Hebbel am Ufer 12 – 17 Feb 11

Berlinale Talent campus

magazine
 We would like to thank our international network
for its support

350 Talents from

88 countries
Welcome to the Berlinale Talent Campus!
Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin

Berlinale Talent Campus #9

Page

04 contents
05

01 introduction
Chapter

p. 07 Editorial Dieter Kosslick

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum
p.10 Words of welcome
p.12 Berlinale Talent Campus website
p.13 Talent Campus International
p.14 Campus alumni at the Berlinale
p.15 Supporting foundations

02 Focus
Chapter

p. 18 Framespotting –
Filmmakers positioning themselves

03 Hands-on training
Chapter

p. 22 Score Competition
p. 23 Interview Michael Nyman

04
p. 24 Script Station
Chapter
programme p. 25 Doc Station
p. 26 Campus Studio
p. 40 Campus programme – Timetable p. 27 Interview Molly Malene Stensgaard
p. 46 Day 1 – Sat, Feb 12 p. 28 Talent Project Market
p. 47 Day 2 – Sun, Feb 13 p. 29 Talent Press
p. 50 Day 3 – Mon, Feb 14 p. 31 Talent Actors Stage
p. 55 Day 4 – Tue, Feb 15 p. 32 Berlin Today Award
p. 58 Day 5 – Wed, Feb 16 p. 35 Meet the Expert
p. 63 Day 6 – Thu, Feb 17

05 Index
Chapter

p. 68 Index of events
p. 69 Index of experts
p. 75 Index of participants
p. 77 Note of thanks
p. 78 Team and imprint
p. 79 Partners
Chapter

01 introduction

p.07 Editorial Dieter Kosslick

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum
p.10 Words of welcome | p.12 Berlinale Talent Campus
website | p.13 Talent Campus International
p.14 Campus alumni at the Berlinale
p.15 Supporting foundations
Berlinale Talent Campus #9
Happy
BirtHday,
MEdia !
to tHE nExt
20 yEars !
Thank you for your ongoing support
of the Berlinale Talent Campus and the
Berlinale Co-Production Market.
 Editorial Page

Find your frame! 06

07

“A unique opportunity for networking.

In my professional life, there will definitely
be a ‘before’ and an ‘after’ the Campus.”
Yves Heck, participant 2010

Nine years old and going strong: The idea of the Berlinale tirelessly supported it from the very beginning. First and foremost we
Talent Campus has lost nothing of its freshness and international extend our gratitude to Bernd Neumann, the Federal Government
attraction. On the contrary, this year nearly 4,000 filmmakers from as Commissioner for Culture and the Media (BKM) as one of our funders.
many as 141 countries sent in their applications to be part of this Together with a congratulation on its 20th anniversary, we also sin­­­-
worldwide film community. 350 of them were chosen to gather at this c­­er­ely thank the MEDIA Training Programme of the European Union,
year’s Campus to attend the exemplary series of workshops and as well as our founding partner Medienboard Berlin-Brandenburg.
lectures given by a range of top-notch international film experts. Another founding partner, UK Film Council / Skillset, has unfortunately
Back home these up-and-coming filmmakers will profit from not been able to join us anymore – nevertheless, thank you for your
the global network the Berlinale Talent Campus is able to provide backing in the past years! With­out the support of all our partners
them with. And we definitely know that – because they come back! and sponsors we would not be able to create this fascinating frame
Many Campus alumni send us their work, they apply with their films to around the world‘s next filmmaking generation.
the Berlinale – that's one of our ways of keeping in touch.
And so, every year the Official Selection of the Berlin Inter­ I wish everybody an exciting Campus week – and we all look
national Film Festival is enriched by films made by Campus alumni. In forward to seeing you again with your films in the next years!
this manner, the spirit of the Campus swirls permanently within the
different sections of the festival. This year is not any different: We are Dieter Kosslick
proud to present 35 films made with the major involvement of 38 Festival Director
current or former Talents in the Official Berlinale Selection – among Berlin International Film Festival
them is OUR GRAND DESPAIR by 2005 alumnus Seyfi Teoman in the
Berlinale Competition. This displays the immense potential of the
Campus and is the best proof of its growing significance.
But besides networking and learning from Berlinale guests,
as well as from other renowned professionals, there is another oppor­
tunity offered to the participants of the Berlinale Talent Campus: the
chance to position oneself, the chance for self-orientation within a
world and an industry full of endless possibilities. As this year’s Campus
focus “Framespotting – Filmmakers positioning themselves“ stresses:
Every filmmaker has the chance to find an individual frame in which
she or he wants to work. Like a camera needs a perspective to shoot a
scene, a filmmaker needs a vision from which she or he can tell a story.
Positioning oneself is not an easy task; it might demand courageous
decisions and a good sense of responsibility. Nevertheless, to develop
Photo Marc Ohrem-Leclef - marcleclef.com

a strong artistic profile, a clear approach and focus are indispensable.

