Magazin 06

TALENTS 2006

PLANET TALENT

The Berlinale Talent Campus is an arena for know how and inspiration, in which the world’s next film generation moves to learn, communicate and exchange experiences – in 2006 for the fourth time. 520 young filmmakers from 101 countries get together at the House of World Cultures and have the great opportunity to learn from experienced professionals from all genres, cultures and generations. Discover the Planet Talent on the internet: www.berlinale-talentcampus.de We would like to thank our international network for their support:

Flämische Repräsentanz

Wallonie-Bruxelles

Embajada de Guatemala

Argentine Ministry of Foreign Relations, Norwegian Embassy in Berlin, Peruanische Botschaft, Media Development Center SINGAPORE,

PAGE 2

Embassy of Finland

Embassy of Cyprus

Embassy of Ireland Ireland

Greek Film Centre

Embassy of Uruguay in Berlin, Finnish Film Institute, Mexican Embassy in Berlin, Colombian Embassy in Berlin, Colombian Ministry of Culture, Iranian Embassy

BERLINALE TALENT CAMPUS #4

PAGE 3

CONTENTS

CONTENTS Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 A Welcome from our Partners . . . . . . . . . . . . . . . . . . . . . . . . . . 6 House of World Cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Special Focus: Editing Editing: Portrait Jim Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Editing: Portrait Angie Lam . . . . . . . . . . . . . . . . . . . . . . . . . 11 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

HERO, edited and photographed by Angie Lam and Christopher Doyle

Virtual Berlinale Talent Campus . . . . . . . . . . . . . . . . . . . . . . . . 13 Hunger, Food & Taste For Hungry Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Portrait Carlo Petrini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Portrait Vandana Shiva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Films on Hunger, Food & Taste . . . . . . . . . . . . . . . . . . . . . 18 Cuisines et Cinéma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

MOSTLY MARTHA by Sandra Nettelbeck in the programme “Cuisines et Cinéma”

Portrait Park Chan-wook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Portrait Stephen Warbeck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 BTC Abroad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Berlin Today Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 BTC Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Goodbye, Campus, Hello Berlinale! . . . . . . . . . . . . . . . . . . . . 25 Manfred Durniok Produktion . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Campus Programme Saturday 11: Orientation Day . . . . . . . . . . . . . . . . . . . . . . . . . 27 Sunday 12: Philosophy Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Monday 13: Pre-Production Day . . . . . . . . . . . . . . . . . . . . . . 33 Tuesday 14: Production Day . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Wednesday 15: Post-Production Day . . . . . . . . . . . . . . . . . . 47 Thursday 16: Promotion Day . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Robert Bosch Stiftung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 The Making Of: Berlinale Talent Campus . . . . . . . . . . . . . . . 57 Working Campus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Index of Experts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Index of Films on “Hunger, Food and Taste” . . . . . . . . . . . 66 Note of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Team / Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 PAGE 4

THE GODFATHER, produced by Fred Roos

Campus venue: The House of World Cultures

EDITORIAL

BE A PART OF IT! Join in as 520 of the world‘s most eager young filmmakers work together, get in touch with each other, and learn from experienced international professionals at the fourth edition of the Berlinale Talent Campus. The Campus enables the film industry’s most creative young Talents from around the globe to assemble and work together for one week in Berlin. It is the collaboration of these unique and fresh international filmmakers that places the Berlinale Talent Campus at cutting edge of the film industry. The Berlinale Talent Campus 2006 has selected editing as its focal point and looks forward to showcasing editing as one of film’s most fundamental and fascinating features. The art of editing encompasses far more than putting together a story shot by shot, or rescuing a director when a film‘s continuity is nowhere to be found. Editing not only establishes a film’s rhythm, it is the heart beat of narration, the spirit between the shots, and the conductor of the audience’s emotional journey. Any film can provide an audience with a cliff while only a well edited film can grant an audience the pleasure of a cliff-hanger. This year, we are very fortunate to have some of the industry’s most esteemed editors joining the Berlinale Talent Campus. These editors include Angie Lam, Sabine Krayenbühl, Jim Clark and Dirk Grau, each of whom will share their experience and insight regarding this exciting element of film. In building the programme for the Berlinale Talent Campus 2006 it became apparent that the question of exclusion vs. omission is not only important for editors. This very inquiry is equally applicable to the many decisions a cook has to make while preparing a dish. The connections between filmmaking and cooking are manifold and give us a lot of food for thought in the special programme “Films on Hunger, Food and Taste”. Thanks to the support of people like Vandana Shiva, Alice Waters, Tom Luddy and Carlo Petrini, the Berlinale Talent Campus will offer entertaining, critical and widely opened discussions on the theme of Hunger, Food and Taste. Be it culinary or editorial, the hallmark of the Berlinale Talent Campus lies within the wonderful cross-section of opinions, thoughts, and views that it’s constantly increasing global network of Campus alumni, friends and collaborators share with its students. Over the last three years BERLINALE TALENT CAMPUS #4

experts from five continents and nearly 2,000 Talents from more than 100 countries have taken part in this international arena of dialogue, co-operation and exchange. Furthermore, it seems fair to conclude that the opening of Talent Campuses in Cape Town, New Delhi, Buenos Aires and Kiev testifies to the progressive environment that is created both by and for the young filmmakers that attend the event each year. We are happy to announce that in 2006 Euromed, the Euro-Mediterranean Partnership Programme, has joined our group of long-time partners and established sponsors such as MEDIA, Medienboard Berlin-Brandenburg, Skillset and the UK Film Council, and Volkswagen. The co-operation and willingness of these sponsors to endorse and support young filmmakers around the world has turned the Berlinale Talent Campus from an idea into a reality. Come be inspired by the unique and creative spirit of the Campus. Be part of the excitement and enjoy the week. Dieter Kosslick Director Berlin International Film Festival

Editing films deepens the understanding of human nature. Pauliina Punkki, Finland

PAGE 5

PARTNERS

A WELCOME FROM OUR PARTNERS Judy Counihan

Dirk Große-Leege

Director of Film, Skillset, Sector Skills Council for the Audio Visual Industries

Head of Corporate Communications at Volkswagen AG

The strength and success of the UK film industry hinges on the skills, talent and ideas of the people working in it. Film is a global marketplace with a global audience. To continue to cater for and appeal to that audience we must remain fresh and exciting. Skillset is committed to encouraging and nurturing the next generation of bright new filmmakers to do just that. For the second year in a row Skillset, Sector Skills Council for the Audio Visual Industries, is supporting the Berlinale Talent Campus. Last year’s highly successful speed-matching sessions will take place again every day at lunch time starting on Orientation Day, when all 520 Talents will have the chance to meet each other informally and start networking. It is an invaluable way for Talents from around the globe to discover potential co-production partners. We will also be giving Talents the opportunity to “Meet the experts”, staging intimate group sessions with leading industry figures to discuss topical issues in filmmaking. The Campus is an amazing opportunity for filmmakers and we are delighted to be working with the Berlinale again in 2006. To sign up for speed-matching or a meet the experts session please visit the Skillset stand in the Campus Lounge. For more information on how Skillset can help filmmakers please visit our website at www.skillset. org/film.

PAGE 6

As an official partner of the 56th Berlin International Film Festival, Volkswagen‘s support for the Berlinale Talent Campus has now entered its third year, and we are again focusing on encouraging young talent. Our work with promising talent, which began in 1997, when the Volkswagen Sound Foundation was established to support young musicians, has been extended to the film industry and is growing steadily stronger. Over the coming days, 520 talents from 101 nations will come to the House of World Cultures. These young filmmakers will exchange past experiences, create new trends and put teamwork to the test. Representatives from our Career Development Department will lend their support during the workshop entitled “Potluck – Recipes for Inspired Teamwork“. The Volkswagen Score Competition, where young composers and musicians from the Babelsberg Film Orchestra set a Volkswagen clip to music, will again take place in 2006. We look forward to our partnership at this year’s event and wish all participants an exciting and stimulating time in Berlin.

PARTNERS

Petra M. Müller CEO Medienboard Berlin-Brandenburg, Management Location Marketing

Costas Daskalakis

Kirsten Niehuus

Head of the EU MEDIA programme at the Education, Audiovisual and Culture Executive Agency.

CEO Medienboard-Berlin-Brandenburg Management Film Funding

The Berlinale Talent Campus brings young talents from all over the World to Berlin for one week, where they get to know each other, share their experience and meet exceptional international filmmakers. This not only builds the foundations for future closer international co-operation and business relations but also contributes to stimulating the exchange of ideas and views and hence a better understanding between peoples and cultures. The objective of the MEDIA Programme of the European Union is to encourage and support the circulation and diversity of European works and professionals in Europe and in the world. The MEDIA programme devotes a significant share of its budget to support dozens of training initiatives in Europe. The MEDIA programme has been happy to support the Berlinale Talent Campus as a major partner since its creation in 2002. We would like to whish every success and lots of encounters to the 520 Talents gathered by the Berlinale Talent Campus in the appropriately named “House of World Cultures”.

Great ideas are at the root of all great films. And where can a new generation of filmmakers go to brainstorm about great ideas? To the Talent Campus of the Berlin International Film Festival, of course! The Talent Campus is a five-day creative get-together attended by hundreds of young industry players from over 100 countries. Berlin – German capital and creative metropolis - has always held a special attraction for the international film industry. The entire Berlin-Brandenburg region offers all the essential ingredients for film production and much more. Hardly any other location in Europe features such a variety of cultural and creative currents. Berlin has also long been famous for its avant-garde atmosphere, its cutting edge combination of history and myth, its independent scene and its pioneering club culture. This inimitable atmosphere acts like a magnet for young and creative people from all over the world. The Berlinale continues to be one of the most important film festivals on the planet, bringing the industry’s leading filmmakers to the German metropolis each year. The Medienboard helped to initiate the Berlinale Talent Campus and has provided comprehensive support for the meeting from the very beginning. We are especially looking forward to congratulating this year’s winner of the Medienboard’s “Berlin Today Award” for young talent on February 11th at the opening of the Campus. Incidentally, each and every participant at the Talent Campus is once again invited to apply for the award. The top three finalists are then asked to make a 20 minute film about contemporary Berlin. Welcome to Berlin-Brandenburg!

BERLINALE TALENT CAMPUS #4

PAGE 7

CAMPUS VENUE

BLOOD FOR A CAMERA Film, Passion and the House of World Cultures – a promising combination!

House of World Cultures. Photos: Sabine Wenzel

Legend has it that Zhang Yimou donated blood to raise money for his first camera – an action which in spirit is not far removed from the “Hunger, Food and Taste” at the focus of this year’s Berlinale Talent Campus. The anecdote captures the passion of a director, whose work the House of World Cultures will feature as part of the Spring 2006 programme “China – Between Past and Future.” This form of hunger is of course familiar to all the Talents – it is the same passion that transforms the House of World Cultures into the Campus every February, the same passion driving our co-operation with the Berlinale and our long-standing commitment to providing Berlin audiences with programming featuring cinematic highlights from around the world. In 2007, the building of the House of World Cultures will celebrate its 50th birthday – reason enough for renova-

PAGE 8

tion, but also – and above all – for contemplation of modernity’s utopias, which its architecture so clearly reflects. Beginning with the hall’s founding, artists, writers, thinkers and scientists have filled its visionary architecture with the visions the spaces sought to inspire – Thornton Wilder, Martha Graham, Henry Miller, and other leading protagonists of the “New World”, as seen through 1957 eyes. Fastforward fifty years: While we physically reconstruct, artists and thinkers from all parts of the globe will build for the future, lay the foundations for continuing discussions on modernity and its many forms. In this spirit, we wish you a warm welcome to Berlin and invite you to make our House your “home” – not only for the next days to come but as part of an ongoing relationship and continuing dialogue.

GLOSSARY

THE TALENT'S GLOSSARY The most important catchwords at the Berlinale Talent Campus – fast forward information for everybody who always wanted to know.

The five P's of filmmaking Philosophy, Pre-Production, Production, Post-Production and Promotion: These are the essential steps of filmmaking, and form the foundation of the Campus week. Curriculum The Berlinale Talent Campus offers more than 70 lectures, discussions, excursions, screenings and workshops for Talents and interested visitors. Working Campus (see also p. 58) The Working Campus brings Talents together to work actively with one another in small teams and come to a tangible result during the Campus. All Working Campus activities require special application procedures and consist of the following five projects: Talent Movie of the Week Around 20 Talents have the opportunity to team up and produce a five-minute digital short film during the Campus week. The films will be presented at the Farewell Celebration. This year's mentor is Korean director Park Chan-wook.

BERLINALE TALENT CAMPUS #4

Script / Doc Clinic 27 selected Talents will receive advice and guidance from experienced script consultants and filmmakers about the development of their feature film scripts and treatments or documentary film ideas. Talent Project Market The Talent Project Market gives 17 Talents the opportunity to work together with professionals attending the Co-Production Market, and to receive personal feedback from wellknown producers about their current projects. Volkswagen Score Competition Three Talents create a new sound design for three short film clips. During the Campus they are recorded in a Berlin sound studio and with the Babelsberg Film Orchestra. The final results are presented at the Farewell Celebration. This year's mentor is Stephen Warbeck. The Talent Press Ten young film critics are invited to report on the Berlinale Talent Campus and the films of the Berlinale. Their articles will be published on the following websites: www.talentpress.org, www.fipresci.org, www.goethe.de.

Berlin Today Award After each Campus, the Talents are asked to propose short film concepts with reference to Berlin. The three best ideas are awarded a production budget of 50,000 Euro from the Medienboard Berlin-Brandenburg and the film industry of Berlin-Brandenburg (see also p. 22). Application Every year by the end of June, the application documents become available at www.berlinale-talentcampus.de. The application deadline for 2007 is November 1. Filmmakers are encouraged to apply with a short sample of work. Application samples of this year‘s Talents can be viewed at the terminals in the Campus Lounge. All samples of all Talents are continiously streamed on the Campus website. What are the fields of work of the Talents in 2006? Most of the 520 Talents are working in more than one field. 386 direct, 195 write scripts, 75 produce, 80 are cinematographers, 105 edit, 40 are production designers or art directors, 35 are sound designers or composers, 37 are actors, and 10 are critics or film journalists.

PAGE 9

EDITING For the last five decades the English editor Jim Clark has improved internationally acclaimed film productions with his fine grasp of rhythm and dramaturgy. Honoured with an Oscar for his editing of Roland Joffé's THE KILLING FIELDS, Jim Clark graces the Campus by sharing his experiences.

A MASTER CRAFTSMAN

Edited by Jim Clark: Mike Leigh's VERA DRAKE

“I’m far more interested in the ‘well-made’ film than I am in the razzle-dazzle of CGI”, says Jim Clark in Vincent LoBrutto's portrait for the “ACE Tribute Book”. “Because these days you can do anything provided you have enough money but it doesn’t necessarily make the goods any better.” Making the goods any better – that was Jim Clark's challenge as editor of up to fifty productions till this day. Born 1931 in Boston, Lincolnshire, England, he was attracted at a young age by moving pictures, and started out his editing career at the legendary London-based Ealing Studios. As an assistant editor there he learned the editor's crafts, as well as montage tricks and strategies on films like Alexander Mackendrick's famous THE LADYKILLERS, or THE TITFIELD THUNDERBOLT directed by Charles Crichton. In the early 1960's Jim Clark established himself in England and in the USA as a freelance editor by working with directors like Stanley Donen on successful films such as THE GRASS IS GREENER and CHARADE. In the late 1960's, the New Hollywood began to emerge and also in Europe alternative filmic forms enriched the contemporary cinema. A younger generation of directors came to the fore, including John Schlesinger, with whom Jim Clark edited a couple of thrillingly structured films, like DARLING and then MARATHON MANN. Michael Apted (AGATHA) and Roland Joffé also the editing of some of their films to Jim Clark. The collaboration with Roland Joffé yielded honorary fruit when Jim Clark won an Oscar for best editing for THE KILLING FIELDS in 1985 and a nomination for THE MISSION in 1987. PAGE 10

Bruce Beresford (A GOOD MAN IN AFRICA), Michael Caton-Jones (THE JACKAL), Richard Loncraine (THE GATHERING STORM) and most recently Mike Leigh (VERA DRAKE), to name just a few, are some of the directors he has worked with during the past decade. All the filmmakers Jim Clark prefers to collaborate with possess a unique cinematic signature, and above all a distinctive passion for the craft of the film medium. It's the “strict technical principles with attention the story and content”, as Vincent LoBrutto wrote, that characterises the highly acclaimed editing of Jim Clark. One of his latest works is Peter Cattaneo's OPAL DREAM, which opens this year's Berlinale Kinderfilmfest. This year's Campus Talents will be offered a once-in-a-lifetime opportunity: watching Jim Clark edit his new project DECAMERON: ANGELS AND VIRGINS, directed by David Leland, live on stage!

Sunday 12, 14:00

≠ Auditorium Meet the Cutting Crew

Monday 13, 10:30 Live with Jim Clark

Jim Clark

≠ Theatre

EDITING Angie Lam is known the world over for her editing on martial arts films. This year, she shares with the Campus her editing strategies in an intensive seminar, and below, she gives the Campus Magazine some insight into her editing philosophy.

THE EDITOR'S KITCHEN Considered by many one of the world’s top film editors, Angie Lam’s passion for her work borders on the poetic. Based in Hong Kong, she has dozens of films to her credit, having worked as both an editor and a post-production supervisor. She is known for having edited films such as HERO, HOUSE OF THE FLYING DAGGERS and IRON MONKEY, and her reputation as an editor for martial arts films is unparalleled. Lam’s editing philosophy ensures her active participation in the editing process, because in her words, “the editor is not a bystander… Making it simple, I am the ultimate fighter when I am cutting on an action film... And I know where to cry when I am cutting a melodrama.” Getting into the film as an editor takes away the prominence of the technical elements of editing, and gives a truly human feel to the film. The human element is not limited only to an editing style: according to Lam, “real human contact is still the most important kind of contact.” She sees her expertise as a martial arts editor fully transferable to other genres, the key being in the rhythm and impulse of the editing. She explains “if you are cutting with the wrong rhythm, it’s like singing a song in the wrong tune.” Lam’s straightforward approach to finding the heartbeat of narration is a valuable tool for all aspiring editors. No stranger to the food and film theme, Lam said that when she was learning to edit, her mentor influenced her with a wide variety of ideas. She told the Berlinale Talent Campus that her mentor explained to her that “to make a cut is to complete a dish from a designated recipe. If the script is the recipe, BERLINALE TALENT CAMPUS #4

Edited by Angie Lam: KUNG FU HUSTLE

then the process of cooking is the job of editing. You cannot at this point choose to make a different dish, since the director has already selected all his ideal ingredients.” Obviously these were wise words, as they have led Angie Lam to great success in the editing world. The connections between food and film don’t end there for Lam… She also told the Campus that she had initially planned to name her editing suite “The Cutting Kitchen.” The 2006 Berlinale Talent Campus is very excited that Angie Lam will be joining us for several sessions.

Editor Angie Lam

Sunday 12, 10:30

≠ Auditorium Eat and Shoot the Indie Way

Sunday 12, 14:00

≠ Auditorium Meet the Cutting Crew

Wednesday 15, 10:30

≠ Theatre

The Cutting Kitchen PAGE 11

EQUIPMENT

COMPLETE THE PICTURE

What's filmmaking about? It's about the passion to translate ideas into a convincing, compelling stories – for you and for your audience. As a Campus participant, (we presume that) you are talented. Prove it.

It may seem that nobody cares about the technical aspects of post production in the first place. But somewhere down the line, when you are sitting between hours of footage, every scene an essential fragment of your story, the final cut can separate a nice try from a masterpiece. At this point you are sitting at the cutting edge of making movies. You need tools that are easy to learn but give you the flexibility to work with every format, from film to DV and native HDV to fully uncompressed HD – just in case. Tools you can use down the road, with your PowerBook or your new MacBook Pro. Tools that are affordable, so

Das Wasser zum Drehen_210x140

12.01.2006

you don’t have to rent a system. You know the benefits of keeping your whole production cycle under one roof. Why not keep all your production tools in one box? Final Cut Studio combines the industry-standard Final Cut Pro 5 with the real-time design engine of Motion 2 for stunning motion graphics, the flexible audio creation and control tools of Soundtrack Pro and the sophisticated SD and HD DVD authoring features of DVD Studio Pro 4. Final Cut Studio also scales up to a High End Post Production System. Make Final Cut Studio your all-in-one virtual studio and you’re all set. You are not alone. Apple offers free daily trainings on Final Cut Pro, Motion, Soundtrack Pro. Sign up for your free training in the main hall of Berlinale Talent Campus at the Apple counter. And your audience is already waiting: The official “Campus Video Podcast”, supported by Apple, is featuring a showcase of the best movies, providing access to millions of iTunes users. More information can be found at www.apple.com

18:52 Uhr

Seite 1

Das Wasser zum Essen.

Das Wasser zum Drehen.

PAGE 12 w w w.voeslauer.com

VIRTUAL BERLINALE TALENT CAMPUS

THE TASTE OF VIRTUAL TALENT

Discover the Planet Talent! The Virtual Services at the Berlinale Talent Campus Lounge and on the internet reflect the variety of the Campus itself.

