen Score Competition), Silke Zimmermann, Kevin Murphy (Campus Studio), Sirkka Möller, Anouk Doeven (Doc & Script Station), Dr. Kathi Bildhauer, Sonja Heinen­ (Talent Project Market), Oliver ­Baumgarten, Rubaica Jaliwala (The Talent Press), Christiane Steiner, Maria Casas (Berlin Today Award) Guest Manager Jana Daedelow, Johannes Hilf Online Editor Marcus Forchner Press Coordinator boxfish films – Christiane Steiner, Philipp Graf, Kathrin Wirth


Team 2009: from left to right – in the back: Jana Daedelow, Kathi Bildhauer, Lira Lousinha, Marcie Jost, Rubaica Jaliwala. Middle Row: Sirkka Möller, Andrew Preble, Camilla Ribas, Anouk Doeven, Andrea Rieder, Susanne Schneider, Brigid O‘Shea, Julien Enoka Ayemba, Christine Tröstrum, Marjorie Bendeck. Front Row: Melanie Lage, Anna Rose, Kevin Murphy, Christina Janitz, Lea Benirschke, Maria Casas and Matthijs Wouter Knol.

The Berlinale Talent Campus wishes to thank its partners

australia•austria•azerbaijan a and herzegovina•botswana•brazil hina•colombia•costa rica•croatia•cuba republic•ecuador•egypt•el salvador many•ghana•greece•guatemala onesia•iran•ireland•israel•italy vo•kyrgyzstan•latvia•lebanon edonia•malawi•malaysia•malta bique•myanmar•namibia geria•norway• pakistan•palestinian ortugal•romania•russian federation leone•singapore•slovakia spain•sri lanka•sweden•switzerland y•uganda•ukraine•united kingdom etnam•zambia•zimbabwe •

In cooperation with



The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH , funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German Bundestag. In co-operation with MEDIA - Training programme of the European Union, Medienboard Berlin-Brandenburg, Skillset and UK Film Council as well as Volkswagen.

Berlinale Talent Campus #7

3 4

Berlinale Talent Campus Magazine 2009  

This is the magazine of the Berlinale Talent Campus 2009. It contains information on programme and participants.

Read more
Read more
Similar to
Popular now
Just for you