The Berlinale Talent Campus offers support by way of unique pos­­­si­­
bilities to connect and discuss with people of a similar disposition as
well as with industry old hands or creative minds of all kinds.
That the Berlinale Talent Campus was able to position itself
over the course of the past nine years as a world-spanning community
of young filmmakers is due to a group of true partners who have

Berlinale Talent Campus #9

PROFESSIONAL
DEVELOPMENT
& TRAINING
SOURCES 2 Script Development Workshops
Three-month process coached by experienced script advisers
for European screenwriters and teams of writers, producers or directors:
Seven-day session, coached development period, follow-up session.

Application date: 1st March 2011 for the workshop at the FilmCamp/Norway,
16th – 24th June 2011, with the support of FilmCamp AS.
Requested: Feature film projects and creative documentaries

Application date: 1st July 2011 for the workshop in Luleå/Sweden,

November 2011, with the support of Filmpool Nord.
Requested: Feature film projects and creative documentaries

SOURCES 2 at Berlinale Talent Campus

Consultation – Analysis – Advice for selected projects
Louise Gough at the Script Station,
Ulla Simonen at the Doc Station.

Please visit the SOURCES 2 stand at HAU 1!

SOURCES 2 • Köthener Straße 44 • D-10963 Berlin

Tel. + 49(0) 30 - 88 60 211 • info@sources2.de • www.sources2.de
 Editorial
berlin
makes a difference
“I have learned so much, met many people
I would have never met otherwise,
and now I feel ready for the next stage
in my filmmaking career.”
Kyoko Miyake, participant Berlin Today Award 2011
Bringing together 350 up-and-coming filmmakers with around
150 film experts in a Kreuzberg theatre in one of Berlin’s most chilly
months is something we do every year for a very specific reason. Even
though most of us today connect more easily with the rest of the
world than ever before, we strongly believe that offering a real-life
platform where each attending filmmaker can meet 499 new people
in a short time, also makes sense more than ever before.
You’ll see that the Berlinale Talent Campus is a wide-span­n­
ing event that sets out firstly to talk about the vibrant issues of today’s
cinema – not purely to philosophise about them, but also to set things
straight and break the often complex filmmaking reality down to
human proportions. For us, the film business is a people’s business
Matthijs Wouter Knol Programme Manager
Christine Tröstrum Project Manager
Page
08
09
which evolves and depends on human relations. Even with an array of
different events, the Campus is set up to make people meet people:
talented young people eager to learn, talented experienced people
willing to share.
The mere fact that this is done during the Berlin International
Film Festival, makes a huge difference to the opportunities the
Berlinale Talent Campus can effectively offer: the huge amount of
different curated programmes and events during the Berlinale makes
it the perfect place to meet film-loving audiences on every level.
At the end of the day, making films comes down to building
trust. In order to find the people you want to work with intensively on
new film projects, people who can support you to find and face your
audience – meeting them and looking them in the eye is inevitable
and necessary to ensure that they share your passion. Filmmaking
requires you to commit yourself, to show who you are, to pay attention
to details that might seem trivial, but can change people’s attitude
and open doors for the future. To be able to join you, people need to
know where you stand.
That‘s insofar as real life meeting go. Beyond that, the Berlinale
Talent Campus enables you to stay connected more easily afterwards
through our online network of almost 4,000 filmmakers around the
world. All of them have been at the Campus, quite a few of them have,
in the meantime, found their way into the industry. Having a shared
experience in Berlin or anywhere in the world makes it easier to reach
out, to build new friendships and start collaborations.
And collaboration is what the Campus stands for: we aim to
enhance knowledge. Not only by enabling contact between film­
makers but also by bringing together people from various disciplines
in order to refresh minds and make sure that you’ll have another
perspective on routines and procedures you’ve been taught or ex­
perienced until now. Our global dynamic is reinforced by the colla­bo­
rations we have ourselves with Talent Campus programmes in Central
and South America, Africa, and Southeastern Europe.
Out of 3,967 filmmakers who applied, you have made it to
Berlin, Europe’s creative capital du jour, which hosts the largest
audience film festival in the world. That‘s no reason to lean back
and relax, but to make the most of it!
Berlinale Talent Campus #9
Page Partners
10 words of welcome
Costas Daskalakis
Head of the EU MEDIA Programme at the Education,
Audiovisual and Culture Executive Agency
Bernd Neumann
Federal Government Commissioner for Culture and
the Media, Minister of State to the Federal Chancellor
Photo Bundesregierung /Chaperon
“To ensure that creativity of the highest order continues
to be available in the future, the Berlinale Talent Campus,
brings the most promising up-and-coming filmmakers
from all over the world to Berlin...“
Costas Daskalakis
MEDIA Programme
Continuous training of professionals and talented individuals
is essential to reinforce the competitiveness of the European audio­
visual industry, a core objective of the MEDIA Programme of the Euro­
pean Union. That is why ever since its beginnings in 1991 the MEDIA
Programme has devoted a substantial amount of its budget to co-
finance training initiatives developed by professionals for pro­fess­
ionals. More than 1,500 professionals from countries participating in
the MEDIA Programme are trained every year through more than 60
MEDIA funded training initiatives where they have the opportunity to
acquire new skills, learn from others’ mistakes or successes, fine-tune
their projects thanks to experienced tutors, explore new technologies
or expand their contact base.
It has therefore been natural for us to be the main financial
partner of the Berlinale Talent Campus since the beginning. We strive
for the same objectives and values: training professionals, fostering
projects, connecting people in Europe and the world.
Apart from training activities, there is a lot more that the MEDIA
programme offers to young filmmakers: project development, inter­
national distribution, networking and access to key markets and co-
production forums in Europe and around the world. This year, the
MEDIA programme is celebrating its 20th Birthday so we are especially
proud to look back on how much the European film industry has
developed over this period, and to stress our continued commitment
to supporting the EU film industry in the future. I wish you an exciting
Campus week and rich, vibrant coll­a­borative filmmaking adventures.
Bernd Neumann
Federal Government Commissioner
for Culture and the Media
The Berlinale, which will take place for the 61st time in 2011,
showcases the best of international cinema in Berlin. To ensure that
creativity of the highest order continues to be available in the future,
the Berlinale Talent Campus, now in its ninth year, brings the most
promising up-and-coming filmmakers from all over the world to Berlin
to engage them in creative exchange with one another as well as with
big names in cinema.
Accordingly, this year’s theme “Framespotting – Filmmakers
positioning themselves” is both a challenge and an encourage­­ment
for young filmmakers to find themselves and their place. At the
Berlinale Talent Campus, they are incited to examine their approach to
personal subjects, interact with new media and cinematic forms, and
last but not least, to ask themselves how to create a cinematic future.
At the same time, looking beyond national borders broad­ens the
horizons of the participating young German filmmakers and thus
strengthens the German film industry.
As the Federal Government Commissioner for Culture and the
Media, I have once again decided to lend financial support to this
unique initiative that is dedicated to artistic exchange, creative sus­
tainability and cinematic diversity. I wish all the Campus par­ti­ci­pants
and visitors exciting en­coun­ters full of inspiration, creativity and new
visions.
 Partners Page