There are two parts to Virtual Talent: The Talent Database, which is set up during the Berlinale Talent Campus, and the Campus Website, which acts as an archive and a reference point for Talents after the Campus ends. Here is your guide to all that Virtual Talent has to offer! The Talent Database Between the 11th and the 16th of February in the House of World Cultures (HKW), the Virtual Berlinale Talent Campus becomes real: Talents can turn on and tune in to the work of other Talents. In the main lounge area of the HKW, you’ll find terminals equipped with flat screen monitors and headphones, each linked to the Campus database, making all of this year’s samples of work available for your perusal. The system also allows Campus visitors to get in contact with the Talents. If you are a Talent scout this is the place to find what you are looking for. You’ll also be able to access the internet in the HKW. Apple has provided computers to the Campus, making it possible for you to stay on top of your communications without missing out on the Campus ambiance. The Campus Website A visit to www.berlinale-talentcampus.de is a worthwhile endeavor for anyone, from curious filmmakers who have never set foot on the Campus to seasoned Campus veterans hoping to catch up on missed events. Maintained by our web-wizard Marcus Forchner and programmer Jens Rietdorf, the Campus website has an impressive menu, bound to serve something to satisfy any appetite. The feast of knowledge is held in the Experts section of the Campus website, where you’ll find video archives of previous Berlinale Talent Campus presentations from a growing list of BERLINALE TALENT CAMPUS #4

film’s biggest names, including Dante Ferretti, Frances McDormand, Anthony Minghella, Walter Salles and Wim Wenders. Or, sample our tasty buffet of film samples from more than 2,000 participating Talents over the past three years. These are accessible year round from the Talent Database portion of the website, which lets web users search Talents by name, by field of work, or by country. And for dessert, how about Talent Stories, where previous Talents share with the world their filmmaking experiences after the Campus? Talent Stories is bound to leave a good taste in your mouth! To get all the information on 2006’s theme, you can check out our section “Special: Films on Hunger, Food and Taste”. Here you’ll find articles on food by great filmmakers like Angie Lam, and thoughts about film from Slow Food chairperson and Campus special guest Carlo Petrini. Keep on checking back to the Campus website, which in 2006 will include a Campus podcast for the first time. If you can’t make it to the Campus, or if you missed a workshop, the next best thing is the online Campus at www.berlinaletalentcampus.de. PAGE 13

HUNGER, FOOD & TASTE This year's special at the Berlinale Talent Campus is dedicated to the relationship between food and film. A wide range of parallels will be uncovered during several Campus events, with help from chef Alice Waters and other special guests, and what seems to be a special idea at first sight, may suddenly work on many levels.

FOR HUNGRY EYES The Five “Ps” about the cook? In the pre-production phase she or Preparing delicious meals – like high concept filmmak- he is assembling the ingredients: some may come a ing – makes the highest demands on quality, team long way by cargo, others might have taken a whole members, logistics, taste and composition. Alice Waters, season to grow. The components of the meal must be chef, gardener, writer and special guest at the Campus, cleaned, chopped, mixed and prepared. The ingredibuilt up her career on these standards. Her restaurant ents and the tools must already be in place to make “Chez Panisse” in Berkeley, California opened in 1971, the timing possible. serving a single fixed-price menu that changed daily. The set menu format remains at the heart of her phi- Step Three: Cooking / Production losophy of serving the most delicious organic products, Be it in the kitchen or on the film set, in the “hot” phase but only when they are in season. Over the course of of production, smooth interaction of the crew is vital. three decades, “Chez Panisse” has developed a network The actors transform the screenplay into a three-dimenof local farmers whose dedication to sustainable agri- sional reality which is recorded by the camera. culture assures “Chez Panisse” a steady supply of pure The camera is the equivalent of the oven. The word and fresh ingredients. “focus” comes from Latin and means hearth. The appliThe five “Ps” of filmmaking (philosophy, pre-production, cation of heat transforms raw material into a tasty subproduction, post-production, promotion) that struc- stance. This process can also be compared with translature not only the course of film production but also tion. In many cases the body doesn’t “understand” the the Campus programme are also basic elements in the composition of the raw material and refuses to take it cooking process of chefs like Alice Waters. in. However, when it is “translated” into another form, the body understands and absorbs it. A film director Step One: Recipes / Philosophy should know how the chemistry of the camera and Filmmaking, like every creative act, begins with a phi- the language of film transform the reality before his losophy, with thoughts leading to an idea. An idea will or her eyes. guide the filmmaker from the very beginning to the very end of the production. A cook may make up his Step Four: Arranging / Post-Production or her mind by reading recipes or inspecting raw mate- In the post-production phase, film takes its final form. rials at the market. Wherever the inspiration comes Discontinuity is transformed into a continuous chain of from, the maker needs a concept to start cooking or events. Scenes might be digitally reworked. Sound and filming. picture are blended together until the day of the final cut. Thus many elements together became a whole. Step Two: Ingredients / Pre-Production But, the picture is still not ready for release. The second phase in filmmaking is pre-production, Cutting back to the kitchen: The chef and the crew which in some cases can last years. Several drafts of are busy arranging the courses of the meal such as a script grow out of the original idea. A core team is soup, entrées or dessert, preparing the side-dishes, formed, and there’s work to be done on financing and and reducing the sauce. The sommelier takes care of casting until everything is ready for shooting. What the wine. The feast can almost start. PAGE 14

HUNGER, FOOD & TASTE

Chef and natural food advocate Alice Waters, photographed by Norman Jean Roy (left) and Thomas Heinser (above)

Step Five: Serving / Promotion Promotion is the final stage of film production. A concept is needed to present and sell the film. The producers will reformulate the original idea of the film, which might have changed along the way. Agents and distributors start marketing in the hope of having a “hot” selling point. The critics are the first ones to judge whether the fresh release suits their taste. In the kitchen, it is the turn of the waiters to serve the meal. Service is an important element in achieving your primary goals. Even if you just cooked pasta for yourself, it is the way you serve yourself that will bring you satisfaction. Charlie Chaplin couldn’t digest the shoe laces in THE GOLD RUSH but he kept his dignity – which ultimately saved him. At “Chez Panisse” Serving succulent dishes implies a large amount of responsibility towards consumer as well as the environment. Alice Waters, Vice President of Slow Food International, and her natural food concept do exactly this. Her Chez Panisse Foundation, for example, committed in 1996 to transforming public education, and continues to support projects that integrate gardening, cooking, and the sharing of a daily school lunch into the core academic curriculum. The Edible Schoolyard at Berkeley’s Martin Luther King Jr. Middle School is the Foundation’s primary beneficiary. This hands-on programme involves children directly in growing, and cooking, their own food. In 2003, Alice Waters helped conceive The Yale Sustainable Food Project, with the goal of making food an integral part of the academic experience at the university level. By supporting small-scale, organic farmers in the Northeast who care for the land, Yale hopes to set an example of responsible eating for institutions around the country. BERLINALE TALENT CAMPUS #4

At the Campus Table The Berlinale Talent Campus will be a place to watch, eat, and explore the relationship between film and food. Talks on “Hunger, Food and Taste”, hosted by Tom Luddy, will take place at the Campus with a solid background. As Bertolt Brecht said: “Erst kommt das Fressen und dann die Moral” (Chow first, then moralise). Alice Waters will enrich the Campus programme in three events by arguing for two substantial passions: quality food and quality films.

Sunday 12, 10:30

≠ Auditorium Eat and Shoot the Indie Way

Monday 13, 14:00

≠ Theatre

Passion Food

Monday 13, 18:00

≠ Restaurant Food for Thought: ALICE WATERS AND HER DELICIOUS REVOLUTION

PAGE 15

HUNGER, FOOD & TASTE Already a household name to natural food buffs, Carlo Petrini is the founder of Slow Food, a movement that is quietly changing the way that people eat and think about food. He joins this year’s Campus as a special guest, examining the points of contact between food and film.

I EAT, THEREFORE I AM In a world of fast food, slow food is occupying a healthy counter position to mass consumption. Will the film industry also find a counter balance favouring small independent productions as opposed to industrial mass production? The simple pleasure of making time to break bread with friends and family, the healthy goodness of locally grown produce and the importance of maintaining a connection to the land through what we eat are at the heart of the Slow Food philosophy. Petrini is the face behind Slow Food, and in his daily work he places gastronomy out in front as a creative, educational, diplomatic and cultural tool that is not only aimed at individuals, but that can also be used to breathe fresh life into ecological movements across the globe. The 2006 Berlinale Talent Campus is not the first time that Petrini has stood at the intersection between food and film, because while the philosophy of Slow Food is simple, the projects that have emerged from the movement are diverse, and include a biannual Slow Food on Film Festival. Every two years, the Golden Snail is awarded to the team that produces a documentary that best captures the essence of a food that is dying out or a cooking tradition that is being forgotten. Film is here combined with food in a way that makes it a sort of memory, a record of past traditions that can be stored for future generations. The connections between food and film certainly don’t stop there. Petrini’s approach to the realities of unsustainable mass production, ecological destruction, unhealthy fast food, and the loss of traditional knowledge is valuable to filmmakers because it is pragmatic, and not just philosophical. A filmmaker might have similar worries: the hyper-proliferation of digital technology, the amount of waste generated and the excessive resources used during shooting, the producPAGE 16

Founder of Slow Food: Carlo Petrini

tion of cinema only to satisfy a commercial appetite, and the loss of knowledge with regards to cinematic customs now deemed “out of date.” Instead of complaining about the sorry state of affairs, Petrini advocates the relevance of a new way forward, rooted in rural knowledge and cultivation traditions. He encourages people create local demand for local products, to take the time to eat together, and to get to know their local gastronomic traditions. Through these simple measures, real change and education happens. Filmmakers have a lot to learn from this philosophy, and Talents and guests will have a chance to hear Carlo Petrini speak twice during the Campus.

Sunday 12, 10:30

≠ Auditorium Eat and Shoot the Indie Way

Monday 13, 16:30 The Case for Taste

≠ Auditorium

HUNGER, FOOD & TASTE A prominent scientist and activist, Vandana Shiva, winner of the Right Livelihood Award, will be attending this year’s Campus. Her voice will add an essential scientific and political aspect to the Campus theme of “Hunger Food and Taste”.

THE SEED SAVER Vandana Shiva is one of the world’s most recognizable physicists, known for her strong stances in favor of local control over land, water, agriculture and seeds against the patenting of life, and for her strong support of ecological feminism. She has been – and continues to be – on the front lines of the so-called “anti-globalisation” movements that are today changing the world’s political landscape, one demonstration at a time. Based in New Delhi, Vandana Shiva is a dedicated writer, commenting at least weekly on various websites and magazines on topics ranging from the miniscule (a particular local seed) to the massive (anti-WTO protests from Seattle to Cancun to Hong Kong). She is an authority on Indian politics, and an important figure in third-wave feminism, but when it comes to food and activism, Dr. Shiva’s central axis rests on diversity: biodiversity and diverse people. Shiva founded the Research Foundation for Science Technology and Natural Resource Policy in 1984, the same year that the Bhopal disaster rocked India and showed the world the ugliest face of careless development. Today, in addition to research facilities, the foundation features a school, an organic garden and a Slow Food café. Whether helping to create markets for local farmers, advocating for the right to sovereignty over seeds through lawsuits, bringing a Third World perspective to a discussion or making space for women’s voices in the environmental movement, Dr. Shiva is eminently holistic in her approach. The Guardian newspaper has called her “one of the world’s most prominent radical scientists.” A respected writer and speaker, with hundreds of articles and many books to her credit, she has also contributed to a number of documentaries, including LIFE RUNNING OUT OF CONTROL (directed by Bertram Verhaag and Gabriele Kröber). Her multifaceted approach to activism can serve as a model and inspiration to creative people, breaking with the consumerist mold to create new meanings and to savor forgotten recipes. BERLINALE TALENT CAMPUS #4

Vandana Shiva with Thomas Struck

Filmmakers young and old will most definitely take something away from Dr. Shiva’s addresses in the two Sunday panels that inspire them to consider, or to continue to integrate, environmental and feminist awareness not only in their creations, but also in their filmic practices.

Sunday 12, 10:30

≠ Auditorium Eat and Shoot the Indie Way

Sunday 12, 12:15 ≠ Theatre Who Owns Life? Talk with Vandana Shiva and Renate Künast

PAGE 17

HUNGER, FOOD & TASTE The intersections of film with hunger, food and taste have become a special programme for the 2006 Berlinale Talent Campus. This has been developed with the creative support of Tom Luddy, co-director of the Telluride Film Festival, Colorado.

APPETITE FOR CREATIVITY Luddy brings to the Campus great knowledge and skill as a programming director, as he is well known for making the Telluride Film Festival’s line-up one of the most interesting and exclusive in the world. He chose the films that will be shown in the Cuisines et Cinéma section of the Campus that is made possible in partnership with the French Embassy in Berlin and was on the jury of the Campus short film competition on hunger, food and taste. In addition to Luddy’s Cuisines et Cinéma programme, the Campus has invited very special guests Vandana Shiva, Alice Waters and Carlo Petrini to help us make new linkages between social responsibility, hunger, food and taste, and filmmaking.

Cuisines et Cinéma – places to be for Tom Luddy

The idea of combining the themes of food and films has matured from a rough sketch to a multifaceted and challenging element of the 2006 Berlinale Talent Campus. The creative vision is best summed up in the poetic words of Campus Talent Manager Thomas Struck, “Your body is a Cinema. Films are food for your soul. Cinemas are restaurants for feelings.” It is with this sense of openness and creativity that food and film metaphors have begun to overlap, and the film and food idea has crystallized. Producer of nine films and consultant to many more, Tom Luddy is also the former programme director of the Pacific Film Archives in Berkely, California, and currently sits on the advisory board for ALL-STORY, a short fiction magazine published by Francis Ford Coppola.

PAGE 18

The Campus team is also very excited about the 350 film samples about hunger, food and taste that were sent as applications to the Campus. The best of these short films will be shown at the Campus Exhibition Hall as well as in the “Food for Thought” programmes. They are also invited to compete for the Golden Snail at the Slow Food on Film Festival, an initiative of Petrini that will take place this April in Bra, Italy. Talents can catch Tom Luddy as he moderates a variety of seminars and discussions during the course of the Campus.

HUNGER, FOOD & TASTE The film programme ”Cuisines et Cinéma – Celebrating Food in Film” at the Ambassade de France (French Embassy) may whet your appetite for cinematographic fancy foods. Between February 11 and February 15, six films will accompany the Campus discussions on Film and Food.

CUISINES ET CINÉMA Each screening will be preluded by a short film from the Campus competition “Hunger, Food and Taste”. Films will be subtitled in English. Tickets for the screenings are available at all Berlinale Ticket Counters. All screenings will take place at the French Embassy, Wilhelmstraße 69, where the Café Voltaire will offer Hors d’euvres. Shuttle busses will run from the House of World Cultures to the French Embassy beginning one hour before showtime.

Saturday 11, 20:30 (admission: 19:30) Opening Programme Babettes Fest (Babettes Gæstebud) DK 1984. Dir.: Gabriel Axel. With Stéphane Audran, Birgitte Federspiel, Bodil Kjer. 103 min. Introduced by Carlo Petrini and Dieter Kosslick. In 19th century Denmark, two adult sisters live in an isolated village with their father, who is the honoured pastor of a small Protestant Church. After some years, a French refugee arrives at their door, begs them to take her in, and commits herself to work as their housekeeper.

Mondovino AR/FR/IT/US 2004. Dir.: Jonathan Nossiter. 135 min. Introduced by co-producer Juan Pittaluga. An unsparing and direct documentary about the impact of globalization on the world’s different wine regions.

Saturday 11, 23:00

Tuesday 14, 20:00 (admission: 19:00)

Harvest (Regain) FR 1936. Dir.: Marcel Pagnol. With Gabriel Gabrio, Orane Demanzis, Fernandel. 127 min. Introduced by Alice Waters. Powerful black and white cinematography featuring the young Fernandel. The film deals with the trials and tribulations of peasant farmer Panturie and his attractive lover, apprentice knife-grinder Arsule.

Be with Me SG 2005. Dir.: Eric Khoo. With Theresa Chan, Chiew Sung Ching. 93 min. Introduced by Michel Ciment. BE WITH ME is a tapestry of three stories woven around the themes of love, hope and destiny – a communication without words and the magic of food.

Sunday 12, 20:30 (admission: 19:30)

Wednesday 15, 20:30 (admission: 19:30)

Eat Drink Man Woman (Yin Shi Nan Nu) TW/US 1994. Dir.: Ang Lee. With Sihung Lung, Yu-wen Wang, Chien-lien Wu. 123 min. Introduced by Carlo Petrini. A senior chef who lost his sense of taste lives with his three daughters. The middle one finds her future plans affected by unexpected events, and the life changes of the other household members. BERLINALE TALENT CAMPUS #4

BELLA MARTHA by Sandra Nettelbeck

Monday 13, 20:30 (admission: 19:30)

Bella Martha DE 2001. Dir.: Sandra Nettelbeck. With Martina Gedeck, August Zirner, Sergio Castellito. 109 min. Introduced by Sandra Nettelbeck. When a headstrong chef takes charge of her equally stubborn 8-year-old niece, the tension between them mounts – until an Italian sous-chef arrives to lighten the mood. PAGE 19

PORTRAIT Park Chan-wook is at the forefront of a new generation of Asian directors, turning out films that provoke the audience and please the eye. He joins the Campus this year to lend a skilled and steady hand to the Talent Movie of the Week teams.

THE FINE POINTS OF FILMMAKING

Happy together: Park Chan-wook's JOINT SECURITY AREA

This dynamic South Korean director is the face of new Korean cinema most familiar to the West, gracing the big screen with his own cinematic style ever since the release of his first full-length film in 1992. He has enjoyed great mainstream success in Korea, with films like JOINT SECURITY AREA, and won much critical acclaim for others, like SYMPATHY FOR MR. VENGEANCE, a phenomenon he attributes simply to the fact that “people have differing tastes.” Park Chan-wook grew up in Seoul, South Korea, where he later studied philosophy, with the aim of becoming an art critic. An avid cinemagoer, he was inspired by Hitchcock’s VERTIGO to become a director in his own right, and to this day remains focused on the aesthetic aspects of his work. Twelve years after the making of his first feature film, Park Chan-wook was awarded the Grand Prix at the 57th Cannes festival for his film OLDBOY. He is quoted after his acceptance speech at Cannes as having told a journalist that he made the film in the spirit that “… spectators could watch OLDBOY many times, and discover new elements each time.” His attention to detail and the richness of his work come through in the fact that it is only through multiple screenings that one can truly appreciate his craft. PAGE 20

Park Chan-wook on set

OLDBOY was the second film in a loose trilogy on vengeance, the last being SYMPATHY FOR LADY VENGEANCE (in competition in the 2005 Venice film Festival), which explores themes of revenge and violence. His scenes are often fraught with disturbing, excruciating violence, while at the same time stylish and controversial, all the while visually overwhelming. He is sometimes compared to Quentin Tarantino and David Fincher. Park’s future plans include crafting films in varied genres, with a romantic comedy of sorts planned for 2006, to be followed by EVIL LIVE, a vampire movie. Park Chan-wook described his movie making formulation to the Hollywood Reporter as follows “…I plan out the outline with the speed of a jet, write out the draft with the speed of a sports car, and retouch the script like an afternoon walk.” These attributes will make Park an invaluable mentor for the three teams selected for the Talent Movie of the Week, as he guides each team through the fine points of filmmaking.

Monday 13, 14:00

≠ Auditorium Sympathy For the Devil

PORTRAIT Stephen Warbeck’s ability to write scores across a multitude of genres, as well as his musical proficiency with a variety of instruments make him a true jack of all trades in the music world. The Oscar winning film composer joins this year’s campus as a mentor for the Volkswagen Score Competition.

GET RHYTHM! Stephen Warbeck started out as a composer in 1977, and from his humble beginning as a young man making music, he has followed his passion, leading him to where he is today: an established composer with many musical projects on the go. He has scored music for dozens of films, including BILLY ELLIOT, CAPTAIN CORELLI’S MANDOLIN, and SHAKESPEARE IN LOVE, for which he won an Oscar. His work for theater is just as broad, having written an abundance of scores for plays, as well as for touring plays, such as THE INSPECTOR CALLS. Most recently, he completed his first score for a ballet, expanding again his frontiers as a composer. What makes Warbeck unique in the music world is the scope of his interaction with other creative people in his daily work. In an interview with the BBC, he described his job as wonderful, because “it gives me the opportunity to work with a huge number of different people – different musicians, film directors, theatre directors – on a very wide range of different projects so I am constantly stimulated by different things outside this room where I work.” This constant interchange of ideas and projects can only kindle the creative spirit, and in Warbeck’s case it has certainly been a successful formula for producing innovative, top quality scores. The hKippers, a band for which Warbeck composes – as well as singing and playing the accordion, mandolin, and piano – allow him yet another creative outlet for his music. In an interview with amazon. co.uk, he described playing in a band as being “like a safety valve. In my work I’m writing for film and theatre and you have to keep your silliness slightly under control or things go horribly wrong. But with the hKippers, we don’t have to.” Warbeck has also participated in a BBC programme called “Challenge Cantata,” where he was given a week to compose, write, arrange, rehearse and perform a cantata for an orchestra and choir. This long list of credentials make him the ideal mentor for the Volkswagen Score Competition at this year’s Campus. As the three Score Competition Talents work through a similar process during the Campus, they’ll most definitely be glad to have the support and guidance of Stephen Warbeck.

Above: LOVE’S BROTHER, scored by Stephen Warbeck Below: No need to hide: Stephen Warbeck Photo: ©Luk Monsaert

Thursday 16, 14:00

≠ Auditorium Hitting the Right Note – Stephen Warbeck live on stage with members of the VW Orchestra

BERLINALE TALENT CAMPUS #4

PAGE 21

BTC ABROAD The roots of the Talent Campus are firmly planted in Berlin, but since 2003, new shoots of the Campus initiative have been sprouting internationally.