11

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

Elmar Giglinger
CEO Medienboard Berlin-Brandenburg,
Managing Director Media Development

“ Dear Talents and mentors from all over the world,

chilly winter time in Berlin… and therefore an extra
warm welcome to the 9th Berlinale Talent Campus...“

Kirsten Niehuus, Elmar Giglinger

Medienboard Berlin-Brandenburg
Dear Talents and mentors from all over the world, chilly win­-
ter time in Berlin… and therefore an extra warm welcome to the
9th Berlinale Talent Campus on the occasion of this year’s Berlin
International Film Festival!
We are delighted to have you here during the most exciting
period of the year, when up to 19,000 film pro­fessionals gather around
Potsdamer Platz to watch, discuss, adore, trade movies, network and
reunite.
Berlin is a hot spot for creative talent and an international
hub for filmmakers from all continents. Let the city electrify you,
share and be a part of the capital vibes! Taking part in the Berlinale
Talent Campus lectures, seminars and workshops will be a number
one oc­­ca­si­on for learning and improving your skills, for meeting re­
nowned film experts and fellow Talents.
Plus, this six-day experience may become vital for your film­making
future; and if you would like to stay for a while and work in Berlin, why
not participate in the Berlin Today Award, our annual short film com­
petition open exclusively to Campus participants, past and present.
This year’s bunch of films created under the motto “Leaving the
Familiar Sector” will premiere at the opening ceremony of the Berlinale
Talent Campus on Satur­day and the winner will be crowned during
the Dine & Shine dinner – we wish all films good luck. And now: Lift
the curtains, let the Campus begin!

“ We are delighted to have you here during the most

exciting period of the year, when up to 19.000
film pro­fessionals gather around Potsdamer Platz
to watch, discuss, adore, trade movies, network
and to reunite.“
Berlinale Talent Campus #9
Page www.berlinale-talentcampus.de

12 berlinale
talent campus 3.0
The worldwide Campus network is the central feature
of the Berlinale Talent Campus website – our online community.

The Berlinale Talent Campus website is not only a great source

of information about the current edition, the next application deadline
and ongoing programme elements like the Berlin Today Award, it is
also continuously updated with news on Campus events around the
globe and the current status of alumni projects. Moreover, for the
Campus’ 9th edition, a selection of master classes will be streamed live
on the Campus website and accessible thereafter on the Campus-on-
Demand section.
Campus-on-Demand offers a variety of videos, scripts, pro­
grammes and photos from preceding Campuses. Panels and dis­cus­
sions with experts such as Isabel Coixet, Stephen Daldry, Claire Denis,
The homepage Tilda Swinton, Shah Rukh Khan and Wim Wenders can be watched
of the Campus website
online and are a great way to get information on con­tem­porary topics,
themes or discussions within the industry. As our international net­
work is vital to the Campus experience, we introduce this year’s Talents
online. Computer stations in HAU 1 and HAU 2 give direct access to this
network, where you can browse profiles that show samples of work
and filmographies, as well as the opportunity to contact fellow
filmmakers directly. The Berlinale Talent Campus community also in­
cludes profiles of Campus alumni, including alumni of the Campus
International initiatives and a bulletin board where news on festivals,
events and calls-for-entry are collected and shared.
You can stay updated all year round with the Campus news­
letter. Featuring not only news from Berlin, it also reports on all
Campus ventures around the world, on the programmes in Guada­
lajara, Durban, Buenos Aires and Sarajevo. The latest newsletter can be
read online or you can register to receive it via email on the Berlinale
Talent Campus homepage. Of course you can browse former Campus
The Campus-on-Demand section editions too and find information about Campus locations and the
offers videos, transcripts and photos
team.
With www.talentpress.org, young and up-coming film critics
have found their platform. Read articles, reportages, interviews and
features on films, filmmakers and festivals from Talents and Campus
alumni. Our virtual Campus is there for you to interact, collaborate,
inform yourself about fellow filmmakers and present yourself actively:
Find us at:
www.berlinale-talentcampus.de
the place for all daily Campus needs and beyond.
www.talentpress.org

“I met great collaborators and

was given a huge leg-up to grander production values;
from here-on there's no turning back.”
Bryn Chainey, Berlin Today Award winner 2010
Talent Campus International Page

rolling stones 13

Four international editions of the Campus, modelled along

the lines of the Berlin-based archetype, have taken off abroad:
in Guadalajara, Buenos Aires, Durban and Sarajevo.

3rd Talent Campus Guadalajara (March 24-28, 2011)

Ana de la Rosa Zamboni and Lorena Rossette Riestra, Talent Campus Guadalajara
“The Talent Campus Guadalajara has created and consolidated a place where emerging
filmmakers and worldwide experts can come together: a forum that encourages and reinforces
future film productions allowing us to reflect our features; a place of creative exchange and
cinematographic collaboration. A country confesses itself through its filmography: if it does
not see its culture recreated in the audiovisual media, it loses the possibility of developing and
transforming its identity. It is important to establish venues that promote the creative exchange
between different cinematographic narratives, focused on highlighting the values and cultural
identity of each country, as well as the intercultural relationship among them.“

6th Talent Campus Buenos Aires (April 6-9, 2011)

María Marta Antin, Talent Campus Buenos Aires
“Bringing together young professionals and experts around the same topic is our main
goal, with the aim of creating a space for exchange both intellectually and professionally. The
topic for the Campus 2011, ‘Cinematic forms‘, has been chosen to inspire discussions on how
the forms of cinema have changed or resisted throughout its history. The Talent Campus
Buenos Aires has become a main event for South American young filmmakers and professionals,
providing Talents the opportunity to profit from networking while developing a platform for
their own projects. For the second year we motivate them to join the hands-on programmes:
the result is an intense and rich debate around the fact of sharing a continent, South America.“

4th Talent Campus Durban (July 22-26, 2011)

Peter Rorvik, Durban International Film Festival
“The first three editions facilitated meaningful exchange between African filmmaking
Talents, generating inspiration and opportunities for participants. A powerful affirmation of
the contribution of this project in empowering a new generation of filmmakers in Africa is the
fact that the 31st Durban International Film Festival in 2010 programmed an unprecedented
13 films from Campus alumni. Problems of access are a big issue in Africa – access to resources,
infrastructure, funding and networks. Talent Campus Durban provides a highly valued net­
working and skills training opportunity, bringing together about 40 young filmmakers from
nearly 20 different countries in Africa, in programmes that address these challenges.“ Talent Campus Guadalajara
supported by the Goethe-Institut Mexico
and the University of Guadalajara
5th Talent Campus Sarajevo (July 22-28, 2011)
Mirsad Purivatra, Talent Campus Sarajevo Talent Campus Buenos Aires
supported by the Goethe-Institut Buenos Aires,
“Our first five-year plan was directed towards creating a proper community out of the Buenos Aires International Independent Film Festival
new generation of talent in Southeast Europe, introducing the standards it should operate on, and the Buenos Aires Lab
raising the bar for the achievements they aim for and finally building a brand out of Talent Talent Campus Durban
Campus Sarajevo that can rightfully represent them. The main achievement of Talent Campus supported by the German Embassy South Africa,
the Goethe-Institut Johannesburg and the KwaZulu-Natal
Sarajevo must be the annual impact it has on rejuvenating the film industry in our region. An Department of Economic Development
annual, targeted injection of a critical mass of emerging talent into the system helps the in­dus­
Talent Campus Sarajevo
try make its goals and approaches more youth-oriented. The industry now understands this supported by the Robert Bosch Stiftung and partners
and trusts the Talent Campus Sarajevo to highlight the most promising talent.“ (from above)

Berlinale Talent Campus #9

 Page Campus alumni Dates

14 returning to home base

sun 13 | 19:00
ewerk
Dine & Shine
(p.49).

tue 15 | 17:00
HAU 2
Plugging People:
European Producers
Positioning Themselves
(p.57).

wed 16 | 14:00
HAU 1
The Internationals:
How Small Stories
Become Big
(p.60).

wed 16 | 17:00
HAU 3, Top Floor
Happy Returns:
Films in the Official Programme with alumni participation: A Talent‘s comeback in the Berlinale Competition: The Future after
Rosario García-Montero‘s the bad intentions | Berlinale Generation. Seyfi Teoman‘s our grand despair the Campus
(p.62).

An impressive number of Campus alumni will feature in

the various sections of the 61st Berlin International Film Festival.