CAMPUS, CAMPUS, EVERYWHERE!

From Berlin to Cape Town: Christine Tröstrum surrounded by Talents

The first offshoot of the Campus took place 2003 in Ukraine, during the Molodist Kiev International Film Festival. The first Molodist Campus (molodist means youth in Ukrainian) saw young Ukrainian filmmakers get together for master classes, and gave three young directors the chance to realise their films and present them at the 2004 Berlinale Talent Campus in Berlin. Since 2003, two more successful Campus Abroad Initiatives have taken place in Kiev. This back and forth flow of filmic knowledge and experience typifies the goals of the Talent Campuses abroad. 2004 saw the beginning of two more Campuses abroad, extending the Campus to the Southern tip of Africa, and to India, where the first Campus was held in New Delhi. The South African Campus, known as the Sithengi Campus, takes place in November, during the Cape Town World Cinema Festival, in conjunction with the Sithengi Film and Television Market. It was held with great success in 2004 and again last year, in 2005, when 46 Talents had the chance to participate in workshops focused on various aspects of filmmaking. PAGE 22

The success of the Sithengi Campus is bound to grow, as the Goethe Institute announced at the last campus that they would provide a grant of € 15,000 towards travel costs of Talents from Sub-Saharan African countries for the 2006 Sithengi Campus. This exciting infusion will ensure that more budding filmmakers from countries like Tanzania, Zimbabwe, Namibia, Angola and Malawi – to name a few – are able to attend the next Sithengi Talent Campus. The New Delhi Campus, now two years old, is held in conjunction and partnership with the Osians Cinefan Festival of Asian Cinema yearly in July. In each 2004 and 2005, 50 young filmmakers from India and Sri Lanka attended the Campus, including Sainath Choudhury, the winner of the Talent Movie of the Week Competition at the 2005 Berlinale Talent Campus. Experts at the New Delhi Campus in 2005 included Christopher Doyle and Andres Veiel, as well as reputed Indian filmmakers Apama Sen and Adoor Gopalakrishnan. The newest incarnation of the Talent Campus took place in Buenos Aires, in partnership with Universidad del Cine and in the context of the Buenos Aires Independent International Film Festival, in April of 2005. 65 Talents from the entire continent were invited to Buenos Aires to participate in four jam-packed days of lectures, workshops and presentations. The overarching theme of the Buenos Aires Talent Campus was the relation between cinema and the city, featuring experts including Chantal Akerman and Agnès Godard. With all these Campuses – and more potential campuses in store – the diffusion of the energy and extraordinary possibilities of the Talent Campus is exponentially amplified. It is with great excitement that we look forward to a long and continuing tradition of Talent Campuses worldwide! Further information: http://www.sithengi.co.za/ http://www.ucine.edu.ar/talent_campus/welcome.

BERLIN TODAY AWARD The Berlin Today Award enables the Talents of the Campus to realise a Berlin-related short film script. Three films by last year’s Talents have been produced and will premiere on February 11 at the House of World Cultures.

VISIONS OF BERLIN

Nominated for the Berlin Today Award: BERLINBALL, IF YOU NEED ME and UNDER THESE WINGS (from left to right) Photos (from left to right): © Eduardo Souza Lima, Daniel Horowitz, Florentine Sievers

“I consider this experience to be very special”, says direc- of people from the hometown of Marcelinho, the football tor Harrie Verbeek, whose digital short film project was star of Berlin’s club Hertha BSC. realised during 2005. 182 proposals were submitted by The Berlin Today Award is a prize collectively founded by last year’s participants of the Berlinale Talent Campus, and Medienboard and the film industry in Berlin-Brandenburg Verbeek’s project UNDER THESE WINGS was among the and organised by boxfish events. All three films were prothree nominees for the Berlin Today Award. Nomination duced by zero film and were edited by Das Werk, Hoferichmeans receiving a grant worth 50,000 Euro from the Medi- ter & Jacobs, Elektrofilm and Studio Funk. These and the enboard Berlin-Brandenburg and an additional 20,000 following companies belong to a group of sponsors who Euro in non-cash support from the film industry in Berlin- support the Talents’ work during production and post-proBrandenburg to realise your short film. During a one-week duction: BFC Berliner Film Companie, Cinegate, cine plus Summer Campus, the three hosts of last year’s Berlin Today Media Services, Electric Sun, FGV Schmidle, Film und Video Award, producer Roshanak Behesht Nedjad and directors Untertitelung Lehmann, KOPPFILM, KORTWICH Film-TonHannes Stöhr and Andres Veiel, chose the three nominees Technik, Unverzagt von Have, Script House, Studio Berlin from among ten pre-selected projects. From that moment Adlershof, Theaterkunst, Tonbüro, TV + Synchron Berlin forward, these three films were realised to premiere at the and the Vienna Symphonic Library. The media partner of the Berlin Today Award is Deutsche Welle DW-TV. Campus opening 2006. In UNDER THESE WINGS Dutch director Harrie Verbeek The premiere of the three films concurrently is the kick-off describes a one night close encounter between two young for the fourth Berlin Today Award. You're invited to send in people during the fall of the wall, and how they come in your drafts by April 13 to the organisers at boxfish events, contact again 16 years later. “After all, Berlin IS the city of Berlin (further details at www.berlintoday.de). Berlin Today angels”, agree Darija Andovska (Macedonia) and Mladen – Create Your Vision: Three new hosts, Aelrun Goette, Thilo Djukic (Bosnia-Herzegovina), whose film IF YOU NEED ME Graf Rothkirch and Christian Petzold, are already looking – a dialogue between Angel Gabriel and a human being – is forward to your applications! the second nominee. It’s also the first time that a partly aniSaturday 11, 17:00 ≠ Auditorium mated project is made for the BTA. The third nomination, Opening Night & Presentation of Berlin Today Award BERLINBALL by Anna Azevedo (Brazil), is a documentary offering a Brazilian view on Berlin, from the perspectives Monday 13, 18:00 ≠ K1 Berlin Today Award – How to Become a Berliner BERLINALE TALENT CAMPUS #4

PAGE 23

ALUMNI SUCCESS STORIES More than 1,500 Talents have attended the first three Berlinale Talent Campuses, mingling, establishing contacts, learning and working. After the Campus they all made their ways back home, making the best out of their experiences. A small survey of alumni success stories.

TASTE SUCCESS!

THE LAST TO KNOW by Marc Bauder

At the last three Campuses, many Talents have gotten to know each other, and started working on common projects. German cinematographer Philipp Blaubach, alumnus from 2004, was invited to shoot the feature FLESH AND BLOOD thanks to the Talent Database, via which director Caradog James contacted him. Londonbased Blaubach will also photograph US-alumnus Lance Hammer’s next film. Another international alumni-collaboration was established by Spanish writer/director Diego Maximiliano Sabanés and editor Cristian Perenyi who together completed the documentary SEEDS. The very successful short film UNDRESSING MY MOTHER won the European Film Award in 2005, and was produced and directed by two Irish filmmakers who are both previous Talents, Andrew Freedman and Ken Wardrop. Many, many international film festivals have been conquered by Campus alumni films over the last three years. Vimukthi Jayasundara from Sri Lanka, for example, won the Caméra d’Or at Cannes in the section “Un certain regard” for his documentary THE LAND OF SILENCE. In the same section at Cannes, SANGRE, the first feature by Mexican alumnus Amat Escalante, won the FIPRESCI Prize. Malaysian alumnus James Lee was also happy about winning the FIPRESCI Prize, which was awarded to him at the Bangkok International Film Festival along with the award for Best Asian film for his debut THE BEAUTIFUL WASHING MACHINE. Romanian actress Ana Ularu, Talent at the 2005 Campus was recently chosen as “Best Actress of the Year” by the National Association of Filmmakers in Romania. In addition, US alumnus Dean Wareham scored PAGE 24

the music for THE SQUID AND THE WHALE, which won the Grand Jury Prize at last year’s Sundance Film Festival. This year, following their respective post-Campus successes, Score Competition alumni Ognjan Milosevic and Tom Third have been brought back to the Campus to help the next group of music Talents along. The list of successful alumni collaborations, decorations and invitations to festivals worldwide continues to grow. But there’s one development we’re particularly happy about: the increasing number of alumni films reappearing in the Berlin International Film Festival. In the 2006 Berlinale Programme, there are 18 films that were made with major involvement of current or former Talents. As a Talent in 2004, German director Marc Bauder had presented a project at the Co-Production Market which this year is included in the Panorama section: the documentary LAST TO KNOW. A second result of the Talent Project Market is the film BIG RIVER. In 2004 Japanese Talent-director Atsushi Funahashi pitched his project in Berlin to Office Kitano, Takeshi Kitano’s production company. BIG RIVER, starring former Talent and co-producer Mohammed Naqvi from Pakistan, will run in the Forum. The film that will open this year’s Berlinale Kinderfilmfest, OPAL DREAMS by Peter Cattaneo, was co-written by 2003 Campus alumnus Philip Traill. Singh Hardesh, a former Talent from Malaysia, has composed the scores for two films in this year’s Forum: THE LAST COMMUNIST and MONDAY MORNING GLORY. JACOUBIAN BUILDING (Panorama), the most successful Egyptian film ever, was directed by 2003 alumnus Marwan Hamed. And in the Perspektive Deutsches Kino, three Talents, siblings Dietrich and Anna Brüggemann as well as Benjamin Hörbe, directing, acting and sound designing alumni in 2003, will present NEUN SZENEN. This list of Talent success stories is far from exhaustive, and with a little luck and a lot of hard work, you might eventually see your own name amongst the Talent success stories.

BERLIN INTERNATIONAL FILM FESTIVAL When the Berlinale Talent Campus is over, you know at least one thing for sure: what it is like to walk the Red Carpet. And there is one chance to repeat it: Go further, tell your stories and apply for the Berlin International Film Festival.

GOODBYE, CAMPUS. HELLO BERLINALE! First of all you will need to choose the section for which you should apply. The Official Programme is comprised of the following: Competition, Berlinale Special and Panorama, the Kinderfilmfest/14plus, the Perspektive Deutsches Kino, the Retrospective and the International Forum of New Cinema which is organized independently. You may choose a section to which you wish to apply with your film. Be aware that there are distinct regulations covering participation in each section of the festival. In order to submit a film to the Berlinale you have to send the completed entry form to the festival before the given deadline. After the submission selection screenings are held at the Festival. For these screenings, films must be submitted in their original language. Films in German and English may be submitted without subtitles, but films in any other language should either be subtitled or accompanied by a complete dialogue-list in German or English. In exceptional circumstances, work prints and double-headed prints may be accepted. Check all the regulations on the internet at www.berlinale.de. There you will also find the entry form and all of the information you will need to apply. Films that have a former Talent as editor, cinematographer, producer, director, production designer, sound designer or lead actor are subject to a waiver of entry fees. Ultimately, the most important factor will be the quality of your film. With a little good luck, we'll meet again in Berlin!

Slice a little Kusturica into thin slices and dust in the Lynch. Heat the Jeunet and fry the Scola in it. Crush the Gilliam. Cook for a few minutes. Return the Greenaway, add the Wenders and heat through. Sprinkle with Fellini. Emiliano Romero, Argentina

BERLINALE TALENT CAMPUS #4

PAGE 25

MANFRED DURNIOK PRODUKTION Thanks to the “Durniok-Ticket” 30 Talents from South-Eastern Asia are given the opportunity to attend the Berlinale Talent Campus.

FROM ASIA WITH LOVE The Berlin based filmmaker and producer Manfred Durniok, who passed away three years ago, had a deep passion for South-Eastern Asian culture. Manfred Durniok successfully produced István Szabó's Oscar-awarded MEPHISTO and OBERST REDL, and was, in 1986, one of the first Europeans to originally shoot a film in Beijing. EIN CHINESE SUCHT EINEN MÖRDER, directed by Hans Borgelt, was a ChineseGerman co-production – one of many films that Durniok dedicated to this beloved region. A foundation is currently being established to administer the estate of Manfred Durniok. One of the aims of this foundation, soon to be established by Ayano Teramoto, Manfred Durniok's 18-year-old daughter, will be the promotion of South-Eastern Asian film art and the support of young creatives. This year, for the first time, the travel expenses of Talents from South Eastern Asia will be covered. Thirty artists have learned the true promise of the “Durniok-Ticket”, and are taking part in the Campus 2006 (further info at www.durniok.com). Manfred Durniok's daughter Ayano Teramoto

THE BEST SUPPORT YOUR VISION CAN GET The ARRI Group is the world’s largest manufacturer and distributor of motion picture cameras, digital intermediate and lighting equipment. ARRI cameras & lighting products are available worldwide through ARRI Rental facilities. ARRI Film & TV provides lab and post production for domestic and international feature films, TV productions and commercials, offering the first state of the art digital color grading suite in Germany. The ARRIMAX 18/12 is a new 18 or 12 kW daylight instrument. It can be focused like a Fresnel, but surpasses the light output of a classic 12 k PAR by over 50%. The ARRIFLEX D-20 is a film-style digital camera with a 35 format CMOS sensor that combines the immediacy of digital cameras PAGE 26

with film style functionality, handling and creative options. 12 new MASTER PRIME lenses (16 – 100 mm) combine high speed with superior image quality. The ULTRA PRIME 8R is a unique extreme wide angle lens. The ARRIFLEX 235 is a new, extremely small and lightweight 35 mm film camera. Its perfect for hand held, Steadicam or action sequences. The ARRISCAN and the ARRILASER are two of the most important tools for the Digital Intermediate process, both products being fully compliant to the DCI specifications. ARRISCAN and ARRILASER are bridging the gap between the analogue world and the digital realm in highest quality: no loss of information from original negative to digital data and vice versa. Together with the ARRI Color Management System the complete chain offers total control over your Digital Intermediate workflow. More information can be found at www.arri.com

Orientation Day 10:00

≠ Campus Lounge

Talent Accreditation and Travel Cost Reimbursement During Orientation Day, Talents will find out about all different activities offered in the programme, get an overview of Working Campus projects, logistics, ticketing and – not to forget – get in touch with the other participants. At 10:00 the doors of the House of World Cultures will open for Talent accreditation and registration at the Talent Counter. There we will also take care of your Travel Cost Reimbursement.

14:30

13:00

≠ Auditorium

Taking Off – Briefing for All Talents At 13:00 the initial and essential Talent briefing takes place to enlighten Talents about the week to come. The briefing for all Talents gives an introduction to the team members, to internet access, the use of the Campus database, and to the variety and cost of meals at lunch break. Above all, you will be introduced to the general programme and this year's Working Campus: the Talent Movie of the Week, the Volkswagen Score Competition, the Talent Press, the Script and Doc Clinics and the Talent Project Market.

≠ Exhibition Hall

Global Speed Matching

Gary Townshend. In co-operation with Skillset. Networking, socialising and meeting your peers from around the world are key elements of the Berlinale Talent Campus. To kick-start this crucial experience, come and participate in Global Speed Matching – our own professional version of speed-dating. All Talents are invited to come and along to the Exhibition Hall to meet each other in a succession of rapid fire five minute meetings. Exciting and hectic, this is your first chance to meet each other, exchange details and break the ice with fellow Talent. More focussed and less frenetic Speed Matching will continue every lunchtime at 12:30 in front of the Auditorium on the Mezzanine where you will get the opportunity to meet potential future work partners. Register at the Skillset booth for the session that suits you.

17:00

≠ Auditorium

Opening Night & the Berlin Today Ceremony Anna Azevedo, Darija Andovska, Mladen Djukic, Harrie Verbeek, moderated by Markus Kavka. In cooperation with Medienboard Berlin-Brandenburg. After a welcome by Federal Foreign Minister FrankWalter Steinmeier and Dieter Kosslick, the director of the Berlin International Film Festival, the Opening Ceremony will take place, and the three short films nominated for the Berlin Today Award will be presented. After their screening the winner, chosen by the mentors of next year's BTA, will be announced (see p.23 for further details on the Berlin Today Award). By invitation only.

19:00

≠ Restaurant

Opening Night

In co-operation with Medienboard Berlin-Brandenburg. After the Opening Ceremony we'll settle in at the House of World Cultures, celebrating the BTA Award winner as well as the beginning of an exciting week at the Campus. Free drinks and several varieties of curry will be served by star-chefs Sarah Wiener, Martin Scharff and their team. By invitation only.

The evening's Opening Night also celebrates the BTA

BERLINALE TALENT CAMPUS #4

PAGE 27

ORIENTATION DAY

ORIENTATION DAY SATURDAY 11th

N I P K O W

P R O G R A M M

Scholarships for European Audiovisual Media Professionals in Berlin

Anzeige 1/1 Seite Nipkow

Further studies for qualified applicants in the fields of � Film, television and video financing, production, marketing and distribution � New technologies (multimedia, interactivity) � TV computer design and computer graphics Deadline for applications 25th of March and 15 th of September 2006 WITH THE SUPPORT OF With the support of the MEDIA PLUS PROGRAMME of the European Community

A programme of the EU

Beauftragter der Bundesregierung für Angelegenheiten der Kultur und der Medien

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

Philosophy Day 09:00

≠ Restaurant

Early Bird Breakfast Presented by Euromed. For those who love the early hours, the Berlinale Talent Campus offers a daily free Early Bird Breakfast in the Restaurant. Today’s breakfast is hosted by Euromed, a partner of the Campus supporting experts and Talents from Mediterranian countries. While having coffee and breakfast, the morning is a wonderful opportunity for relating to other Talents as well as to experts and special guests.

10:30

10:00

≠ Talent Press Office

Final Cut Studio Workshop Workshop. Max. 30 participants. Tickets via voucher required. In co-operation with Apple. Daily training on the editing system Final Cut Studio with the integrated Motion- and Soundtrack Pro-software (see further details on p.12) – daily between 10:00 and 12:00 at the Talent Press Office. Register for the workshop at the Apple booth. Daily Sunday 12 to Thursday 16 at 10:00.

≠ Auditorium

Eat and Shoot the Indie Way Angie Lam, Vandana Shiva, Alice Waters, Carlo Petrini, Jeremy Thomas, moderated by Davia Nelson and Tom Luddy. Discussion. Creating a product that covers the needs and the taste of the masses is a fundamental goal of Western capitalism. Having a product like this in distribution means large-scale production and large-scale benefit. In the food world as well as in the film world industrial production is part of reality, leaving a bland aftertaste for many individuals. But shooting and eating the independent way is more than just satisfying the egos of a minority. It is crucial for ecological reasons on one hand, and essential for artistic reasons on the other hand. A round of distinctive panelists on how to protect quality by staying independent.

11:00, 14:00

≠ B1

Avid Xpress Studio Essential Workshop. Max. 10 participants each. Tickets via voucher required. In co-operation with Avid Technology. The Avid Xpress Studio Essential course is an in-depth introduction to the various techniques of nonlinear editing requiring basic knowledge in use of Avid Xpress and editing experience. The class progresses through easy drag-&drop exchange of film and metafiles between applications, import and organisation of raw material, rough cut, final cut, and export. In addition the class will also intensify the knowledge about audio editing, title creation and colour correction. Class time is divided between demonstration and hands-on practice. Register for the workshop at the Avid booth. Daily Sunday 12 to Thursday 16 at 11:00 and 14:00. BERLINALE TALENT CAMPUS #4

Wim Wenders' LAND OF PLENTY, edited by Moritz Laube

12:00

≠ Editing Suite

Editing Workshop: More of Plenty Moritz Laube. Workshop. Max. 3 participants. Pre-selection of participants has already been completed. Editing is a creative field of plenty possibilities, so making decisions is an everyday task for editors. Moritz Laube edited Wim Wenders' LAND OF PLENTY, a digitally shot low budget production with a large amount of material. An average of 43 set ups a day were shot by the team. This workshop will be offered four times to pre-selected editor Talents, and Moritz Laube will provide material of selected scenes from the film. Participating editors will be given the chance to decide on their own and work out a scene based on their sole discretion. How different these versions may end up will be visible at the screening of the results of all four workshops on Thursday 16 at 10:30 in K1. Daily Sunday 12 to Wednesday 15 at 12:00.

PAGE 29

PHILOSOPHY DAY

PHILOSOPHY DAY SUNDAY 12th

PHILOSOPHY DAY SUNDAY 12th 12:15 ≠ Theatre

Who Owns Life? Talk with Vandana Shiva and Renate Künast Renate Künast and Vandana Shiva. Discussion. In co-operation with the Heinrich Böll Stiftung. In Bolivia an American company purchased the commercial rights to Cochabamba City’s water resources. In India, companies held the patent on some types of rice to cash in from everybody who plants them, while in different countries genetic technology is resulting in the development of manipulated species, which are being brought on to the food market. The relationship between copyright and biodiversity is a pressing topic. In “Who Owns Life?” two specialists critical of this development will discuss and exchange facts about the rising business of selling life. Ecologist, human rights activist and winner of the Alternative Nobel Prize Vandana Shiva will meet Renate Künast, German politician (Alliance 90 / The Greens) and former federal minister for consumer protection.