The Berlinale 2011 welcomes back 38 Campus alumni who re­
turn with major roles in 35 film projects, spanning different sections of
this year’s Berlinale. The Berlinale Talent Campus celebrates not only
the return of former participants to Berlin, but also the projects that
­feat­ure collaboration between filmmakers forged at the Campus.
“ A roller coaster for filmmakers.”
Tal Granit & Sharon Maymon, participant 2010
Competing for the Golden Bear this year is Seyfi Teoman’s Our
Grand Despair. The Turkish director (Campus 2005) also pre­sents his
new project “Saints“ at the Co-Production Market. Having found a co-
producer at the Talent Project Market in 2007 and support from the
World Cinema Fund, Peruvian director and alumna Rosario García-
Montero’s The Bad Intentions will celebrate its prem­iere in Berlinale
Generation – and so does Israeli director Guy Nattiv (Campus 2003)
with his debut feature film The Flood .
Two editors return to the Berlinale this year – Szilvia Ruszev
(Campus 2008) with harvest and Lee Chatametikool (Campus 2006)
with Hi-So . Dani Rosenberg and Melissa Dullius, both Campus 2006
participants, have had films at the Berlinale before. This year
Rosenberg’s co-directed short film Susya and Dullius‘ directed The
Residents will be shown in Berlinale Shorts and Berlinale Forum re­
spectively. Twenty-year old Campus alumnus from 2009, Romualdas
Za­ba­rauskas is the Lithuanian director and screenwriter of Porno
Melo­­drama , which will be shown in the Berlinale Panorama.
Two alumni joined forces for the film Silent River : Romanian
director Anca Miruna Lăzărescu (Campus 2004) and German producer
David Lindner (Campus 2010); the film will be shown in the Berlinale
Shorts this year. The Danish animation film, The Great Bear was
directed by Esben Toft Jacobsen (Campus 2008) with a score by Nicklas
Schmidt (Campus 2010).
Alumni projects will also be presented at the Berlinale Co-
Production Market: Javier Fuentes-León’s “The Woman Who Feared the
Sun“, Kornél Mundruczó’s “The Flying Man“, Orsolya Nagypal’s “Balaton
Submarine“, Jean des Forêts and Tobias Nölle’s “We Are Dead“.
Other Campus alumni at the Berlinale in 2011
Ana Lily Amirpour (Hairy), Rodrigo Bellott (Blokes), Nicolás
Carreras (the ways of wine), Carl Clifton (Toast), Ron Dyens (Planet Z),
Kaspars Goba (homo@lv), Oliver Kaempfer (Thomas), David Lowery
(Silver Bullets), Luna Mijović (Beats Being Dead), Rick Minnich
(Forgetting Dad), Orsolya Nagpal (project “Balaton Submarine“ in the
Berlinale Co-Production Market), Dorothea See­ger (Under control),
David Sieveking, Rouven Rech and Jochen Laube (life isn‘t a home
game), Aylin Tezel ( Almanya), Pimpaka To­wi­ra ( Terribly Happy),
Sandra Trostel (Utopia Ltd.), Andi Wecker (Lollipop Monster) and
Ralf Westhoff (the last nice day of autumn).
For more information
on submissions to the Berlin International Film Festival,
visit www.berlinale.de.
Supporting foundations Page

funding matters! 15

The Robert Bosch Stiftung and the Manfred Durniok Foundation have been supporting
the Berlinale Talent Campus over the past years. Their contribution, both financial
and conceptual, are invaluable to its success.

The Co-Production Prize of the Robert Bosch Stiftung Manfred Durniok Foundation
Especially interested in Eastern Europe? The core ambition of German producer, filmmaker, photographer and writer
the Co-Production Prize of the Robert Bosch Stiftung is to encourage Man­fred Durniok was always drawn to distant places. Although a
collaboration and foster mutual development between producers and visi­tor of many continents, it was Asia that captured his imagination.
filmmakers in Germany and Eastern Europe. Supporting filmmakers Con­si­dered a pioneer who brought Asian cinema to the attention of
and producers has had a profound impact over the past years: films Western audiences, he promoted and encouraged multicultural
have been screened all over the world and won awards or were Oscar- encounters and exchanges through film co-productions. The Man­
nominated. Take German producer Stephan Grobe: he joined the fred Durniok Foundation, founded by the late filmmaker’s daughter,
Talent Campus Sarajevo as a guest in 2009 upon learning about the Ayano Teramoto, is a non-profit organisation established in 2006 to
Co-Production Prize. Having applied with Kazakh filmmaker Katya support and promote cultural exchanges between Germany and
Suvorova, their documentary film project SEATOMORROW won the Co- Asia, to grant scholarships, award prizes and to give financial support
Production Prize in 2010, and the film THE HOUSEMAID (directed by to intercultural gatherings.
Anna Hoffmann), which he produced, was screened at the Berlinale
Perspektive Deutsches Kino in 2010.
Ideally, film projects supported by the Robert Bosch Stiftung
are only the first of many projects between up-and-coming filmmakers
from Eastern Europe and Germany. One example is the collaboration
between German producer Henning Kamm and Hungarian director
Lili Horváth, whose film SUNSTROKE won the Co-Production Prize in
2008 and premiered at the Sarajevo Film Festival; Horváth and Kamm
have joined forces again for a feature-length film.
Nominated for the European Film Award was Paul Negoescu’s
RENOVATION (produced by 2010 alumnus David Lindner), also a winner
in 2008, which premiered at the Berlinale Shorts in 2009 and was
shown at numerous festivals in Europe and beyond.
The Robert Bosch Stiftung’s Co-Production Prize competition
is open to young filmmakers between 18 and 35 and graduates from
film and media academies from Germany and East and South East
Europe. Joint production teams with a producer, director, camera op­ Won the Co-Production Prize in 2010:
Katya Suvorova‘s and Stephan Grobe‘s seatomorrow
er­ator (not for animated films) and a screenwriter in a balanced mix
from both regions are allowed to submit projects. The categories
qualifying for three co-production prizes for joint short film pro­duc­ It is not only the Berlinale Talent Campus’ decisive inter­-
tions are animated film, documentary and short film, and each win­ ­ at­i­onal perspective and interest in a dialogue that goes beyond
n
ning production can receive up to 70 000 euros in funding. poli­tical and cultural borders that makes this cooperation a fruitful
one. Intercultural awareness is a recurrent theme in the films that
Dur­­­niok made and produced; it is that spirit that the foundation
hopes to continue.
The Manfred Durniok Foundation once again supports
Talents from South East Asia attending the 9th edition of the Berlinale
For more information please contact:
Talent Campus by covering the costs of their travel, as they have
Robert Bosch Stiftung, Frank W. Albers since 2007. Meet fellow East Asian Talents at the Manfred Durniok
frank.albers@bosch-stiftung.de
Coordination of the Co-Production Prize, Karin Angela Schyle
Foundation‘s reception on Feb 13 from 12:30-13:45 in the Kaiser­saal
schyle@coproductionprize.com (by invitation only).

Berlinale Talent Campus #9

Chapter

02 Focus

p.18 Focus:
Framespotting – Filmmakers positioning themselves
Berlinale Talent Campus #9
Page Focus

18
19
Positioning oneself:
the balancing act
between one‘s aims and
expectations and the
demands of the industry
 Focus Dates

which world do you

want to live in?
The 9th Berlinale Talent Campus encourages a new generation of filmmakers to sun 13 | 11:00 tue 15 | 10:30
HAU 1 HAU 3, Top Floor
position themselves and to tackle contemporary issues head-on in films that are The Rules of Engagement Where I Am and Where
stamped with their distinctive styles and artistic visions. (p.47). I Want to Go
(p.55).
sun 13 | 14:00
“ The past was neither as good nor as bad as we suppose: it was just different. HAU 1 tue 15 | 11:00
Filming War HAU 1
If we tell ourselves nostalgic stories, we shall never engage the problems that face (p.47). Too Good to Be True:
us in the present – and the same is true if we fondly suppose that our own world Directing Reality
sun 13 | 17:00 (p.55).
is better in every way.“ Tony Judt, “Ill Fares the Land“ HAU 3, Top Floor
Your Body Speaks tue 15 | 17:00
(p.47). HAU 2
Plugging People:
mon 14 | 14:00 European Producers
HAU 2 Positioning Themselves
tue 15 | 14:00 (p.57).
HAU 3, Top Floor
wed 16 | 11:00 wed 16 | 11:00
HAU 3, Top Floor HAU 1
Every year, the Berlinale Talent Campus centres attention on The Indie Filmmakers As Queer As It Gets
Guide to Cross Media I-III (p.59).
the most promising filmmakers from all over the world. It means 350 (p.52,57,59).
people from different backgrounds with their own reasons to be wed 16 | 14:00
mon 14 | 18:00 HAU 1
work­­ing in film, their dreams and the differing options open to them. cubix 8 The Internationals:
Their passion for film and their willingness to travel and widen their New Horizons in 3D: How Small Stories
Storytelling and Become Big
experience by learning from others is what unites them. Nevertheless, Producing Redefined (p.60).
each one of us brings another story to Berlin. Each story shows a new (p.54).
thu 17 | 14:00
undiscovered piece of our world, it tells us something about what the HAU 1
world around us means. Censored Cinema
(p.64).
This Campus edition focuses on the awareness of that world
and one’s active position in it. Which world do you want to live in? A
world that presents itself to you in a way others have decided it should
be, a world in which you follow the rules and the regulations and do
things like they’ve been done for decades? Or a world in which you try An increasingly demanding film in­du­­s­try often requires clear
to change things? A world in which you are allowed to redefine, adjust, po­­sitioning in yet an­other way. What are the new trends and in which
question or oppose things because you feel the urge to do so. direction are technology, financing mo­d­els and production work­-­
These are big questions. We think that for every single film­ flows devel­op­ing? Pioneers and grand masters will un­veil their se­crets
maker, these are issues that matter, that one should think about and and share their insights with a selected group of Campus film­­makers,
be aware of, issues that coincide with the film you work on, that shape among them Shekhar Ka­­pur, Edward Lach­man, Alex Mc­­Do­well,
your personality and influence the circumstances in which you find Mi­ch­el Reilhac, Philippe Ros, Wim Wenders and Jasmila Žbanić.
yourself at the moment. In a world dominated by social net­work­­ing and non-stop
The Berlinale Talent Campus #9 aims to frame these issues and stimuli, focusing has be­­come an art in itself. Following your in­­stincts
to focus on a new generation that firstly positions itself in modern might not be enough – focusing asks for daring and decisiveness, for
society: speaks out, dares to question things that make you think, that choices and thorough concentration.
make you doubt, that enrage you or that you’re passionate about. In This year’s pro­gramme includes an array of workshops by
2011, the Campus focuses on how emerging filmmakers can poli­ti­­­­­- experts who help you train yourself to deal with these vital issues: not
cal­ly or socially engage themselves and take a stand in today’s world. postponing de­cis­ions, having an aim and becoming aware of what
Filmmakers like Kerry Fox, John Greyson, Barbara Hammer, Claudia you can com­mu­ni­cate non-verbally. It‘ll help you realise that you're
Llosa, Sepideh Farsi, Samuel Maoz, Janus Metz, Rafi Pitts, Isabella part of a com­mu­nity of promis­ing film­­makers and not fighting alone
Ros­­sellini, Abder­rah­mane Sis­sako, Danis Tanović and Christine Vachon against dead­lines, industry pressure or disappearing funds.
will address this in a variety of sessions – talking not only about what We believe that a new generation of filmmakers does care
they think it should be, but also about how they engage with con­ about the world they live in – and the Campus challenges you to de­­
temporary society and how they use their work to make a difference. fine your own way of expressing this in your work.