14:00

≠ Theatre

Peter Kubelka: The Edible Metaphor

Two of the Cutting Crew: Sabine Krayenbühl and Dirk Grau

14:00

Meet the Cutting Crew

Angie Lam, Sabine Krayenbühl, Jim Clark and Dirk Grau, moderated by Larry Sider. Discussion. In co-operation with School of Sound, NFTS. “The Cutting Crew” is an in-depth discussion about the essence of cinema – editing – and the role of the editor in the filmmaking process. A panel of editors who have worked on films ranging from Hong Kong Kung-Fu to feature documentaries debate what exactly an editor does in shaping a story or narrative. They will explore the strategies they follow in the cutting room: the relationship between editor and director, the thinking and intuition they need to organise image and sound into meaning and emotions, and how editing differs between fiction and documentary. Moderated by Larry Sider, this panel features Jim Clark (VERA DRAKE, THE WORLD IS NOT ENOUGH), Angie Lam (KUNG FU HUSTLE, HERO), Sabine Krayenbühl (MAD HOT BALLROOM, MY ARCHITECT) and Dirk Grau (RHYTHM IS IT, A FULL CIRCLE).

Peter Kubelka. Lecture-Performance. In the view of legendary Austrian avantgarde filmmaker and art philosopher Peter Kubelka, everybody who makes films should also cook. For Peter Kubelka cooking is performing art, and a meal is the ancestral sculpture of mankind – cooking is the origin of culture, as the mother of all arts. Food, exactly like popular art, constitutes a means of communication. For Peter Kubelka, prepared food is a medium to express thoughts and feelings. In “The Edible Metaphor” Peter Kubelka will perform one of his famous food and art lectures. Philosophically substantiated and marvellously entertaining, this scenic and improvised lecture offers new ways of regarding something that in every-day-life too often becomes a robotic act of routine: cooking.

PAGE 30

≠ Auditorium

14:00

≠ K1

Calculating Risks

Iain Smith. Lecture. Max. 90 participants. A chance to explore the themes of taking risks and the balance between art and money with producer Iain Smith who will discuss how these issues apply to the films he has worked on and produced. He will examine the studio system versus the independent producer and what lessons apply to those newer filmmakers. Iain Smith, one of Europe’s busiest producers, is currently in post on his latest film, THE CHILDREN OF MEN, directed by Alfonso Cuaron. His list of credits include Academy Award winning CHARIOTS OF FIRE and KILLING FIELDS, Ridley Scott’s 1492, Jean Jacque Annaud’s SEVEN YEARS IN TIBET TIBET, Luc Besson’s FIFTH ELEMENT, Anthony Minghella’s COLD MOUNTAIN and Darren Aranofosky’s THE FOUNTAIN.

PHILOSOPHY DAY SUNDAY 12th 15:00

≠ Excursion

News From Home / News from House

Excursion. Max. 20 participants. Tickets via voucher required. In co-operation with Forum. Meeting point of this excursion to the Forum special screening of NEWS FROM HOME / NEWS FROM HOUSE and a discussion with director Amos Gitai: 14:30 at the Talent Counter.

16:30

≠ Theatre

Open Sesame!

Mohamed Bakrim, Marwan Hamed, Swel, Imad & Hakim Noury, moderated by Peter Cowie. In co-operation with Euromed. Writers and filmmakers from the Maghreb and the Middle East will gather to discuss the challenges – political, economic, and aesthetic – facing the cinema in their countries. Panellists include Mohamed Bakrim (Centre Cinématographique Marocain in Casablanca), Morrocan brothers Swel and Imad Noury whose thriller HEAVEN'S DOORS is part of this year's Panorama section and their father, actor Hakim Noury. Also on the panel: Egyptian director and Campus alumnus Marwan Hamed. His film THE YACOUBIAN BUILDING is also at the 2006 Panorama. Moderated by Peter Cowie.

16:30

16:30

Art as Moral Action

Peter Sellars. Lecture. The self-conception of artists changes with the development and the justification of society. The global community of the 21st century is affected by complex influences and has ended up in a diffuse “Distraction Culture”, as Peter Sellars put it. The highly acclaimed theatre, opera and film director speaks out against the culture of distraction and proclaims the need for a “culture of focus”. In this lecture, Peter Sellars, Professor of World Arts and Cultures at the University of California Los Angeles, will encourage artists to combat apathy and to erase injustices they see in the world. Conceive art as moral action!

18:00

≠ Restaurant

Food For Thought: Origins

Talent films in the “Hunger, Food and Taste” Competition, moderated by Tom Luddy. Screening and discussion. Tom Luddy will present all 32 Talent short films on “Hunger, Food and Taste” in three sessions, beginning at 18:00. Today’s programme “Origins” will include eleven short films from seven different countries. In between the screenings, Tom Luddy will introduce the Talent directors and discuss their reflections on “Hunger, Food and Taste”.

≠ K1

Coming Soon... Movie Trailer Workshop

Fraser Bensted. Workshop. Max. 90 participants. In co-operation with Skillset and Picture Production Company. How to sell an independent film in a commercial world. Learn to balance spirit and marketability, examining creative considerations from production all the way to exhibition. Help your film make an impression and get ahead of the competition. The workshop will be run by Picture Production Company, also known as PPC, based in Soho, London. For the last twenty years PPC has been a producer of audio-visual marketing materials for the major US studios, UK and international film distributors, smaller independents and numerous other media. They are the leading European production company in the creation of trailers, television and radio commercials, as well as documentaries, sales promos, junkets, DVD value-added material and electronic press kits for the film industry. Fraser Bensted has worked as a professional editor for almost 10 years. Since joining Picture Production in 1995, he has edited countless trailers, promos and TV commercials for films as diverse as EAST IS EAST, MONSTER, BODYSONG and most recently, MRS. HENDERSON PRESENTS. In 2001, he won a Golden Trailer Award for the international trailer for BILLY ELLIOT. BERLINALE TALENT CAMPUS #4

≠ Auditorium

18:00

≠ K3

Casting for: Sparkling Tales

Rie Hedegaard, Beatrice Kruger. Audition. Tickets via voucher required. For acting and directing Talents only. Acting Talents will be casted by experienced European casting agents for a role in the live reading of scenes from the Script Clinic. The reading will be on Thursday 16 at 16:30 on the Restaurant stage.

20:15

≠ Excursion

Heaven’s Doors

Excursion. Max. 10 participants. Tickets via voucher required. In co-operation with Panorama. Meeting point of this excursion to the Panorama screening of HEAVEN’S DOORS and a discussion with the directors Imad and Swel Noury: 19:45 at the Talent Counter. PAGE 31

www.volkswagen.de

It`s been a long journey.

Great that it`s been worthwhile.

The Fox. Truly Volkswagen. The Fox has unique genes: compact dimensions, high-quality workmanship, space for 4 people, economical engines and extensive standard equipment – everything you need to fill large shoes.

Illustration shows optional equipment.

Aus Liebe zum Automobil

PRE-PRODUCTION DAY MONDAY 13th

PRE-PRODUCTION DAY

Pre-Production Day 09:00 ≠ Restaurant

Early Bird Breakfast

Presented by Carpe Diem. For those who love the early hours, the Berlinale Talent Campus offers a daily free Early Bird Breakfast in the Restaurant. Today’s breakfast is hosted by healthy drink supplier Carpe Diem. While having coffee and breakfast, the morning is a wonderful and comfortable opportunity for relating to other Talents as well as to experts and special guests.

MANDERLAY, photographed by Anthony Dod Mantle

10:30

≠ Auditorium

Here's Looking at You, Kid

Mike Leigh's VERA DRAKE, edited by Jim Clark

10:30

≠ Theatre

Live with Jim Clark

Jim Clark. Workshop. In co-operation with Avid. The process of editing is often equated with sitting in dark rooms in complete solitude and puzzling over tons of material. Maybe sometimes this is the way it works – but not today. Today Jim Clark, internationally acclaimed editor with credits from CHARADE in the 1960's to James Bond in 1999, will hold a live editing session on stage. Equipped with an Avid editing system linked to the big screen, he will give the audience the unique chance to discover his way of working. Jim Clark will use material from DECAMERON: ANGELS AND VIRGINS, a film by David Leland, which he currently is working. BERLINALE TALENT CAMPUS #4

Anthony Dod Mantle and Christopher Doyle. Discussion. Today two directors of photography whose visual art has given new shining facets to World Cinema will take the stage. Christopher Doyle’s vivacious and dynamic camera work is still deeply influencing New Asian Cinema following the films he has done with Wong Kar-wai, Zhang Yimou, Chen Kaige or Fruit Chan. Anthony Dod Mantle, on the other hand, emphatically influenced the Danish New Wave. After having created the authentic visual style of DOGME #1 and 3, Thomas Vinterberg's FESTEN and Søren Kragh-Jacobsen's MIFUNE, he later worked with Lars von Trier. In this exciting session both cinematographers will stimulate your vision.

Editing for me is about finding the story that lies dormant in the material and bringing it to life. Barbara Zosel, Germany

PAGE 33

INSPIRE REALITY …

ifs-film »Goldjunge« Director Stephan Schiffers Producer Janna Velber Screenwriter Stephan Schiffers, Karin Kaçi Foto Ruben Malchow

ifs-booth at the Berlinale Talent Campus, House of World Cultures

ifs-event »Reflection – a Polish-German Co-Production« Presentation of a film school project Presenters: Andrzej Wajda Master School of Film Directing & ifs internationale filmschule köln

at the Berlinale Talent Campus, House of World Cultures Tuesday, 14 February, 10.30 a.m.

ifs internationale filmschule köln Werderstraße 1 50672 Köln

+49 (0)221 920188-0 [email protected] www.filmschule.de

PRE-PRODUCTION DAY MONDAY 13th 10:30 ≠ K1

Designing the Past

Alissa Kolbusch and Johannes Sternagel. Max. 90 participants. Stories that take place in the past are especially challenging for production designers. Not only must the whole setting be credible for the audience, but every small detail requires particular attention. Production designers Alissa Kolbusch and Johannes Sternagel designed the low budget German film AUS DER TIEFE DES RAUMES, which takes place in the 1970s.

Designing the Past: the 1970's in AUS DER TIEFE DES RAUMES

In feature films the director is God; in documentary films God is the director. Srdjan Mitrovic, Yugoslavia

10:30

≠ K3

A Film Finance Workout Paul Trijbits. Workshop. Max. 30 participants. Tickets via voucher required. In co-operation with UK Film Council. Paul Trijbits is Head of the UK Film Council’s New Cinema Fund and one of the most experienced and active production executives in Europe. This enlightening workshop will reveal how films are financed, using the case study of Ken Loach’s latest film THE WIND THAT SHAKES THE BARLEY. The New Cinema Fund of the UK Film Council encourages unique ideas, innovative approaches and new voices. It has supported over 43 feature films including Kevin Macdonald’s TOUCHING THE VOID, (Outstanding British Film BAFTA 2004), Ntshaveni Wa Luruli’s THE WOODEN CAMERA (Crystal Bear, Berlinale 2004), Peter Mullan’s THE MAGDALENE SISTERS (Golden Lion Venice Film Festival 2002), and Paul Greengrass’ BLOODY SUNDAY (Golden Bear Berlin Film Festival 2002). Up and coming projects include Michael Caton Jones’ SHOOTING DOGS (to be released in 2006), Ken Loach’s THE WIND THAT SHAKES THE BARLEY, Shane Meadow’s BULLDOG aka THIS IS ENGLAND, Andrea Arnold’s debut feature RED ROAD, and Pawel Pawlikowski’s THE RESTRAINT OF BEASTS. BERLINALE TALENT CAMPUS #4

The Devil in You: OLDBOY, directed by Park Chan-wook

14:00

≠ Auditorium

Sympathy for the Devil Park Chan-wook, interviewed by Christoph Terhechte. In co-operation with Forum. This year's mentor for the Talent Movie of the Week, South Korean director Park Chan-wook prefers to capture the dark sides of human souls, the evil that slumbers not only in individuals but also in society itself. In discussion with Christoph Terhechte, the director will explain the motivations and filmic approach of his morbid masterpieces like OLDBOY and SYMPATHY FOR MR. VENGEANCE. PAGE 35

PRE-PRODUCTION DAY MONDAY 13th 12:30 ≠ Excursion

Canon Dome

Excursion. Max. 80 participants. Tickets via voucher required. In co-operation with Canon. For cinematographers only. The Canon Dome near Potsdamer Platz offers Talent cinematographers the possibility to try one’s hand at a range of Canon cameras and equipment. Meeting point of this excursion to the Canon Dome: 12:00 at the Talent Counter.

The film sometimes ends before it's finished. Jaroslav Ridzon, Slovakia

14:00

≠ K1

Whose Voice Is It Anyway?

Dick Fontaine. Screening and discussion. Max. 90 participants. In co-operation with NFTS. “Art is beautiful, but causes a lot of work”, German comedian Karl Valentin once said. And while working, communicating and finding compromises, one might lose his or her inner voice and the deeper meaning of what he or she was originally aiming for. “Whose Voice Is It Anyway?” is a programme for Talents to identify and, perhaps, to rethink why, who and where they are in their work. Dick Fontaine, Head of the Documentary Direction at UK's National Film & Television School (NFTS), will present a very diverse group of student films from the NFTS. In these films young filmmakers have used strikingly different methods to express their point of view. Analysing these methods will challenge attending Talents to discuss how they intend to deal with questions of identity, perspective and meaning in their own films.

14:00

≠ K3

Casting Workshop: The Right Actor for the Right Part Jonathan Nossiter’s MONDOVINO

14:00

≠ Theatre

The Case For Taste Michael Ballhaus, Carlo Petrini, Juan Pittaluga, moderated by Stefan Elfenbein. Discussion. Chopping garlic with a razor blade: only a desperate mobster locked up in a New York prison would resort to such drastic measures to recreate the taste of his mother’s kitchen. Director of photography Michael Ballhaus, who shot this unforgettable scene for Martin Scorsese’s GOODFELLAS, will be on a panel discussion with one of the world’s top experts on taste who is naturalmente Italian: Carlo Petrini, founder of the Slow Food movement. Together with journalists Madeleine Jakits and Stefan Elfenbein and producer and wine connoisseur Juan Pittaluga (MONDOVINO), this panel will explore how taste influences life, art and filmmaking. PAGE 36

Beatrice Kruger. Workshop. Max. 15 participants. Tickets via voucher required. In cooperation with European Film Promotion. Beatrice Kruger, President of the Professional Association of Italian Casting Directors (U.I.C.) and Head of FBI Casting in Rome, offers a workshop for actors and directors concentrating on the audition. As the actor, you often have only one chance to demonstrate that you are the right fit for a specific role, while the director has the chance to discover the actor that will bring his character to life. So what goes on in an audition? How can an actor or an actresse turn a short audition into an opportunity to shine? Beatrice Kruger will give practical advice how to make the most of an audition.

16:30

≠ Theatre

Maximize Distribution Peter Broderick. Lecture. In co-operation with the New Producers Alliance. Independent filmmakers nowadays have unprecedented opportunities. Digital production is shifting the balance of power from financiers to filmmakers. Filmmakers who can make movies digitally with lower budgets are no longer wholly dependent on financiers for the resources and permission to make their films. Likewise, new distribution models are freeing them from dependence on traditional distribution systems that have been failing them. Peter Broderick's revolutionary and successful approach will be the topic of “Maximize Distribution”, a fantastic opportunity for filmmakers to take control and responsibility for the sales of their own films. Peter Broderick is president of Paradigm Consulting, which provides consulting services to filmmakers and media companies. He is one of the leading experts on distribution strategies and alternative means of distribution.

16:30

≠ K1

Risking It All

PRE-PRODUCTION DAY MONDAY 13th 16:30 ≠ Auditorium

Passion Food

David Thompson. Workshop. In co-operation with BBC Films. Risking it all in Independent Filmmaking: For an independent film to be successful it needs to be out there on the edge – films in the centre don’t get noticed. Being out on the edge is obviously a very dangerous place to be – because you can fall off! Giving examples from recent BBC Films, especially those using radical improvisatory techniques, David Thompson will explore the theme of risk taking within independent filmmaking and ask the question: what ingredients give us the best chance of making an independent film successful? Extracts will include A COCK AND BULL STORY, IN THIS WORLD, CONFETTI, MRS HENDERSON PRESENTS and LOVE + HATE.

Sandra Nettelbeck and Alice Waters, moderated by Davia Nelson. Sandra Nettelbeck’s internationally acclaimed and very successful film MOSTLY MARTHA tells the story of a discontented chef whose passion for cooking helps her reappreciate life when an Italian colleague starts working at her restaurant. In today’s session, Sandra Nettelbeck will meet real-life top-chef Alice Waters, best known for her natural food restaurant “Chez Panisse”. Moderated by journalist Davia Nelson, author of “The Hidden Kitchen” and part of the famous US radio team “The Kitchen Sisters”, they will talk about the interconnections between their two deeply shared passions: food and film.

Still trying to hear what the intuition whispers. Matheus Rocha, Brazil

17:00

≠ K3

Confessions of a Dramaturg David Wingate. Max. 30 participants. Tickets via voucher required. In co-operation with SOURCES 2. Imagine that people developing a film ask you to join their working process as a dramaturg and a member of their creative team. They send you what they have written so far, and you plan to meet for a first working session. As a professional dramaturg, how do you approach the written material? How do you prepare for that first working session? How do you judge and analyse the material? And how do you translate your preparatory work into input which is going be creatively stimulating for those working on the film? David Wingate talks about working methods, based on his own and colleagues experience of working all over Europe in the Sources 2 programme. BERLINALE TALENT CAMPUS #4

I believe that there are as many ways to look at something as there are viewers. Stephan Talneau, France

PAGE 37

Anzeige 1/1 Seite 38 Avid Image taken from Wunder video by Peter Leckelt at www.eachfilm.de

Your dreams. AVID REALITY. Are you a student at a media college? Then check your local reseller or Avid website for educational prices!

A fusion of light, colour and movement, the stunning video for German group Wunder relied on the speed and power of Avid Xpress Pro. Its creator, Peter Leckelt, wanted to explore what happens when digital stills, light painting and video come together. His work is an inspiration to others who strive for quality and originality on limited budgets and tight deadlines. “I’m always trying to find new ways to work, different approaches. Whatever the timescale or budget, I always insist on high production values. I feel safe with Avid. It speeds things up and has given me the freedom I need to create.” Make your idea a reality at www.avid.com www.avidstore.com

©2006 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid and Avid Xpress Pro are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. All trademarks contained herein are the property of their respective owners.

PRE-PRODUCTION DAY MONDAY 13th 18:00

≠ Restaurant

Food For Thought: Delicious Revolution Doug Hamilton. Screening and discussion. In co-operation with American Masters. Today’s Food for Thought session is hosted by US-director Doug Hamilton. His film ALICE WATERS AND HER DELICIOUS REVOLUTION is a documentary about the ideas and ideals of natural food specialist Alice Waters, who has been practicing and sharing with the world her healthy and environmentally conscious principles for nearly thirty years. After the screening, director Doug Hamilton will answer questions.

18:00

≠ K1

Berlin Today Award: How to Become a Berliner Anna Azevedo, Darija Andovska, Mladen Djukic, Harrie Verbeek, moderated by Andrea Horakh. Screening and discussion. Max. 90 participants. Over the last nine months three selected scripts of Campus alumni were realised in Berlin as nominated entries for the Berlin Today Award. After their premiere at the Campus Opening on Saturday, they will be repeated today. After each screening, a discussion will follow between the filmmakers and the audience about production conditions and the possibilities offered by this competition. And don't forget: Apply for the Berlin Today Award 2007! (see page 23 or www.berlintoday.de for further details)

You'll never forget the first time... Talents on the Red Carpet in 2005

22:45

≠ Red Carpet / CinemaxX 3

Invitation to the Red Carpet and Talent Short Film Night Colin Farell in Terrence Malick’s THE NEW WORLD

19:00

≠ Auditorium

The New World Screening. In co-operation with Berlinale Competition and Warner Bros. Pictures. Written and directed by Terrence Malick, THE NEW WORLD is about explorer John Smith and the clash between Native Americans and English settlers in the 17th century. The film by US-American Terrence Malick, whose THE THIN RED LINE won the Golden Bear in 1999, runs in this year’s Berlinale Competition. BERLINALE TALENT CAMPUS #4

Several short film directors of the Official Programme, moderated by David Thompson. Screening and discussion. Presented by Berlin International Film Festival. Thanks to a special invitation by the Berlin International Film Festival, this evening all Talents have the opportunity to grace the Red Carpet in front of the Berlinale Palast! Right after this special experience a selection of the best short films from the Competition, Panorama and the Kinderfilmfest will be projected at the CinemaxX 3, Potsdamer Platz – right across the Red Carpet. The Short Film Night is a special programme for Campus Talents and for the short film directors, including the films A LITTLE HIGHER (Mehdi Jafari, Iran), MYSELF (Kim Young-su, Republik of Korea), ZLYDNI (Stepan Koval, Ukraine), RAJKUMARI (Viktoria Harwood, UK/India), ÚDENS (Laila Pakalnina, Latvia) and HEAVY METAL DRUMMER (Toby MacDonald, Luke Morris, UK/Morocco). PAGE 39

HOGAN & HARTSON RAUE LLP

DOWN BY LAW Everything you ever wanted to know about: Film & Entertainment Law

Are you a producer, director or scriptwriter? Then don’t miss our workshops at the BERLINALE TALENT CAMPUS 2006: Tuesday, February 14, 2006, 2:00 - 3:30 p.m., Room K1 DOWN BY LAW - OLIVER STONE’S ”ALEXANDER”: Case study on the legal basics of international film production with famous producer Iain Smith and attorney Christiane Stützle (Hogan & Hartson Raue LLP). Wednesday, February 15, 2006, 10:30 - 12:00 a.m., Room K1 I’VE GOT THE BLUES - HOW TO MAKE YOUR MOVIE SWING: Get into music licensing with music supervisor Milena Fessmann (Cinesong) and attorney Mareile Büscher (Hogan & Hartson Raue LLP). If you would like more information about how our film & entertainment law team can assist you, please contact : Prof. Dr. Peter Raue [email protected] Christiane Stützle [email protected] Dr. Mareile Büscher, LL.M. [email protected]

BERLIN MUNICH BRUSSELS BUDAPEST GENEVA LONDON MOSCOW PARIS WARSAW BEIJING TOKYO SHANGHAI HONG KONG BALTIMORE BOULDER COLORADO SPRINGS DENVER LOS ANGELES NORTHERN VIRGINIA MIAMI NEW YORK WASHINGTON, DC CARACAS

www.hhlaw.com

Berlin Office

Munich Office

Potsdamer Platz 1 10785 Berlin Germany

Schackstrasse 1 80539 München Germany

phone: (+49-30) 726 115 - 0 fax: (+49-30) 726 115 - 100

phone: (+49-89) 205 08 88 - 0 fax: (+49-89) 205 08 88 - 10

PRODUCTION DAY TUESDAY 14th

09:00

PRODUCTION DAY

Production Day ≠ Restaurant

Early Bird Breakfast Presented by Robert Bosch Stiftung. For those who love the early hours, the Berlinale Talent Campus offers a daily free Early Bird Breakfast in the Restaurant. Today’s breakfast is hosted by the Robert Bosch Stiftung, a partner of the Campus supporting Talents from Eastern European countries. While having coffee and breakfast, the morning is a wonderful and comfortable opportunity for relating to other Talents as well as to experts and today's special guests from Poland, director Andrzej Wajda (DANTON, PAN TADEUSZ) and cinematographer Janusz Kaminski (WAR OF THE WORLDS) who has photographed most of the films by Steven Spielberg.

10:30

≠ K3

Harnessing the Internet Peter Broderick. Max. 30 participants. Tickets via voucher required. In co-operation with National Producers Alliance. Filmmakers are able to market their films to a global audience as never before. They are no longer limited to the few territories where deals have been made, and can now sell directly to viewers anywhere in the world. Learn how to create dynamic websites, build traffic, do online outreach, and handle e-commerce cost effectively.

10:30

≠ Auditorium

Stand Up! Stand Up! Eliane de Latour, Amos Gitai, Jean-Marie Téno and Dito Tsintzadze, moderated by Rainer Traube. In co-operation with Euromed and Deutsche Welle TV. Political filmmaking and commercial success: two elements that don’t seem to go side by side. Luckily there are enough examples to prove that political motivated films don’t necessarily have a small audience. Four acclaimed directors from different derivation talk about how they chose their topics, how they realise them and why it is important to express political opinions in a popular medium. Moderated by Rainer Traube (Deutsche Welle) the panelists include the filmmakers Amos Gitai (FREE ZONE) from Israel, Eliane de Latour from Côte d’Ivoire (LES OISEAUX DU CIEL, Jean-Marie Téno (VACANCES AU PAYS) from Cameroon and the Georgian Dito Tsintzadze (LOST KILLERS). BERLINALE TALENT CAMPUS #4

REFLECTION, a montage of bilateral filmic expressions

10:30

≠ Theatre

Editing the New Europe – REFLECTIONS, a Polish-German Co-Production With a keynote by Andrzej Wajda. Kalina Alabrudzicska, Nancy McGranaky Quaye, Sylke Rene Meyer, Anna Skorupa, Katarzyna Slesicka, Anna Wahle, Jacek Blawut, Holger Borggrefe, Felix Hassenfratz, Thierry Paladino, moderated by Nikolaj Nikitin. Screening and discussion. In co-operation with the Andrzej Wajda Master School of Film Directing and the ifs internationale filmschule köln. REFLECTION is a Polish-German film project produced by two film schools: the Andrzej Wajda Master School of Film Directing and the ifs internationale filmschule köln. It started with the idea of portraying life in a Polish and a German small town. The project was guided by a series of international workshops and resulted in a production of 12 short documentaries, directed by the students under the artistic supervision of experienced filmmakers and tutors. These twelve shorts form the film REFLECTION which presents the directors’ vision of life in two small towns: Gora Kalwaria (Poland) and Remscheid-Lennep (Germany). The students made short portraits of the people living in these places. In today's programme, student filmmakers as well as the project's mentors will introduce their film and talk about its genesis. REFLECTION is not only a finished cinematic form, but a programme of intercultural cooperation in a field of film, which allowed the authors, characters and cultures to reflect each other’s point of views and find a new meaning in the confrontations and relations. PAGE 41

PRODUCTION DAY TUESDAY 14th 10:30 ≠ K1

12:30

Pitching in the Food Chain

≠ Excursion

Matthew Barney: No Restraint

Eileen Quinn. Workshop. Max. 90 participants. In co-operation with IWC. Whether you are a screenwriter, script reader, director, producer, distribution executive, agent or in any way charged with selling creative material, this programme could change your pitching life. Eileen Quinn's detailed and entertaining workshop is based on her 15 years of experiences as UK producer. It takes a practical look at the marriage between art and money, and deals with the buyer's psychology, the investor's criteria and all the do's and don'ts for a successful pitch. In interactive and illustrative role-plays “Pitching in the Food Chain” will demonstrate how to put theory into practice.

Excursion. Max. 20 participants. Tickets via voucher required. In co-operation with Panorama. Meeting point of this excursion to the Panorama screening of the documentary MATTHEW BARNEY: NO RESTRAINT and a discussion with director Alison Chernick: 12:00 at the Talent Counter.

12:30

≠ Excursion

Installation by Amos Gitai

Excursion. Max. 25 participants. Tickets via voucher required. In co-operation with Forum. Meeting point of this excursion to Amos Gitai’s video installation “News from House / News from Home” at the KW Institute for Contemporary Art: 12:00 at the Talent Counter.

14:00

≠ Theatre

Microwave – A New Initiative by Film London

Oliver Stone’s ALEXANDER, produced by Iain Smith

14:00

≠ K1

Down by Law: Oliver Stone's ALEXANDER

Christiane Stützle and Iain Smith. Lecture. Max. 90 participants. In cooperation with Hogan Hartson Raue. Case study on legal basics of international film production with producer Iain Smith and attorney Christiane Stützle. Based on the case study ALEXANDER the workshop will highlight the legal aspects of international co-productions that each producer, director and scriptwriter should know when writing a script and producing a film.

14:00

≠ Auditorium

Wild Space

Surprise guest or film screening. Today’s “Wild Space” is reserved for a surprise guest or film from the Berlin International Film Festival. Be aware of special announcements in the Campus Lounge! PAGE 42

14:00

≠ K3

Euromed Workshop

Bärbel Mauch. Workshop. By invitation only. In co-operation with Euromed. Closed workshop with German producer Bärbel Mauch and Talents from Mediterranian countries.

Adrian Wootton, Maggie Ellis, Richard Jobson, Julian Richards and the Manetti Brothers. Discussion. In co-operation with Film London. The USA’s “no budget” independent film production sector has been enormously successful, with films as diverse as CLERKS, EL MARIACHI and TARNATION. This is the inspiration for the Microwave Fund just launched by Film London: a slate of ten new feature film projects to be made by the UK capital’s brightest filmmaking talents. Their challenge: shoot a full length project with commercial potential for no more than 100,000 British Pounds. This seminar explores the world of micro-budget features: how and why to make them and how to get them successfully distributed to turn a profit. Starting with a history of the genre, the session will trace and explain the development of this movement and the ethos behind the Microwave Fund. You have the opportunity to question micro-budget film director, including Richard Jobson (16 YEARS OF ALCOHOL), the Manetti Brothers (PIANO 17) and Julian Richards (THE LAST HORROR MOVIE).

PRODUCTION DAY TUESDAY 14th 16:30

≠ Auditorium

At the Cutting Edge

Jeremy Thomas, interviewed by Sandy Lieberson. A journey through the extraordinary career of producer Jeremy Thomas. Beginning with clips from his early films such as THE SHOUT through to NAKED LUNCH, MERRY CHRISTMAS MR LAWRENCE, THE LAST EMPEROR, SEXY BEAST and his latest, FAST FOOD NATION, Jeremy Thomas will explain the rationale for the making of these films through to the creative choices and how they were sold and marketed. Thomas will explain how he started his own sales company, Hanway Films, and why having a sales company is the most crucial tool for an independent filmmaker. Sandy Lieberson will interview Jeremy Thomas on his work and then open it up for Q&A with the audience.

THE LAST EMPEROR, produced by Jeremy Thomas

14:00

I make films because I want to visit worlds that won’t exist until I make the film. Jeffrey St.Jules, Canada

≠ Excursion

Excursion to European Film Market

Sydney Levine. Max. 8 participants. Tickets via voucher required. The European Film Market is the huge trading floor of the Berlin International Film Festival. Guided by Sydney Levine Talents have the opportunity to get an introduction into the structure and the practice of the EFM. Meeting point: 14:00 at the Talent Counter. Repeats of the excursion: Wednesday and Thursday at 14:00.

16:30

≠ Theatre

Tinkering With the Truth

Sabine Krayenbühl edited MAD HOT BALLROOM

BERLINALE TALENT CAMPUS #4

Sabine Krayenbühl, Dirk Grau, moderated by Larry Sider. Discussion. In co-operation with School of Sound, NFTS and cine plus. Documentary has been described as the creative treatment of reality. This combination of “truth” and the filmmaker’s imagination for storytelling provides the documentary editor with particular challenges in the cutting room. “Tinkering With the Truth” will give the audience an insight into how editors approach the documentary form. Using clips from their own films, Sabine Krayenbühl (MAD HOT BALLROOM, THE BRIDGE) and Dirk Grau (RHYTHM IS IT, A FULL CIRCLE) investigate the skills and insight they employ in editing documentaries. In this wide-ranging conversation they will describe their personal techniques for choosing and organising material, define the language and communication between editor and director and examine the uses (and misuses) of music in documentary.

PAGE 43

At night I write my next short about people who share the same city but not the same world. David Dusa, France

16:30

≠ K1

Going Freestyle

Das Projekt: ICE-Züge für brasilianische Fans. Das Ziel: exklusiver Transfer in alle FIFA WM-Städte. Die Macher: die Mobilitäts-Manager der Bahn. Während Fans aus anderen Nationen noch ihre Reise nach Deutschland planen, wissen die Brasilianer längst, wie sie in die Stadien kommen: mit der Deutschen Bahn. Die temperamentvollen Südamerikaner haben für ihre Fahrten gleich mehrere ICE gechartert, die sie während der FIFA WM 2006™ problemlos von einem Spiel zum nächsten bringen. Egal wo es stattfindet. Genau das richtige Projekt für ein Unternehmen, das Mobilität, Netze und Logistik beherrscht. www.db.de

Dagmar Benke. Lecture. Max. 90 participants. In co-operation with Script House Berlin. For many years we have learned that the perfect form for filmic story telling is the chronological one-hero-one-goal three-act-structure. However, there are millions of great and successful films that did not force their stories into that form but found a form that developed out of the story. Dagmar Benke, Script Consultant at Berlin-based Script House and author of the scriptwriting book “Freistil” (Freestyle), will talk about alternatives to the classic three-act-structure with a special emphasis on non-linear narration. So break the rules, free yourself from fitting your story into paradigms and discover the form inside your story.

Life is full of stories. Decide if you want to look at them, tell them, or forget them. Nelly Rodriguez, Switzerland

PRODUCTION DAY TUESDAY 14th 16:30

≠ K3

Potluck – Recipes for Inspired Teamwork

Tina Block and Astrid Schnellhardt. Workshop. Max. 15 participants. Tickets via voucher required. In co-operation with Volkswagen Career Development. Tina Block and Astrid Schnellhardt, two trainers from Volkswagen Career Development, offer two identical workshops to give a practical introduction into the success factors that constitute effective teams. The heart of the workshops is “The Game”: The participants will play a game where a team has to solve a complex problem. A scenario will be created which demands full activity and creativity of each team member to cope with the task. Through this the participants will get an understanding of how successful (film) teams operate and how an individual can better contribute to group success. Furthermore they get an idea of how teams can solve complex problems creatively. Additional date for the workshop: Wednesday 15, 16:30, K3.

18:00

≠ Restaurant

Food For Thought: Kill or Die!

Tom Luddy and directors of the competition “Films on Hunger, Food and Taste”. Screening and discussion. “Kill or Die” is today’s screening of a new round of shorts from the Campus competition “Films on Hunger, Food and Taste”. Tom Luddy will present ten filmmakers from eight countries and talk about their cinematic stories about the relationship between food and death, about the often hidden fact that for some, eating means killing, and about food, fear and devotion.

Who does not find poetry in the infinitely small will never find it in the infinitely big. Marcos Pimentel, Brazil

18:45

≠ Auditorium

Drawing Restraint 9

Matthew Barney, interviewed by Wieland Speck. Screening and discussion. In co-operation with Panorama, Celluloid Dreams and Alamode Film. DRAWING RESTRAINT 9 is part of an 18-yearlong continuous project by conceptional artist Matthew Barney. Its different works, consisting of videos, installations and performances were inspired by the idea that resistance makes muscles larger and stronger due to hypertrophy. As latest contribution and inspired by Japanese cultural tradition, DRAWING RESTRAINT 9 tells an abstract fairy tale in powerful visions, with infatuating music by Björk and without dialogue. After the screening, Matthew Barney, a member of this year's Berlinale jury and known to the film world as creator of the amazing CREMASTER CYCLE, will be interviewed by Wieland Speck, Head of Panorama. Björk and Matthew Barney in DRAWING RESTRAINT 9; Photo: Chris Winget © Matthew Barney 2005

BERLINALE TALENT CAMPUS #4

PAGE 45

CINÉMA

Showing on TV5MONDE:

Larger than life quality francophone cinema Monday to Friday from 6:30 pm to 10:45 pm a film with German subtitles

Find out more about films on TV5MONDE at www.tv5.org/cinema

POST-PRODUCTION DAY WEDNESDAY 15th

09:00

POST-PRODUCTION DAY

Post-Production Day ≠ Restaurant

Early Bird Breakfast Presented by Masterclass Ludwigsburg/Paris. For those who love the early hours, the Berlinale Talent Campus offers a daily free Early Bird Breakfast in the Restaurant. Today’s breakfast is hosted by the Deutsch-Französische Filmakademie / Masterclass. While having coffee and breakfast, the morning is a wonderful and comfortable opportunity for relating to other Talents as well as to experts and special guests.

10:30

≠ Auditorium

Colour Me Kieslowski Agnieszka Holland, Andres Veiel, Wim Wenders, moderated by Peter Cowie. Discussion. In co-operation with the European Film Academy and the Polish Film Institute Warsaw. Almost ten years ago, the brilliant Polish director Krzysztof Kieslowski passed away, leaving a legacy of extraordinary richness. For many, Kieslowski represents the summit of European filmmaking, at first in his native Poland (THE TEN COMMANDMENTS), and later in France, where his THREE COLOURS trilogy won awards and acclaim around the world. A distinguished panel of filmmakers who knew Kieslowski will discuss his influence and the lessons that young Talents can draw from his career.

10:30

≠ K1

I've got the Blues or How to Make My Movie Swing Mareile Büscher and Milena Fessmann. Lecture. Max. 90 participants. In co-operation with Hogan Hartson Raue and Cinesong. Today’s session is for everyone interested in the use of music in movies. We try to give an overview about how music in films can be used and about how to deal with the copyright clearing side of it. We give you a short introduction about how to make a proper request for licensing music in a movie – with all the problems and the potential in it. BERLINALE TALENT CAMPUS #4

Angie Lam edited KUNG FU HUSTLE

10:30

≠ Theatre

The Cutting Kitchen Angie Lam, interviewed by Larry Sider. In co-operation with School of Sound and NFTS. For Angie Lam, the martial art film has been a natural part of her life: “For me, it’s just a lullaby and brought me up.” Not surprisingly, she is best known for her editing of Hong Kong Kung-Fu films. In this session, Angie will look at her editing in several films from this spectacular genre (TAI CHI, KUNG FU HUSTLE, HERO) as she reveals how she thinks of the film editor like a chef in a kitchen: “My editing suite is like a cutting kitchen. An ‘overcooked’ film may mean you handled the timing and pace of the film wrongly. If it tastes too rich that may mean you used too many shots or angles when one or two would do. Many young editors try to use all their coverage which can spoil or distract from the story. The presentation of the dish is how we package the film.” Moderated by Larry Sider, participants in this session will become aware of how editors approach feature films and, in this case, the details of editing martial arts movies.

PAGE 47

POST-PRODUCTION DAY WEDNESDAY 15th 10:30 ≠ K3

The Holy Trinity: Writer, Characters and Audience Julian Friedmann. Lecture. Max. 30 participants. Tickets via voucher required. In co-operation with Blake Friedmann Agency. The relationship between the scriptwriter’s holy trinity is usually taken for granted. Unless scriptwriters understand why they write and why people go to the movies, the chances are that they will write derivative scripts based on movies they have seen. The creative process in script development is not simply natural. Writing well means being devious and manipulative. It usually means cheating. A love affair with your characters might destroy your relationship with your audience and your career as a writer. How should writers manage their ménage a trois?

11:00

≠ Excursion

Excursion to Volkswagen Score Competition Excursion. For sound designers and composers only. Max. 30 participants. Tickets via voucher required. In co-operation with Volkswagen. This excursion will lead you to the Hochschule für Film und Fernsehen “Konrad Wolf” where the three participants of the Volkswagen Score Competition mix their samples. Meeting point: 11:00 at the Talent Counter in the House of World Cultures.

14:00

≠ K1

Eaten Alive? 2046, photographed by Christopher Doyle

14:00

≠ Theatre

Eat Yourself Christopher Doyle and Kathy Li. Presentation and discussion. Thanks to his collaboration with director Wong Kar-wai, Australian born Christopher Doyle enchants the new Asian Cinema like no other cinematographer. The dynamic photography in CHUNGKING EXPRESS or IN THE MOOD FOR LOVE has inspired filmmakers all over the world. His films for Zhang Yimou, Barry Levinson or Phillip Noyce are also strongly marked by his expressive power. At today's session Christopher Doyle and his collaborator Kathy Li, with whom he has photographed several films, will introduce their way of work. They will express how formal strategies and intuitions are combined to extract the essence of a possible frame.

14:00

≠ Auditorium

Wild Space

Surprise guest or film screening. During the three years of the Berlinale Talent Campus numerous great creatives of the world’s film scene have sponaneously found their way to the House of World Cultures. Today’s “Wild Space” is reserved for a filmmaking guest or a special film screening from the Berlin International Film Festival who feels like joining gathered passion at the Campus. Be aware of special announcements in the Campus Lounge on what might fill the Wild Space today, or simply be surprised! PAGE 48

Margret Köhler, Michel Ciment, Derek Malcolm moderated by Peter Cowie. Discussion. Max. 90 participants. In co-operation with FIPRESCI and Goethe-Institut. Some filmmakers may feel as if they have been eaten alive when they read the reviews in the morning after a premiere. But do critics really pleasurably feast on directors? Isn't a review just a written-down opinion about a piece of art? The relationship between critics and filmmakers traditionally suffers from a two-way distrust: one party doesn’t believe in the other’s attitude towards their art and crafts. On the other hand: one couldn't exist without the other – the classical Catch-22 of a love-hate relationship. But we want to help! Moderated by Peter Cowie, film historian and former international publisher of Variety, critics Margret Köhler (Germany), Michel Ciment (France) and Derek Malcolm (UK) will meet a filmmaking guest from the Berlinale. Together they will work it out, once and for all.

POST-PRODUCTION DAY WEDNESDAY 15th 14:00

≠ K3

You Got the Look Workshop. Max. 15 participants. Tickets via voucher required. In co-operation with Kodak. One of the most important characteristics of a film is its look, that must be hold constantly from the film's beginning to its end. For the creating, pre-visualising, communicating and managing of “the look” from preto post-production, the Kodak Look Manager System is a helpful tool, and will be introduced in this hands-on workshop. Each participant will learn about and how to use the software by working on his/her own laptop. Each laptop will have the brand-new version Kodak Look Manager System 2.0 – a European premiere of the software extension. A workshop especially aimed at cinematographers, editors, directors, producers and production designers. Additional date for the workshop: Thursday 16, 14:00, K3.

Just trying to understand and portray this complex world with as much humour as possible. Guillermo Kloetzer, Uruguay

BIG RIVER, directed by Atsushi Funahashi

16:00

≠ Restaurant

Talent Success Story Atsushi Funahashi, interviewed by Christoph Terhechte. Screening and discussion. In co-operation with Berlinale Forum. The story that US-based Japanese director Atsushi Funahashi will tell today started at the Berlinale Talent Campus in 2004. As a participant of the Talent Project Market he pitched his script to Takeshi Kitano's production company. The result of this successful deal runs in this year's Forum section and is titled BIG RIVER, a roadmovie about the borderless realms of friendship. Showing some sequences from BIG RIVER, Atsushi Funahashi, interviewed by Christoph Terhechte, will talk about the origin of his Japanese-US-Pakistani co-production and how he found his producer Mohammed Naqvi at the Campus 2004.