Berlinale Talent Campus #9

 10–11/09/2011
SAVE THE DATE
WWW.BERLIN-MUSIC-WEEK.DE
Chapter

03 Hands-on-training

p.22 Score Competition | p.23 Interview Michael Nyman

p.24 Script Station | p.25 Doc Station | p.26 Campus Studio
p.27 Interview Molly Malene Stensgaard | p.28 Talent
Project Market | p.29 Talent Press | p.31 Talent Actors Stage
p.32 Berlin Today Award | p.35 Meet the Expert
Berlinale Talent Campus #9
 Page Score Competition

22 underscoring a film
23
Three composers get ready to score
to the moving image.

If music communicates anything at all, it communicates emo­

tions. Think about your favourite film and it’s a good bet that you’ll find
a powerful score inextricably linked to the experience. Some great
scores have imprinted key cinematic moments in the minds of the
audience; sometimes they assist in raising their status to classic film.
At the nerve centre of theory and practice, the Score Competition
offers composers and sound designers hands-on experience in com­
position for film. They have the opportunity to draw on the extensive
skills of established professionals and experiment with the high-end
equipment of the German Film Orchestra Babelsberg and the Film and
Television University (HFF) “Konrad Wolf“.
Composing a new score for selected film material is what it’s all
about. The three finalists of the Score Competition – Ehud Freedman
(Israel), Roger Goula (Spain/ UK ) and Felix Rösch (Germany) – will each
compose a score for the short film Little Red by Romanian director
Eva Pervolovici. Little Red is one of the five short films pro­duced for
Photo Francesco Guidicini

the Berlin Today Award 2011 (see page 33).

“ It was amazing to be involved in every

aspect of the composition and production
process from the sketches to the final mix.”
Camilo Sanabria, Score Competition winner 2010

Priceless insights from their mentor, renowned composer

The Campus‘ Score Competition from above to below:
Last year's three finalists in the studio | Michael Nyman working
on an orchestration | German Film Orchestra Babelsberg
Michael Nyman will guide their nine-day musical journey in Berlin. The
unique chance to record their compositions with the German Film
Orchestra Babelsberg will be followed by the final mixing at the Film
and Television University (HFF) “Konrad Wolf“ and editing at the post-
production company Wave-line. All three finalists will receive direct
individual feedback not just from their mentor Michael Nyman, but
also from the various experts involved in all stages of post-production
– from preparing scores, using studio resources and re­cor­d­­ing with an
orchestra to the final editing and mixing.
Since 2004, the Score Competition has been training com­
posers in the art of film scoring and many of them have gone on to
score a variety of both short and feature-length films, documentaries,
commercials, television programmes and other productions that re­
quire original music composition. The intense and enriching sound
journey of the three finalists reaches its climax at the Score Competition
Presentation on Feb 17, where the winning contestant will be awarded
a trip to Los Angeles with an exclusive guided tour to the best sound
studios in the city, sponsored by Dolby Laboratories.
Score Competition Dates

create your world

Score Competition mentor Michael Nyman about his work wed 16 | 17:00
HAU 1
with Peter Greenaway and the specific needs of young film composers. The Great World of Sound
(p.62).
You began as a musical theorist – how did that Michael Nyman
thu 17 | 17:30
Film composer
influence you as a composer? HAU 1
Say It with a Score:
Yes, I started as a would-be musicologist in the 1960s. I edited British film composer, pianist, librettist and musicologist.
Score Competition
Nyman became widely known as a film score composer
early music and was a music critic for ten years. So even before I for his work in many of Peter Greenaway’s films (A ZED
Presentation
and Award Ceremony
became a composer there was already a career I left behind. I have a & TWO NOUGHTS, THE COOK THE THIEF HIS WIFE & HER
(p.65).
LOV­E R, PROSPERO’S BOOKS), and his scores for WONDER­
sort of awareness that comes from all those diverse elements that LAND and GATTACA. His soundtrack for THE PIANO sold
made up my career before I was 25 that stays with me. And I have a more than three million copies. He has written numerous
orchestral and ensemble pieces and tours as a performing
knowledge of European musical tradition and how to find source pianist with the Michael Nyman Band. His credits as
material which is, I guess, why it sometimes appears in my original filmmaker include the 2010 documentary NYMAN WITH A
MOVIE CAMERA.
work. So my whole history moved into the direction of what I do
now. Although it is sometimes added – maybe confused – by also
being a photo­grapher and a filmmaker…