16:30

≠ Auditorium

Talentspotting

LOST IN TRANSLATION, produced by Fred Roos

BERLINALE TALENT CAMPUS #4

Fred Roos, interviewed by Sandy Lieberson. Discussion. Legendary casting director, producer and 2006 Berlinale Jury Member Fred Roos has been involved in casting and producing some of Hollywood’s finest films, including AMERICAN GRAFFITI, THE GODFATHER, TWO LANE BLACKTOP FIVE EASY PIECES,THE OUTSIDERS, VIRGIN BLACKTOP, SUICIDES and LOST IN TRANSLATION, to name just a few. From Harrison Ford to Tom Cruise, he has discovered and supported many of today's top stars in Hollywood. After the screening of a twenty-minute portrait, produced by Francis Ford Coppola's American Zoetrope, Fred Roos will explore the casting process and its crucial role in filmmaking. Moderator Sandy Lieberson will then open the discussion for a Q&A session. PAGE 49

Anz.Sources-TalentCampus06

22.12.2005

13:45 Uhr

Seite 1

PROFESSIONAL DEVELOPMENT & TRAINING

Three-month process coached by experienced script advisors for European screenwriters and teams of writers, producers or directors! SOURCES 2 Script Development Workshop Seven-day session, coached development period, follow-up session. Requested: feature film projects + creative documentaries. Apply by 1 st June 2006 for the session in October 2006 in Northern Norway realized with the support of Nordnorsk Filmsenter. SOURCES 2 compact Four-day session, coached development period, e-mail follow-up. Requested: drama and mini-series for TV. Apply by 1 st August 2006 for the session in November 2006 in Slovenia realized with the support of the Association of Slovenian Film Makers.

SOURCES 2 at BERLINALE TALENT CAMPUS: Consultation – Analysis – Advice for selected projects! SOURCES 2 Script Check with Gaby Prekop at the Script Clinic and David Wingate at the Doc Clinic. Please visit the SOURCES 2 stand at the Berlinale Talent Campus or contact the SOURCES 2 office close to Potsdamer Platz! Köthener Strasse 44, D-10963 Berlin Tel. + 49(0)30-88 60 211 • + 49(0)172-32 30 216 • + Fax 213 [email protected] • www.sources2.de

+ 49(0)30-88 60

POST-PRODUCTION DAY WEDNESDAY 15th 16:30

≠ Theatre

Trick or Treat? Bettina Brokemper, Najwa Najjar, Helge Albers and Gerhard Meixner, moderated by Margret von Schiller. In co-operation with Euromed and Panorama. THE SYRIAN BRIDE, SILENT WATERS or Golden Globe winner PARADISE NOW: All three films were shot on politically as well as socially difficult locations on borders or in combat zones while telling stories that pick out exactly those difficulties as central themes. What kind of obstacles arose, and how did those problems get solved? The producers of the films, Bettina Brokemper, Helge Albers and Gerhard Meixner, as well as Najwa Najjar, director of the Panorama contribution YASEMINE'S SONG, will talk about their experiences, solutions and tricks for filming at difficult or unusual locations. THE SYRIAN BRIDE, directed by Eran Riklis

18:00

≠ Excursion

Les Oiseaux du Ciel

Excursion. Max. 10 participants. Tickets via voucher required. In co-operation with Panorama. Meeting point of this excursion to the Panorama screening of LES OISEAUX DU CIEL and a discussion with director Eliane de Latour: 17:30 at the Talent Counter.

16:30

≠ K1

Visual Rhythm – Ian Christie on the Rhythm and Editing of the Classics

Ian Christie. Lecture. Max. 90 participants. Filmmakers from around the world worried that synch sound would destroy their editing strategies at the end of the 1920’s – much as some present-day filmmakers also worry that music videos are enforcing a new editing rhythm, helped by the rise of non-linear editing systems. But have the underlying principles of editing really changed? This lecture will be looking at some classics, from the 1920’s to the 1990’s, to track the changes. Film publicist Ian Christie is Professor of Film and Media History at Birkbeck, University of London, and teaches regularly at the UK National Film and Television School. BERLINALE TALENT CAMPUS #4

I prefer the films that raise questions over the ones that try to answer them... BJ Soh, USA

18:00

≠ Restaurant

Food For Thought: Lost Supper

Tom Luddy and directors of the competition “Films on Hunger, Food and Taste”. Screening and discussion. Today’s screening of the Talent films on “Hunger, Food and Taste” is dedicated to films that deal with hunger, starvation and poverty in the world. Eleven short film productions from eleven countries explore the unjust manner of food distribution in the world and the local effects of this problem. Tom Luddy will introduce the short film makers and talk about their productions.

PAGE 51

WELCOME TO THE

© Eastman Kodak Company, 2004. Kodak is a trademark.

BERLINALE TALENT CAMPUS 2006

WELCOME TO THE BERLINALE 2006 – COME JOIN THE KODAK TEAM AT THE EUROPEAN FILM MARKET IN THE MARTIN-GROPIUS-BAU, STAND NO. 04. www.kodak.de/go/motion

PROMOTION DAY THURSDAY 16th

PROMOTION DAY

Promotion Day 09:00 ≠ Restaurant

Early Bird Breakfast

Presented by Kodak and ARRI. For those who love the early hours, the Berlinale Talent Campus offers a daily free Early Bird Breakfast in the Restaurant. Today’s breakfast is hosted by Kodak and Arri, partners of the Campus. While having tasty coffee and snacks, this morning is a wonderful and comfortable opportunity for relating to other Talents as well as to experts and representatives Thierry Perronnet (KODAK), Walter Brus and Thomas Popp (ARRI).

Charlotte Rampling in François Ozon's SWIMMING POOL

10:30

10:30

≠ K1

Land of Plenty Revisited

Moritz Laube. Screening and discussion. Max. 90 participants. In co-operation with Reverse Angle. Moritz Laube will present the results of the four editing workshops he held during the Campus. The screening of differently edited versions of scenes from Wim Wenders' LAND OF PLENTY may show how deeply a film can be influenced by the editor's personality.

≠ Auditorium

Stardust Memories

Charlotte Rampling, interviewed by Peter Cowie. English-born Charlotte Rampling has succeeded in building up an amazing career by shooting with some of the most interesting directors in several countries and different languages. She has worked in England with Alan Parker and John Boorman, in Italy with Luchino Visconti, Liliana Cavani and Adriano Celentano, in France with Patrice Chéreau and François Ozon, in the USA with Woody Allen and Sidney Lumet, in Japan with Nagisa Oshima, in Norway with Hans Petter Moland. Interviewed by Peter Cowie, this year’s President of the Berlinale Jury Charlotte Rampling will share her memories and experiences with the audience.

10:30

≠ Theatre

Bites of Reality

Sophie Maintigneux's authentic photography in Michael Klier's HEIDI M.

BERLINALE TALENT CAMPUS #4

Sophie Maintigneux. Lecture. In co-operation with Kodak. Cinematographer Sophie Maintigneux started her career in France working with directors like Eric Rohmer and JeanLuc Godard before she moved to Germany. Here she began to regularly collaborate with Michael Klier and Jan Schütte, directors who appreciated her authentic style, and started focussing on documentaries. In today's session Sophie Maintigneux will talk about the differences between the cinematographer's requirements working on a feature film or a documentary. Supported by screened scenes from some of her films she will discuss topics like intuition, curiosity and distance as possible attributes for directors of photography. PAGE 53

PROMOTION DAY THURSDAY 16th 14:00

≠ Theatre

How Did That Movie Get Made?

A huge success in Germany: the documentary RHYTHM IS IT!

10:30

All Talents participating in the Talent Movie of the Week, moderated by Sandy Lieberson. Screening, discussion. In co-operation with FFA. During the Campus week several Talents are given the chance to realise their idea for a short film within eight working days. With the Korean director Park Chan-wook acting as mentor and supported by the Berlin-based production company Avanti Media, three digital short films have been produced. Interviewed by English producer Sandy Lieberson the participants of the Talent Movie of the Week report on their experiences during the stressful weeks, that will reach its crescendo tonight when the Talents vote for the winner at the Farewell Ceremony.

≠ K3

Rhythm Is It! Focus on Arthouse Distribution

Arne Höhne, moderated by Margret Albers and Thomas Hailer. Discussion. Max. 20 participants. In co-operation with Berlinale Kinderfilmfest/14plus. 620,000 admissions in Germany after the world premiere at the Berlinale! Arne Höhne, Head of the German Distribution Company Piffl Media, presents the success story behind the distribution of the German documentary RHYTHYM IS IT! Instinctive risk-taking as market strategy. The panel will be moderated by Margret Albers (Head of the Children’s Film and TV Festival “Goldener Spatz”) and Thomas Hailer (Head of the Berlinale Kinderfilmfest/14plus).

16:30

≠ Restaurant

Sparkling Tales

Talent actors and Talent writers, moderated by Rajendra Roy. In co-operation with European Film Promotion and the Hamptons International Film Festival. 17 film projects by 19 Talents have been invited to the Script Clinic where scriptwriting experts work on them with the Talents during the Campus week (see p.58). Today, chosen scenes from these projects will be presented for the first time to a public audience. The sequences will be read and performed by several acting Talents. Casting directors and Rajendra Roy, programming director for the Hamptons International Film Festival, will moderate this spontaneous and entertaining session. PAGE 54

Dancing to the right tune: Stephen Warbeck's scored the music for BILLY ELLIOT

14:00

≠ Auditorium

Hitting the Right Note: Stephen Warbeck Live on Stage

Stephen Warbeck and members of the VW orchestra. In co-operation with European Film Academy, World Soundtrack Academy and Volkswagen. Composer and musician Stephen Warbeck will perform some of his compositions live on stage, accompanied by members of the VW orchestra. Stephen Warbeck, this year’s mentor of the Volkswagen Score Competition, is one of UK’s most acclaimed composers for film, theatre and television. His score for SHAKESPEARE IN LOVE earned him an Oscar in 1999. Further compositions include BILLY ELLIOT and CAPTAIN CORELLI’S MANDOLIN. An Associate Artist of the Royal Shakespeare Company, he also writes music for his band The hKippers.

PROMOTION DAY THURSDAY 16th 14:00

≠ K1

4 Countries – 1 Film: International Co-Producing

Barbara Albert, Jasmila Žbanić, Boris Michalski, Jörg Schneider, moderated by Amra Bakšič Čamo and Sonja Heinen. Max. 90 participants. In co-operation with Berlinale Co-Production Market. Case Study on the Berlinale competition film GRBAVICA, the feature film debut by Bosnian filmmaker Jasmila Žbanić. The panelists, including the director, the producers Barbara Albert (coop99), Boris Michalski (Noirfilm) and commissioning editor Jörg Schneider (ZDF), will discuss how this Austrian/Bosnian/German/Croatian co-production was realised in terms of creative and financial aspects. What kind of obstacles are lurking, and where do the advantages of international co-producing and -financing lie? A session about facing problems and finding solutions.

GRBAVICA by Jasmila Žbanić

16:30

≠ Theatre

Wild Space

Surprise guest or film screening. During the three years of the Berlinale Talent Campus numerous great creatives of the world’s film scene have sponaneously found their way to the House of World Cultures. Today’s “Wild Space” is reserved for a filmmaking guest or a special film screening from the Berlin International Film Festival who feels like joining gathered passion at the Campus. Be aware of special announcements in the Campus Lounge on what might fill the Wild Space today, or simply be surprised!

16:30

≠ K1

World Cinema Fund – How to Apply

Sonja Heinen and Vincenzo Bugno. Discussion. Max. 90 participants. In co-operation with the World Cinema Fund. In co-operation with the German Federal Cultural Foundation the Berlin International Film Festival has set up the World Cinema Fund to support filmmakers from transition countries in realising projects which otherwise could not be produced. Successful examples of funded films are PARADISE NOW, winner of a 2006 Golden Globe Award, and the Berlinale Competition film EL CUSTODIO. Until 2007, the geographical focus will be on Latin America, Africa, the Middle East and Central Asia. Talent directors and producers from those regions are invited to attend today's event to get to know all facts about the application rules. Fund Manager Sonja Heinen and Fund Advisor Vincenzo Bugno will offer all important information and will open up for a Q&A.

20:00

≠ Auditorium

Farewell Ceremony

A packed auditorium at the Farewell Ceremony

BERLINALE TALENT CAMPUS #4

In co-operation with DW-TV, Avanti Media, Volkswagen and Dolby. At the Farewell Ceremony the DW-TV team will show the ultimate Making-Of Berlinale Talent Campus 2006. Furthermore, the participants of the Volkswagen Score Competition and the Talent Movies of the Week will present their results. All Talents will vote for the best of three digital movies. Afterwards, the Farewell Party will demand the last bit of energy from all Talents, topping off an exciting Campus week. PAGE 55

ROBERT BOSCH STIFTUNG The Robert Bosch Stiftung issues three promotional prizes for joint film productions by young German and Eastern as well as South Eastern European filmmakers. The prize is awarded in the categories of animated film, documentary, and short film.

PROMOTIONAL PRIZE FOR JOINT FILM PRODUCTIONS Contestants must submit a sample feature by their film team director as well as a detailed project outline and budget plan. Each team must consist of a minimum of a producer, director, camera operator, and a screenwriter. The grant primarily covers the production team’s expenses for travel, meals, and accommodation. It may, to a lesser extent, also be allocated to cover production expenses (cut, copies). Filming material and technical film equipment such as cameras, post-production tools etc. are not allowed. Every winning production can receive up to 70,000 euros in funds. Qualifying applications will be submitted to an independent jury. The jury will shortlist up to 15 teams. Up to three members of each short-listed team will be invited to Stuttgart to present their film. The promotional prizes will be awarded at a gala in December. Up to two members of each winning team will have the opportunity to participate in the Berlinale Talent Campus. A detailed description of criteria and rules as well as a downloadable application form and the deadlines are available at www.filmfoerderpreis.com In 2005 the Robert Bosch Stiftung supported the German-Polish animated film SPLINTER (directed by Wojtek Wawszczyk), the German-Romanian documentary NABEL DER WELT (directed by Ileana Stanculescu and Klaudia Begic) and the PAGE 56

German-Serbian-Montenegrenian short film AMOR FATI (directed by Dennis Todorovic). For 2006 the jury decided to give the grants to the German-Bulgarian animated film THREE SISTERS AND ANDREY (by Boris Despodov), the German-Romanian-Latvian documentary LES ENFANTS DE PARADA (by Annett Schütze) and the German-Croatian short film MILAN (by Michaela Kezele). All these productions will be finished at the end of 2006. We are pleased to invite you to our “Early Bird Breakfast” on February 14, 9 a.m. in the House of World Cultures to meet most of the aforementioned directors and producers and to learn more about the prize. For more information please contact: Filmbüro Baden-Württemberg e.V. Im Filmhaus Oliver Mahn Friedrichstraße 23a D-70174 Stuttgart Fon: 0049 (0)711-22 10 67 E-mail: info@filmfoerderpreis.com Robert Bosch Stiftung GmbH Frank Albers E-mail: [email protected]

THE MAKING OF With 80 events and lectures over six days, 520 Talents from all over the world, activities around the clock – it’s impossible to be aware of everything. But there is no need to: thanks to the Making Of.

EVERY DAY HAS ITS OWN STORY

The DW-Making Of Team interviews Talents at the 2005 Campus

When you are on your way through the House of World Cultures, or busy with one of the Working Campus projects, and you suddenly get the feeling of being watched: It’s no reason to get nervous. Up to four camera crews are moving from event to event, from project to performance and up and down the hallways in order to document the entire Berlinale Talent Campus. The “Making Of” is organised by Germany’s international broadcaster Deutsche Welle TV (DW-TV), official co-partner of the Berlinale Talent Campus 2006. Responsible for this documenting project are DW-TV producers Melanie Matthäus and Bettina Kolb who try to cover the most important and most interesting scenes and activities during the six Campus days. Their team consists of 16 trainees from Berlin (digital media designers/sound and vision) and five journalists who are divided into four TV crews. One of these crews has already been on the road since January to follow all pre-production activities of the Talent Movies of the Week, whereas a second team closes in on the work of the three sound designers at the Volkswagen Score Competition. The other teams swarm the House of BERLINALE TALENT CAMPUS #4

World Cultures to collect atmospherical material, quotes and event highlights. Canon supports the project by providing the Mini-DV cameras and equipment. Every evening in the office of the DW-TV team at the House of World Cultures the entire day’s material is viewed, selected, digitalised and edited on AVID Adrenalin into a 5-8 minute-long “Daily”. Beginning from the Philosophy Day these daily recaps are screened every day at 14:00 in the Auditorium and Theatre, and at 16:00 in the Campus Lounge and the Wild Screening room. At the end of the week the DW-TV crew produces its wrap up “Making of Talent Campus” – the definitive documentary of an unforgettable week, marking the best moments, collecting voices and preserving extraordinary experiences. It will be shown on Thursday, February 16, 20:00 at the Farewell Ceremony. So, the next time you have the feeling of being watched in the House of World Cultures: Don’t panic! It’s DW-TV – or someone who wants to get in touch with you. But that’s another story. PAGE 57

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

WORKING CAMPUS

Daily reporting on the Campus: The Talent Press

The Talent Press Armed with a press pass and a set of assignments and deadlines, ten young journalists will have the opportunity to cover the Talent Campus from the inside, writing daily features, interviews and reviews that will be posted to the Talent Press website at www.talentpress.org. Chosen from 120 applications – the largest number to date – the participants in this year’s Talent Press hail from around the globe. The Talent Press is made possible with support from the Goethe Institute, Goethe Forum, FIPRESCI and technical equipment from Apple. The mentors for this year’s Talent Press include renowned film writers Derek Malcom, Ulrich Gregor, Hugo Salas and Peter Cowie, who will work together with the Talents to encourage innovative and high quality film journalism. This year’s Talent Press Talents are Olga Aylarova (Russia), Tamás Bella (Hungary), Soumaya Beltifa (Tunisia), Vera Brozzoni (UK), Katie Kohn (USA), Leo Mirani (India), Oleksiy Radynskiy (Ukraine), Laurence Reymond (France), Maria Antonia Velez-Serna (Colombia), and Anne von der Goenne (Germany). PAGE 58

The Doc Clinic The Doc Clinic is back for its second year, thanks to the support of the Filmföderungsanstalt (FFA) who also contributed to the Script Clinic. The Doc Clinic allows 12 Talents from 10 countries the chance to bounce their documentary script ideas off of industry professionals. The mentors for the 2006 Doc Clinic include Aelrun Goette (Director, DIE KINDER SIND TOT), Dick Fontaine (Head of Documentary Direction, NFTS London), and David Wingate (SOURCES2). The Doc Clinic is comprised of intensive one on one meetings in combination with a series of seminars, kicking off on Sunday, February 12 with a welcome session, and winding down on February 14 with a wrap up session. The Script Clinic The 15 participants in this year’s script clinic are members of the third cohort of the Script Clinic. This year’s mentors include renowned experts like Franz Rodenkirchen (ScriptHouse), Alby James (Leeds University), Gaby Prekop (Sources2), Pierre-Erwan Guillaume (La

WORKING CAMPUS

Femis) and Gyula Gazdag (Screenwriting, UCLA). Before the Script Clinic begins, each of the five mentors will read the scripts of the participants, and during the Campus, Talents will have the opportunity to meet with their mentors for feedback. The Script Clinic runs over three days, from the welcome session on Sunday, February 12 to the closing session on February 14. Talent Movie of the Week Almost 400 young filmmakers from 56 countries Mixing engineer Martin Steyer helps finishing the VW Score Competition on applied for the Talent Movie of the Week, and the Harrison console in the HFF “Konrad Wolf” three scripts were chosen to be realised by teams made up of selected Talents. From script to screen At 14:00 on Thursday, February 16th, in the session entitled in about two weeks, this is instant filmmaking in “How did that Movie get Made?”, moderated by Sandy Liethe spirit of the Berlinale. The idea seems crazy to berson, the Making of the Talent Movies will be discussed. some, but the results of the TMOTW competition During the Farewell Ceremony they will play on the big have proved pleasantly surprising. Last year’s winscreen, and the 520 Talents in attendance will chose the ning film, the 8 minute long CATARACT by Sainath winning film by voting. Choudhury, went on to various Festivals, including the Milano International Film Festival. This year’s The Talent Movies of the Week mentor, Park Chan-wook, will work closely with the AT SIX O'CLOCK. Written and directed by Paul Andia three teams, helping them move their ideas from (Bolivia). the page to the big screen. THE CLEANER. Written and directed by BJ Soh (Korea). The three Talent directors arrived in Berlin at the HIGH MAINTENANCE. Written by Simon Biggs (GB) and start of February to begin putting their projects directed by Philip Van (USA). together with help from Edda Baumann-von Broen and Cordula Kablitz-Post of the Berlin based production company Avanti Media Fiction GmbH. After a few days of mingling, meeting and greeting, casting and visiting locations, the two-day shoot began, using an HDV Cam XL H1 digital camera provided by Canon. The editing was packed into another two days, using AVID Xpress, and followed by another Türker Süer, Germany jam packed two days of mixing and colour grading at cine plus.

Three Words: Sound! Sound! Sound! It’s 50%! A sound takes you everywhere in an instant.

BERLINALE TALENT CAMPUS #4

PAGE 59

WORKING CAMPUS

Talent Movies of the Week 2005 (from left to right): CATARACT, BOM! and SOUVENIR FROM BERLIN. Photos: © Nik Konietzny-Fotografie / Agentur Focus

Volkswagen Score Competition Talent Project Market To take advantage of the many gifted sound designers The 17 projects chosen for the Talent Project Marand composers that apply to the Berlinale Talent Cam- ket are presented in cooperation with the Berlipus every year, the Working Campus includes a compe- nale Co-Production Market, allowing Talents a rare tition where music is the main attraction. Before arriving opportunity to get in touch with over 350 producin Berlin, musically focused Talents were encouraged to ers, financiers, distributors, sales agents and broadapply for the Volkswagen Score Competition by add- casters from around the world. On the first day of ing their own music to three film clips made available the Talent Project Market, Talents are advised with to them online. The head of the selection jury and this regards to pitching, presenting and preparing their year’s Mentor for the Volkswagen Score Competition projects for the international market. Furthermore, is Stephen Warbeck, (p.21), who will provide valuable they receive training on international co-produccoaching to the three Talents as they navigate through ing and financing. On the second day, Talents take the creation of totally new soundscapes. part in the Berlinale Co-Production Market, where During the Campus, the three selected talents are they meet possible partners for their project. The given the opportunity to work with the Babelsberg potential of this experience is exemplified by the Film Orchestra conducted by Bernd Wefelmeyer, to work of Atsushi Funahashi, whose feature BIG RIVER practice sound editing with cine plus, and work on was in the Talent Project Market in 2004, and is their compositions with the Konrad Wolff Film and back at the Berlinale this year as a part of Forum, Television Academy in Potsdam. Their creations will and by Marc Bauder’s LAST TO KNOW, which will go before a jury on the 15th of February. During the be screened during this year’s Panorama. The VFF Farewell Ceremony on the 16th, Stephen Warbeck, – Verwertungsgesellschaft der Film- und FernsehChristiane Krebs-Hartmann (Volkswagen), and a rep- produzenten is also sponsoring, for the third year, resentative from Dolby will announce the lucky winner, a “Highlight Pitch”, where three pre-selected Talent who will be invited by Dolby for a trip to Los Angeles projects are pitched to the industry and receive where she/he will visit the best studios in town. an award.

I make films as an excuse for getting closer to life, people and stories that interest me. Hanna Andersson, Sweden

PAGE 60

INDEX OF EXPERTS Albers, Helge (p.51) German producer with films to his credit including HAVANA MI AMOR and MARRY ME, he is also a founding member of the Flying Moon production company. Albers, Margret (p.54)

Head of Goldener Spatz Foundation, she is also the director of its annual Kinderfilmund Fernsehfestival, which takes place in the German towns of Gera and Erfurt.

Albert, Barbara (p.55) Director of the films NORTHERN SKIRTS and FREERADICALS, co-founder of the Austrian production company coop99 whose productions stand for authenticity and an individual approach.

Bakrim, Mohamed (p.31) Journalist and film critic, he is the first Vice President of the Federation of African Film Critics. He is also active as the assistant director of the Moroccan Cinematographic Centre.

Benke, Dagmar (p.44) Script consul- Bugno, Vincenzo (p.55) Film critic tant and author who has taught dramaturgy at the Berlin Film and Television Academy. She is now a consultant with Berlin Script House and board member of VEDRA, the German association of dramatic advisors.

and journalist, he is an advisor to a long list of film festivals, a curator with numerous retrospectives to his credit, and the initiator and co-manager of the Berlinale’s World Cinema Fund.

Bensted, Fraser (p.31) Professional

lawyer focussing on press and media law and intellectual property, telecommunications, media and entertainment litigation. She is also a specialist in copyright law, and a lecturer at Humboldt University.

editor who works with Picture Production in London, and has edited countless movie trailers. In 2001, he won a Golden Trailer Award for his trailer for BILLY ELLIOT.

Büscher, Mareile (p.47) Berlin based

Blawut, Jacek (p.41) Polish film direc- Christie, Ian (p.51) Professor of film tor and director of photography both in a field of documentary and fiction. His most famous works include the documentaries LUMP OF SUGAR and THE COUNTRY OF BIRTH.

Block, Tina (p.45) Consultant, management trainer and moderator of assessment centers with different target groups at Volkswagen.

Bakšic Camo, Amra (p.55) Head of Borggrefe, Holger

(p.41) Head of CineLink, the Sarajevo Film Festival’s department “direction/acting” at the annual co-production market. Cine- ifs cologne. He works as a director Link focuses on feature-length film himself, among others for German projects by authors from Southeast Children’s Television. Europe. Broderick, Peter (p.37) President of Ballhaus. Michael (p.37) Legendary Next Wave Films, a California based cinematographer who will be awar- company providing support to indeded with Berlinale Kamera 2006. He pendent young filmmakers from the worked with directors like Rainer Wer- US and internationally. He is a trailblaner Fassbinder, Wolfgang Petersen, zer in the realm of low budget digital Martin Scorsese, Barry Levinson and filmmaking. Robert Redford. Brokemper, Bettina (p.51) Currently Barney, Matthew (p.42, 45) Contem- producer of Cologne's Pain Unlimited, porary artist who works in diverse Heimatfilm and Neue Impuls Film, she mediums. Having finished the CRE- was responsible for last year's Cannes MASTER CYCLE, he has recently premieres DEAR WENDY (Thomas Vinreleased DRAWING RESTRAINT 9. terberg) and FALSCHER BEKENNER Member of this year's Int. Jury. (Christoph Hochhäusler). BERLINALE TALENT CAMPUS #4

INDEX OF EXPERTS

and media history at the University of London’s Birkbeck College. He is a specialist in Russian Cinema and on Powell and Pressburger. Most recently he has collaborated on the upcoming exhibition “Modernism: Designing a New World” at the Victoria & Albert Museum in London.

Ciment, Michel (p.19, 48) A prolific writer, lecturer, and long-time director of the influential film journal, Positif. He is President of the international film critics association FIPRESCI and Berlinale Delegate.

Clark, Jim (p.10, 30, 33) Prolific editor of films including THE KILLING FIELDS, MARATHON MAN, and THE MISSION. In 2005, he was awarded the American Cinema Editors Career Achievement Award. Cowie, Peter (p.30, 47, 48, 53, 58) The former international publishing editor for Variety magazine, and author of many influential books on cinema, including the recently published REVOLUTION! THE EXPLOSION OF WORLD CINEMA IN THE SIXTIES. He is consultant to the Berlinale Talent Campus. PAGE 61

INDEX OF EXPERTS Dod Mantle, Anthony (p.33) Award Gazdag, Gyula (p.58) Editor, screen- Hamed, Marwan winning filmmaker, he has won two writer and director of feature length European Film Awards for best cine- films including A HUNGARIAN FAIRY matographer, one for 28 DAYS LATER TALE, he has made films across a variand another for DOGVILLE. ety of genres and styles. He is a member of the Faculty of Film, Television Doyle, Christopher (p.33, 48) Cine- and Digital Media at UCLA. matographer who has collaborated with some top Asian filmmakers inclu- Gitai, Amos (p.41) Director of over ding Chen Kaige, Zhang Yimou and 40 films, both documentary and ficwith Wong Kar-wai on films such as tion, including BERLIN – JERUSALEM IN THE MOOD FOR LOVE his Film INVI- and YOM YOM. A video installation SIBLE WAVES is running in Berlinale by Amos Gitai will be featured in this Competition 2006. year’s Forum, opening on February at the KW Institute for ContemElfenbein, Stefan (p.??) Food and 8th porary Art. During the last days of the culture journalist, he has written for Berlinale, Kino Arsenal will feature a “Der Feinschmecker” and as well as a retrospective of Gitai’s work. New York correspondent for the Berliner Zeitung. Goette, Aelrun (p.58) Director of the lm UNDER THE ICE, and the German Ellis, Maggie (p.42) Head of Film fiFilm Award winning DIE KINDER SIND London’s production unit, she is also TOT, she studied philosophy before responsible for developing the Micro entering the film industry. Budget Feature Film Fund. Grau, Dirk (p.30, 43) Accomplished Fessmann, Milena (p.47) Music German editor and writer who’s also Supervisor and founder of Cinesong, directed a number of short films. In who offer a full range of services rela2005 he won a German Film Award for ted to music and filmg. She has also RHYTHM IS IT!. worked as a radio DJ, currently she hosts a show called “free falling” on Gregor, Ulrich (p.58) Film Critic and RadioEins in Berlin. promoter of independent, international cinema, he is the chairperson of Fontaine, Dick (p.36, 58) Head of Friends of German cinema and the forDocumentary Direction at NFTS, Lonmer director of the Berlinale’s Forum. don. He has directed and produced innovative fiction features, documen- Guillaume, Pierre-Erwan (p.58) taries and music films. French screenwriter and director, films to his credit include L’ENNEMI NATUFriedmann, Julian (p.48) Editor of REL, STORMY WEATHER and FRANCE SCRIPTWRITER magazine, leading BOUTIQUE. consultant on film and TV scriptwriting. He is the author of “How to Make Hailer, Thomas (p.54) He was a Money Scriptwriting” and has lectured founding member of the indepenwidely on the same theme. dent musical theatre group “Bolshoi and is now the Head of the Funahashi, Atsushi (p.49) Campus Berlin” Kinderfilmfest/14plus section of the alumnus of 2004 and director of Berlinale. numerous award winning short films, as well as two feature length films. He is an active film critic, and is currently based in New York. PAGE 62

(p.31) Egyptian director, this former Talent has visited film festivals world wide with his short films. His first full length film, YACOUBIAN BUILDING, is the biggest budget film in Egypt’s history.

Hamilton, Doug

(p.39) Documentary filmmaker, his film profiling Alice Waters is titled ALICE WATERS AND HER DELICIOUS REVOLUTION.

Heinen, Sonja

(p.55) Head of the Berlinale Co-Production Market and of the World Cinema Fund, both initiatives of the Berlinale and dedicated to international co-productions.

Hennet, Florian von (p.66) ScienceTV editor and food specialist, he served as a consultant to the Campus theme of Hunger, Food and Taste. Höhne, Arne (p.54) Head of the Arne Höhne Press and Public relations group, he does media work for film distributors, covering dozens of films, including Piffl Media’s RYTHM IS IT!

Holland, Agnieszka (p.47) Director and screenwriter who is well known for her film EUROPA EUROPA, for which she received an Academy Award nomination in 1991. She recently completed COPYING BEETHOVEN.

Horakh, Andrea

(p.39) Film and culture correspondent for Deutsche Welle TV.

James, Alby (p.58) Experienced editor, producer, and director, as well as an accomplished lecturer, he has worked and studied in Britain, South Africa and the US. He is currently the head of Leeds Metropolitan University’s Screenwriting MA programme.

Jobson, Richard (p.41) Director who has worked in various facets of the business, his debut micro budget film was 16 YEARS OF ALCOHOL.

INDEX OF EXPERTS Kaminski, Janusz (p.41) Cinemato- Lam, Angie (p.11, 29, 30, 47) Renow- Malcolm, Derek (p.48, 58) Best known grapher and two time Oscar winner, he’s photographed many films including SCHINDLER’S LIST, HUCK FINN and SAVING PRIVATE RYAN.

ned editor specialising in martial arts films including SEVEN SWORDS, KUNG FU HUSTLE and HERO.

Kavka, Markus (p.27) MTV veejay, Music Journalist and DJ at house and techno clubs in Berlin.

writer, cinematographer and anthropologist, her latest film is BIRDS FROM HEAVEN.

Latour, Eliane De (p.41, 51) Director,

Kolbusch, Alissa (p.35) Production Laube, Moritz (p.29, 53) Directing designer, she most recently worked on AUS DER TIEFE DES RAUMES, an independent German success story.

student at the DFFB, Berlin and a Talent at the Campus in 2004, where he edited CATARACT, the winner of Talent Movie of the Week comKöhler, Margret (p.48) Film journalist the petition. He has edited two films for and critic who has published in GerWim Wenders, ODE TO COLOGNE and man newspapers including DIE WELT, LAND OF PLENTY. and online film journals like BLICKPUNKT and FILMZEIT. Levine, Sydney (p.43) Founder and President of Film Finders, an indepenKrayenbühl, Sabine (p.30, 43) Edi- dent feature film acquisitions, tracking tor of documentary and feature films, and festival programming database. she has worked in Europe and North America on projects including MY Li, Kathy (p.48) Cinematographer and ARCHITECT, which was nominated for longtime collaborater with Campus an Oscar in 2004. She edited the 2005 guest Christopher Doyle. documentary MAD HOT BALLROOM. Lieberson, Sandy (p.49, 43, 54) ChairKruger, Beatrice (p.31, 36) Actress person at Film London, advisor to a and casting specialist with Rome- wide range of projects dedicated to based company FBI Casting, she has the development of talent in the film been the casting director for over 25 and media industries. Formerly the films, and a European casting specia- president of production at 20th Cenlist for many more, including THE LIFE tury Fox. AQUATIC WITH STEVE ZISSOU. Luddy, Tom (p.18, 39, 45) Producer Kubelka, Peter (p.30) Fusing film, cui- of films including Agnieszka Holland’s sine, writing, architecture and music, THE SECRET GARDEN, he is also a cohe has been at the cutting edge of founder and co-director of the presavant-garde cinema since the 1950’s. tigious Telluride Film Festival. He is the co-founder of the Austrian Maintigneux, Sophie (p.53) Direcfilm museum, and had a professorship tor of Photography who has worked of film and cuisine. with Eric Rohmer (LE RAYON VERT) Künast, Renate (p.30) Green Mem- and Jean-Luc Godard (KING LEAR) ber of Parliament, she was the Minister before she put her main focus on of Consumer Protection, Agriculture, German film where she collaborated Food and Nutrition from 2001–2005. with directors like Michael Klier, Jan Schütte or Helga Reidemeister in feature films and documentaries.

BERLINALE TALENT CAMPUS #4

as the highly respected and long-standing film critic with The Guardian, and author of “A Century of Films”. He is also an Honorary President of FIPRESCI.

Manetti, Marco and Antonio (p.42) Directors of micro-budget feature length film PIANO 17, they are also known for making rap music videos.

Meixner, Gerhard (p.51) Producer and co-producer of various films including PARADISE NOW and DIAL 9 FOR LOVE. His current project is titled OFFENE WUNDEN. Michalski, Boris (p.55) Founder of the production company Noirfilm together with Didi Danquart. GRBAVICA is their first feature film after producing several documentaries.

Najjar, Najwa

(p.51) Documentary and short filmmaker, her films include QUINTESSANCE OF OBLIVION, YASMINE’S SONG and NA’IM WA WADEE’A.

Nelson, Davia (p.29, 36) Producer of radio stories for National Public Radio in the US, she has since 1978 produced groundbreaking documentary and live radio programming as half of the well known team “The Kitchen Sisters”. Since 1999, she has produced the award winning series LOST AND FOUND SOUND on NPR. Author of “The Hidden Kitchen”.

Nettelbeck, Sandra (p.19, 36) Director and writer whose films include SERGEANT PEPPER and MOSTLY MARTHA, the latter won various European film awards.

Nikitin, Nikolaj

(p.41) Founder of Schnitt Magazine, he is also the Berlinale’s foreign delegate to Eastern Europe. He served as the artistic director for LOST AND FOUND, which premiered as the opening film in the Berlinale Forum in 2005. PAGE 63

INDEX OF EXPERTS Noury, Hakim (p.31) Accomplished Rampling, Charlotte (p.53) Actress Salas, Hugo (p.58) Film critic and culactor and father of Imad and Swel.

with dozens of lead roles to her cre- tural writer, he has written many articdit, including UNDER THE SAND and les on cinema and currently lectures at Noury, Imad and Swel (p.31) Direc- THE SWIMMING POOL. Her latest film, a variety of Argentine Universities. tors and brothers, who together shot BASIC INSTINCT II is currently in postHEAVEN’S DOORS. The film is premiSchiller, Margaret von (p.51) A disproduction. She is President of this ering in the Panorama section of this tinguished film commentator, she is year's Berlinale International Jury. year’s Berlinale. the programme coordinator of the Rene Meyer, Sylke (p.41) Director Berlinale’s Panorama section. Park, Chan-wook (p.20, 35) Acclai- and writer. Her recent works include med South Korean director and Schneider, Jörg (p.55) Commissiothe documentary WHO IS ANNA screenwriter who made his directoning editor at German broadcaster WALENTYNOWICZ? whose subject is rial debut in 1992 with THE MOON ZDF – Das kleine Fernsehspiel. The the basis of her screenplay for the feaIS… THE SUN’S DREAM. His latest film, department is dedicated to providing ture film FORGOTTEN HERO by Volker OLDBOY, won the Grand Prix at Cansupport to young directors. Schlöndorff. nes in 2004. Schnellhardt, Astrid (p.45) Studied Richards, Julian (p.42) Director and Strategic Petrini, Carlo (p. 16, 19, 29, 37) Foun- screenwriter, Communication and Planhis feature length films der and current international president ning, and has been working for Volksinclude DARKLANDS, SILENT CRY and of the Slow Food movement, which wagen Coaching GmbH since 2002, most recently, the micro-budget THE today features a publishing house, covering topics such as assessment LAST HORROR MOVIE. taste fairs, a foundation for biodivercenters and management training. sity and a gastronomic university. He Rodenkirchen, Franz (p.58) SpeciaSellars, Peter (p.31) A leading thearemains focussed on promoting food list in dramaturgical consulting, he is ter, opera and television director, he is and wine culture, as well as encoura- the co-author of numerous film proa professor of World Arts and Culture ging small farmers and producers. ductions, author of a radio play, and at UCLA. He has mixed his professioof a variety of essays relating to media Pittaluga, Juan (p.19, 29, 37) Direc- and film. He is currently the director nal work with a strong sense of social tor and writer of two recent films, justice and has lectured widely on culof the consulting branch at SCRIPTORLANDO VARGAS and RÊVER, he protural activism. HOUSE. duced documentary MONDOVINO is Shiva, Vandana (p.17, 29, 30) Phyfeatured at this year’s Campus. Roos, Fred (p.49) Co-producer of sicist, ecologist, author, feminist and classic films including APOCALYPSE Prekop, Gaby (p.58) Script editor NOW and THE GODFATHER parts II and activist, her work in the fields of biofor a number of István Szabó films, diversity and agricultural policy have III. He was the executive producer of she is currently a script advisor and lead to her becoming a prominent LOST IN TRANSLATION, and he curboard member of SOURCES 2, a script figure in the international antiglorently has four films in post-producdevelopment company offering workbalization movement. Author of 13 tion. Member of this year's Berlinale shops and consultations for European books and over 300 articles. She won International Jury. scriptwriters. the Alternative Nobel Prize in 1993. Roy, Rajendra (p.54) Director of proQuinn, Eileen (p.42) Producer of inde- gramming for the Hampton’s Interna- Sider, Larry (p.30, 43, 47) As a sound pendent dramas, she is head of media editor and designer, his work has tional Film Festival, which takes place at IWC media. She freelances for The crossed between the genres of docuyearly in October in East Hampton, Script Factory, specializing as a trainer mentary, drama and animation. His New York. Winners of the Hampton’s for pitch workshops. most recent projects include working Golden Starfish Award for short films as sound supervisor on THE PIANO qualify for consideration in the AcaTUNER OF EARTHQUAKES. He is curdemy Awards. rently the Head of Post-Production at the School of Sound.

PAGE 64

INDEX OF EXPERTS Slesicka, Katarzyna (p.41) Executive Thompson, David (p.37) Head of BBC Warbeck, Stephen (p.21, 54) Film Director of the Andrzej Wajda School. Films, the Corporation’s cinematic arm Worked there from its foundation in that has been involved with promi2001 as Programme Manager coordi- nent British films of recent years, inclunating international film programmes ding BILLY ELLIOT and DIRTY PRETTY such as REFLECTION and EKRAN. THINGS.

Smith, Iain

(p.30, 42) Producer of more than a dozen feature length films, including SEVEN YEARS IN TIBET and ALEXANDER. He is a member of the board of the UK Film Council and Scottish Screen, amongst others.

Traube, Rainer (p.41) Rainer Traube is

Speck, Wieland (p.45) Former actor, director, professor of film studies and art-house cinema manager, he has been the Head of the Berlinale’s Panorama section since 1992.

Trijbits, Paul (p.35) Head of the New

Head of Arts and Culture at Germany’s international broadcaster Deutsche Welle-TV. He worked as senior editor and correspondant at tv and radio for 20 years. Cinema Fund at the UK Film Council, supporting award-winning projects such as TOUCHING THE VOID and BLOODY SUNDAY.

Sternagel, Johannes (p.35) Produc- Tsintzadze, Dito tion designer who got his start with HELP THE OLD and FLIRT, his most recent film is AUS DER TIEFE DES RAUMES.

Stützle, Christiane (p.42) Associate for the law firm, Hogan and Hartson Raue. Her practice focuses on intellectual property and media and communications law, and she represents broadcasting entities, newspapers, and state media administrations.

Téno, Jean-Marie (p.41) Director of documentary and feature films, including CLANDO and VACANCES AU PAYS, his films ask to reflect upon relationships between Africa and Europe.

Terhechte, Christoph (p.35, 49) Freelance journalist, film critic and culture editor, he has been the Head of the Berlinale Forum since 2001.

Thomas, Jeremy (p.29, 43) Producer with a host of films crossing many genres to his name. He won an Academy Award in 1988 for THE LAST EMPEROR. His Film GLASTONBURY is running in the 2006 Berlinale Special. He is currently working on three films. BERLINALE TALENT CAMPUS #4

(p.41) Writer and director who completed his first full length film, GUESTS, in 1990. Since that time he has written and directed a number of films of note, including LOST KILLERS and GUN SHY. His most recent project is DER MANN VON DER BOTSCHAFT.

composer and head of music for the Royal Shakespeare Company, he has written music for more than 70 projects. He was awarded an Oscar for Best Music, Original Musical or Comedy Score for SHAKESPEARE IN LOVE in 1999.

Waters, Alice (p.14, 15, 19, 29, 36) Chef and natural food advocate, her Berkeley, California based restaurant Chez Panisse changed the face of American cuisine. She has been nominated one of the top ten chefs in the world by Cuisine et Vins de France magazine.

Wenders, Wim

(p.47) Director of WINGS OF DESIRE, THE END OF VIOLENCE, and PARIS TEXAS, all of which won the Golden Palm at Cannes. His most recent film release is DON’T COME KNOCKING.

Wingate, David (p.37, 58) Starting out

as a writer and director of short and feature films, is specialized as a dramatic advisor and has worked througTykwer, Tom (p.47) Director, compo- hout Scandinavia on many aspects ser of filmography, and producer, he of filmmaking and production. He is gained international recognition as currently a part time lecturer on film the director of RUN LOLA RUN. production, and a board member of Veiel, Andres (p.47) Writer and direc- SOURCES 2. tor of documentaries including BLACK Wootton, Adrian (p.42) Chief ExecuBOX GERMANY, which won the Gertive of Film London, responsible for man Film Award for Best Documentary their strategic planning and overall in 2002. His most recent documentary managament. is titled ADDICTED TO ACTING. Jasmila (p.55) Bosnian direcWajda, Andrzej (p.41) Director and Žbanic, tor and artist. Her film GRBAVICA, in writer, considered by many to be one competition in the Berlinale in 2006 of the finest Polish filmmakers. Films is her first feature film. Director of one to his credit include KANAL, CZLOepisode of LOST AND FOUND, which WIEK Z ZELAZA and PANNA NIKT. His premiered at the Berlinale Forum in awards include an honorary Oscar, a 2005. European Film Awards lifetime achievement award, a Silver Berlin Bear and the Berlinale “Ehrenbär” 2006.

PAGE 65

INDEX OF SHORT FILMS ON HUNGER, FOOD AND TASTE The competition of short films on “Hunger, Food and Taste” is one of the central elements of this year's Berlinale Talent Campus. Chosen by Tom Luddy, Florian von Hennet and the Campus Selection Committe 32 Talents and their films were invited to join the Campus. Tom Luddy will present the films daily from Sunday to Wednesday at 18:00 in the Restaurant, divided into appetising portions. To enjoy the whole filmic dish, you can use the terminals at the Campus Exhibition Hall. In addition you will find the list of all 32 films including a statement from the directors.

TALENTS ON HUNGER, FOOD AND TASTE Food for Thought: ORIGINS

Food for Thought: KILL OR DIE

1. WILL THINK FOR FOOD. Parvinder Kaur, India: “Desire, desperation, layers of an onion and taste for variety...life, food, film...it’s all a play of ideas...”

12. IM HOCHBETRIEB. Andreas Krein, Germany: “Remove the music from a film, and you are taking away 51 percent of the experience.”

2. HUNGER. Maia Burduli, Georgia.

13. TO BEEF OR NOT TO BEEF. Kristina Pozenel, Serbia: “We are what we eat!”

3. MALENKAYA KATERINA. Ivan Golovnev, Russia: “The Nature feeds Culture... The Civilization with appetite eats both…” 4. LA VIDA DULCE. Rouven Rech, Germany: “Movies go along like trains in the night.” 5. CHILI SAUCE. Cyrus Khambata, India: “Do not ignore how your film smells! Cause, that is how you will know what it is going to taste like!” 6. EARL GREY? Kate Aidley, UK: “It’s about life’s little pleasures.” 7. I LOVE LIVER. Michael Petrowitz, Germany: “Live(r) Up To Life!” 8. KOTZEN. Sarah Paar, Germany: “To act the artist can be a perfect possibility to get over annoyance.” 9. GETTING LOST? Sergio Basso, Italy: “Yesterday night I prepared dinner for some friends. I put in the oven three kilos of war, five onces of religion and a spoonful of mistrust. Dinner was awful. We all spat up. Maybe it’s time to change recipe, isn’t it?” 10. CANTINE AND CO. Nordine Sajot, Italy: “Me, myself and food.” 11. DUNNY. Phillip Van, USA: “The weight of a man.”

PAGE 66

14. (TAVALLOD) THE BIRTH. Mostafa Emami, Iran. “Eating but not at any price.” 15. THE DAY AFTER TOMATO. Oskar Gullstrand, Sweden: “A tomato’s amazing journey in the search for true love.” 16. SNAIL'S DESERT. Gustavo Arteaga, UK: “From chopping-board to dinner table, this film portrays the preparation and consumption of a juicy snail’s dessert.” 17. MEATBALL. Filippo Filliger, Switzerland: “MEAT BALL: bloody healthy!” 18. BLACK CHERRY. Lucky Kuswandi, Indonesia: “Hunger, entitlement of one own’s body.” 19. MAMA LAGOS. Kenneth Gyang, Nigeria: “The potency of African food.” 20. WE ARE WHAT WE LOST LOST. Srdjan Mitrovic, Serbia: “In feature films the director is God; in documentary films God is the director.” 21. A LOVE SUPREME. Nilesh Patel, UK: “My short film A LOVE SUPREME is a tribute to my mother, who has Rheumatoid Arthritis in her knees and shoulders, and was inspired by the boxing sequences from RAGING BULL.”

INDEX OF SHORT FILMS ON HUNGER, FOOD AND TASTE

All Talent films are available on the Campus website

Food for Thought: LOST SUPPER 22. SLICED FOOD. Lenka Clayton, UK: “A food and human dissection.”

I try to be a nice man and still make good films. It’s difficult. Mikkel Sandemose, Norway

23. EVIANNAIVE (EXCERPT). Verena Vargas, Germany: “I cook films, I share films and films feed us.” 24. STRAWBERRY EATING WOMAN. Marlon Vasquez Silva, Colombia: “The reality is the machine of the fiction.” 25. MILLET. Malam Ibrahim Malam Mahaman Saguiro, Niger: “Life often presents us with situations in which we have little choice, but to struggle, despite all odds for better conditions for both ourselves and those around us. This is a sense of responsability.” 26. CHILDREN OF PARADISE. Zahirul Islam, Bangladesh: No comment. 27. WASTE NOT, WANT NOT. Ferdinand de Madura, Philippines: “Art has the power to change the world.”

29. DIVINE MEALS. Indika Udugampola, Sri Lanka: “Divine meals, offered unto thy hands, now lies, rotten and stale, on temple altar.” 30. CAKE IN THE FACE. Katarina Hellberg, Sweden: “The pie is the limit!" 31. CAFE 469. Atefeh Khademolreza, Iran: “Nothing happened two times and never will. We couldn’t live the same summer or winter another time. We shouldn’t let this daily life drown us in itself. We have to feel every single moment of our life.” 32. TWO NATIONS, ONE BREAD. Yoav Cohen, Israel: “Feelings are my bread, I like to share it with all.”

28. 5x1=5. Kamal Ragani, India: “Hunger and Taste is within you but Food is somewhat exterior.” BERLINALE TALENT CAMPUS #4

PAGE 67

NOTE OF THANKS

FOURTH COURSE The Campus would not be what it is today without the ongoing support from our worldwide partners, the majority having been with us from the very beginning. We would like to thank our partners, event partners, sponsors and supporters as well as our international experts. Let’s celebrate film and enjoy six days of unforgettable encounters! Cathy Rohnke Programme Manager of the Berlinale Talent Campus

Photo: ©Kathrin Stetter

We are right in middle of it – we have served starters, we have served the previous courses and now – we are up for an enjoyable fourth course to share with each other! It’s wonderful that we are again able to invite 520 up-and coming filmmakers from around the globe to join us at the House of World Cultures for the 2006 Berlinale Talent Campus. This week will be dedicated to learning from the invited experts, to learning from each other and to becoming part of the ever expanding Campus network. Meanwhile, more than 2,000 alumni and nearly 400 experts have helped to build up this vivid community. Some of them have even started projects which brought them back: we are glad to welcome this year 22 alumni at Berlinale. Two of this year’s Talents have already films in the official Berlinale programme! In 2006 the Talents come from 101 countries, which make the Campus a diverse mosaic of religious beliefs, cultural practices and political backgrounds, all of which are brought together by one thing – a true passion for filmmaking. This brings us together for the next week and this will go on – as the spirit which forms the very core of our Campus network.

APPLE Stephan Buchmann and Gerald Golisch – especially for this year’s pod-casting. ARRI Franz Kraus, Thomas Popp, Walter Brus and Fritz Sommer for bringing us enlightenment and the Early Bird Breakfast. ARTEVENT Robert Hofferer for supporting “Films on Hunger, Food and Taste”. AVANTI MEDIA Edda Baumann–von Broen and Cordula Kablitz-Post for producing the Talent Movies of the Week. AVID Michael Dalock-Schmidt especially for the technical support of Jim Clark’s session. BAXPAX HOSTEL Martin and Ante for giving our Talents a home. BBC FILMS David Thompson for being with us. BERLINER PILSNER Jochen Schmitt, Harro Fischer and Hans Geltner. BAVARIA FILM INTERNATIONAL Thorsten Schaumann, Gabriele Neugebauer, Oliver Schündler and Boris Ausserer for supporting us for “Shoot Goals! Shoot Movies!” and MOSTLY MARTHA. BOXFISH FILMS Karen and Christiane for their outstanding support of the Berlin Today Award and Berlin Angels Day. CANON Andrew Boag, Jeroen Barsingerhorn and Bettina Steeger. CARPE DIEM Alexandra Ebert-Wundi for the Early Bird Breakfast. CINE PLUS Frank Evers, Ralph Niebuhr, Christian Colmorgen and Esther Reinicke for getting the Campus wired. DEUTSCHE BAHN Melanie Diehl and Markus Fälsch for the train vouchers. DEUTSCHE WELLE Rainer Traube for moderating and the Campus Diary, Andrea Horakh for moderating, Melanie Matthäus, Bettina Kolb and Fred Oelschlegel for the Campus Dailies. DOLBY Graham Edmonson and Hubert Henle for endowing the L.A.-Trip for the winner of the VW Score Competition. EUROPEAN FILM ACADEMY Marion Döring, Bettina Schwarz and Pascal Edelmann for being our think tank for strategic expert approach. EUROMED Jean Louis Ville, Sarah Rinaldi, Olivier Lequeux and Catherine Buresi for becoming our new partner and the Early Bird Breakfast. EUROPEAN FILM MARKET thanks to Beki, Karen, Tilmann, Michael and Sidney for the excursions. EUROPEAN FILM PROMOTION Renate and Karin for bringing in Beatrice Kruger and Rie Hedegaard. FEDERAL FOREIGN OFFICE Federal Foreign Minister Frank-Walter Steinmeier, Andreas Görgen, Ludwig Linden, and Gisela Streubel for the ongoing backing of our ideas. FIPRESCI Klaus Eder, Joseph Schnelle, Derek Malcom and Michel Ciment. Ulrich Gregor for joining the team of the Talent Press for the first time. FRENCH EMBASSY IN BERLIN AND BUREAU DU CINEMA SE Claude Martin – Ambassadeur de France, Chantal ColleuDumond, Anne Schesch, Eliane Herment: our French Connection for gaining experts and hosting “Cuisines et cinéma”. GERMAN PAGE 68

NOTE OF THANKS ACADEMIC EXCHANGE SERVICE Dorothea Fitterling and Andrea Köhler. GERMAN FEDERAL FILM BOARD Peter Dinges and Katja Jochum for their support of the Talent Movies of the Week and the Doc and Script Clinics. GOETHE FORUM Christoph Bertrams for supporting The Talent Press. GOETHE-INSTITUT Prof. Dr. Jutta Limbach, Hans-Georg Knopp and Detlef Gericke-Schönhagen for showing “Shoot Goals! Shoot Movies” around the world. GOROL&PARTNER Stephan Gorol & Anne Reckmann & Svenja Behrens & Ronald Schulze for getting us on stage. HAMPTONS INTERNATIONAL FILM FESTIVAL Rajendra Roy for moderating the readings. HEINRICH BÖLL FOUNDATION Simone Schmollack and Juliane Widmer for bringing in Vandana Shiva. HOGAN HARTSON RAUE BERLIN Peter Raue, Mareile Büscher and Christiane Stützle and for hosting two events and providing legal advice for “Shoot Goals! Shoot Movies!” HOUSE OF WORLD CULTURES Bernd Scherer, Doris Hegner, Shaheen Merali, Becky Ann Gilbert and Hermann Volkery for the cool location and their patience. HUGO BOSS Claudia Schmidt and Philipp Wolff for the wonderful sweaters, which keep us warm. INTERFEL Daniel Soares for providing fresh fruits. INTERNATIONALE FILMSCHULE KÖLN Miriam Edinger. KODAK Thierry Perronnet, Klaus-Georg Hafner for Sophie Maintigneux and the Early Bird Breakfast. MANFRED DURNIOK PRODUKTION Michiko Teramoto, Ayano Teramoto and Hiroomi Fukuzawa for the Durniok-Ticket and hosting of a lunch. MASTERCLASS/LUDWIGSBURG-PARIS Peter Sehr and Julie Halten for the Early Bird Breakfast. MEDIA BUSINESS SCHOOL MADRID Hugo Lasarte and Frederic Parilla. MEDIA TRAINING Viviane Reding, Costas Daskalakis, Aviva Silver and Arnaud Pasquali for their belief in us. MEDIENBOARD BERLIN-BRANDENBURG Petra Maria Müller, Kirsten Niehuus, Frank Stehling for being our generous partner. NATIONAL FILM AND TELEVISION SCHOOL for sending Dick Fontaine and Larry Sider. NEUBACHER BERLIN Antonia for designing the punk-onion for the application form. NIPKOW PROGRAMME Uta Ganschow. POLISH FILM INSTITUTE WARSAW Dorota Pacarelli for the Kieslowski-Panel. REFLECTIONS Holger Borggreve and Katarzyna Slesicka. REVERSE ANGLE for LAND OF PLENTY. ROBERT BOSCH STIFTUNG Frank Albers and Josef Krieg for their generous support and the Early Bird Breakfast. ROTES AUTO Julia Rahne. SARAH WIENER Michael Lammert and Marek Erdmann for her delicious ideas and the breakfast for our press conference. Martin Scharff and the star-cook team for the Opening Curry. SCRIPT HOUSE BERLIN Dagmar Benke, Franz Rodenkirchen and Jürgen Seidler. SCHOOL OF SOUND Larry Sider for developing and moderating the focus on “Editing”. SERVE-U Phillip Sünderhauf for installing the database. SKILLSET Judy Counihan, Gary Townsend, Rachel Duke, Emily Bullock, Vicky Title and Claire Dougherty and Sandy Lieberson for being an outstanding supporter of our programme for the fourth year. SLOW FOOD Carlo Petrini and Ulrich Rosenbaum for supporting “Films on Hunger, Food and Taste”.SOURCES2 Renate and Marion Gompper for supporting the script clinic every year by bringing in Gaby Prekop and David Wingate. TELLURIDE FILMFESTVAL Tom Luddy for developing and moderating the programme “Films on Hunger, Food and Taste”. TALENT PROJECT MARKET Sonja and Kathi for rocking this project with us! TOPIX Ivano Canteri and Andrea Casagleno for streaming the Talent Movies. ROSENDAHL GRAFIKDESIGN Anja und Lars. TV 5 MONDE Jean-Jacques Aillagon, Fabrice Grandhomme and Arnaud Genestine for bringing in Talents. THE UK FILM COUNCIL LONDON Paul Trijbits, Emily Anderton and Jo Maurice for their support. VFF Johannes Kreile, Norbert Flechsig and Georg Feil for supporting the “Talent Highlight Pitch”. VÖSLAUER Claudia Six and Anja Slomma for the energizing water from Austria. VOLKSWAGEN Dirk Große-Leege and Christiane Krebs-Hartmann for their generous support, the Volkswagen Score Competition and bringing in Tom Third & Ognjan Milosevic. Steffen Schier and Marion Weissner for the Campus Diary, organizing the premiere of the VW Orchestra musicians at the Campus and the “VW-Curry-Wurst”. VOLKSWAGEN CAREER DEVELOPMENT Astrid Schnellhardt and Tina Block for their creative games. VOLKSWAGEN SCORE COMPETITION Stephen Warbeck for his committed mentorship, Ulrich Weinberg and Corinna Marschall for establishing the partnership with HFF Konrad Wolf, Martin Steyer for supervising, Martin Todsharow, Bernd Wefelmeyer, Klaus-Peter Beyer for providing the Deutsche Filmorchester Babelsberg, Jean-Marie Gilles and Tom Korr for supervising the editing, Andreas Homolka from Tremens-Film Tonstudio, Karl Baumgartner and Christoph Friedel from Pandora Film and Sandra Nettelbeck for MOSTLY MARTHA – thanks to all of you for this support. 20SEC.NET Jens Rietdorf and Robert Wagner for the website and the programming. WORLD SOUNDTRACK ACADEMY Danielle Heynickx for getting us into the rhythm with Stephan Warbeck. KULTURVERANSTALTUNGEN DES BUNDES IN BERLIN Thomas Köstlin, Johannes Emig and Marianne Bialek for their ongoing trust. INTERNATIONAL FILM FESTIVAL Dieter Kosslick and his team – Karin & Daniela, Johanna, Benny and Henny, especially the delegates for spreading the word about us abroad, Dagmar & Jolanda, Kathrin & Alex for handling our industry sponsors, Johannes & Wolfgang for their trust, our colleagues from the IFF sections – Thomas and Maryanne, Alfred and Linda, Wieland and Margaret, Christoph, Karen and Dorothee for their cooperation, Frauke and Anne, Cordula & Sabine for going public, Vincenzo for being our Italian ambassador and hosting a session, Virginie for her creative input to “Hunger, Food and Taste”, Winfried, Christina Gräfin Szápáry and Markus Hönle for their support, Nicki Nikitin for moderating “Reflections”, Peter Cowie, Christine Dorn and Florian von Hennet for their ongoing advice, Judith Johannes for her trust and friendship, Michael Kühn for legal support, Renate Künast for her talk with Vandana Shiva, and finally the international members of the CAMPUS TEAM Betti, Birgit, Britta, Christine, Christina, Dagmar, Dawn, Debora, Elena, Lina, Lira, Jana, Maya, Marjorie, Andrew, Henning, Marcus, Oli, Tommy. BERLINALE TALENT CAMPUS #4

PAGE 69

TEAM AND IMPRINT Berlinale Talent Campus Team 2006 Programme Manager . . . . . . . . . . . . . . . . . . . . . . . . . Cathy Rohnke Talent Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas Struck F&A Manager . . . . . . . . . . . . . . . . . . . . . . Christine Tröstrum Programme Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant F & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . Assistant Working Campus . . . . . . . . . . . . . . . . . . . . Talent Administration . . . . . . . . . . . . . . . . . . . . . . . . . Selection Commitee . . . . . . . . . . . . . . . . . . . . . . . . . . Talent Project Market . . . . . . . . . . . . . . . . . . . . . . . . . Guest Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Online Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Magazine Editor / The Talent Press . . . . . . . . . . . . Press Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . IT Project Management . . . . . . . . . . . . . . . . . . . . . . . IT Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Event Agency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cover Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Consultants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Betti Pabst Dagmar Krull Christina Janitz Lina Dinkla Elena Silvani Lira Lousinha, Maya Dalinsky, Marjorie Bendeck Marjorie Bendeck, Julia Peukert, Andrew Amondson, Henning Adam Sonja Heinen, Kathi Bildhauer, Martina Bleis Jana Daedelow Marcus Forchner Oliver Baumgarten, Dawn Paley Televisor – Birgit Mangold, Britta von Gehlen 20sec.net – Jens Rietdorf serve-u – Phillip Sünderhauf, Andreas Buchholz Gorol & Partner – Stephan Gorol, Anne Reckmann Rosendahl Grafikdesign – Anja Rosendahl, Lars Borngräber Rotes Auto, Julia Rahne Peter Cowie, Christine Dorn, Florian von Hennet, Sandy Lieberson, Tom Luddy

The Berlin International Film Festival Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dieter Kosslick Festival Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johannes Wachs Head of Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . . Dagmar Forelle

The Berlinale Talent Campus Team (from left to right): Front row: Thomas Struck, Christine Troestrum, Cathy Rohnke, Betti Pabst, Jana Daedelow. Second row: Birgit Mangold, Marjorie Bendeck, Lira Lousinha, Britta von Gehlen, Christina Janitz, Maya Dalinsky. Backrow: Marcus Forchner, Andrew Amondson, Dawn Paley, Elena Silvani, Henning Adam, Lina Dinkla, Dagmar Krull, Kathi Bildhauer.

Imprint Circulation 5.000 Advertising Berlinale Talent Campus Dagmar Krull Editorial Office Oliver Baumgarten, Dawn Paley, Cathy Rohnke, Thomas Struck Cartography Runze & Casper, Berlin Photography Berlin International Film Festival, mai.foto – Ute Langkafel, Filmarchiv Schnitt Verlag, Köln, and all co-operation partners, distributors, film productions Design Rosendahl Grafikdesign Print Office Druckhaus Berlin Mitte Publisher Berlinale Talent Campus, Potsdamer Straße 5, 10785 Berlin, phone: +49 30 25 92 05 15, fax: +49 30 25 92 05 19, e-mail: [email protected], www.berlinale-talentcampus.de, an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH.

PAGE 70

In Cooperation with

Co-Partner

Supporter

Manfred Durniok Produktion

We would like to thank artevent, Deutsche Arena and Interfel for their donations. The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH, in cooperation with MEDIA Training, Medienboard Berlin-Brandenburg, Skillset and the UK Film Council and Volkswagen.