Have there been moments in your career where you thought

you would need to position yourself more clearly?
The market place for young composers today is very different
from how it was when I started composing and also from the position

Photo Francesco Guidicini

which I was in when I started composing. At that time, 1976, writing
music was kind of simultaneously with me writing soundtracks. It’s
not that I was in the film or soundtrack business as a young composer
has to be now, but I’ve worked with a very specific director, Peter
Greenaway who had the most specific ideas and very specific needs

for a composer. He made films which were not generic films, which Selected filmography
1978 Vertical Feature Remake | Peter Greenaway
from an aesthetic point of view, from a structural, conceptional, 1980 The Falls | Peter Greenaway
ironic point of view happened to be close to the kind of music I was 1982 The Draughtsman's Contract
Peter Greenaway
writing anyway. So, the collaboration with Peter Greenaway was, in 1986 A Zed & Two Noughts | Peter Greenaway
the first place, a way of me exploring my new found creativity as a 1987 Le Miraculé | Jean-Pierre Mocky
1988 Drowning By Numbers | Peter Greenaway
composer. 1989 Monsieur Hire | Patrice Leconte
1989 The Cook the Thief His Wife & Her Lover
Peter Greenaway
This way you were able to develop a certain personal 1990 Le mari de la coiffeuse | Patrice Leconte
style – would you consider this an important qualification 1991 Prospero's Books | Peter Greenaway
1993 The Piano | Jane Campion
for a young film composer? 1994 Mesmer | Roger Spottiswoode
Well, on the one hand I say: Find your own voice, be an in­ 1995 Carrington | Christopher Hampton
1996 the ogre | Volker Schlöndorff
dividual. Try not to be part of a generalised music direction where 1997 Gattaca | Andrew Niccol
your music could be mistaken with the music of a hundred others. 1999 Wonderland | Michael Winterbottom
1999 The End of the Affair | Neil Jordan
But on the other hand, from the economic point of view that posit­ 2003 The Actors | Conor McPherson
ion of the soundtrack composer as an original artist is also very 2003 Nathalie… | Anne Fontaine
2004 The Libertine | Laurence Dunmore
dangerous because if your particular brand, your particular sound of 2008 Man on Wire | James Marsh
music is not liked by the people who have the power to make de­ci­s­ 2010 Two Graves | Yvonne McDevitt
2010 Krokodyle | Stefano Bessoni
ions then you never get any work. So you do have to be a generalist 2010 NYMAN WITH A MOVIE CAMERA | Michael Nyman
too, you do have to be able to write for a full orchestra, street music,
rap music and so on. But I obviously prefer far more to be in the
Find the longer version of the interview
position I am. I create my world and that’s my life, to be Michael with Michael Nyman at
Nyman, to sound like Michael Nyman. www.berlinale-talentcampus.de

Berlinale Talent Campus #9

 Page Script Station Dates

24 scripting in process
25
Script consultants work with Talents for greater depth In early December 2010, twelve pro­jects tue 15 | 14:00
HAU 3, black stage
in their storytelling. were selected by an international jury Rehearsed Reading I:
for this year’s Script Station: Actors Reading Scripts
(p.56).
It doesn’t matter how good your idea is if you can’t find a way
to tell the story. A fantastic narrative and intriguing charac­ters can Stasha Bajac Serbia wed 16 | 14:00
HAU 3, White stage
convert an idea into a captivating script, but this is no mean feat. Juan Manuel Biain United Kingdom Dial F for Fiction:
Helping scriptwriting Talents to find creative solutions to their speci­­- Hisham Bizri USA Script Station Presentation
(p.60).
fic script problems, develop characters and dialogues to their fullest Fadi Haddad Jordan | Nadira Ilana Malaysia
and fine-tune their script is what’s on hand at the Script Station. It Agnes Ka­m­ya Uganda wed 16 | 14:00
HAU 3, Black stage
connects scriptwriters and leading script consultants from around the Mirjam Anne Ku­be­scha Germany Rehearsed Reading II:
globe to discuss and develop the yet unpolished scripts. Micah Magee USA Actors Reading Scripts
(p.56).
The Script Station commences with an intensive Project De­ Bikas Ranjan Mishra India
vel­opment Day that prepares the ground for subsequent coaching Monica Stan Romania
and feedback sessions with men­tors Gyula Gazdag, Louise Gough Micaela Tis­mi­netzky Argentina
(SOURCES 2) , Lucile Hadžihalilović, Marten Rabarts, Franz Roden­ Elena Antigoni Zogka Greece.
kirchen and Selina Ukwuoma. This note­worthy line-up of mentors will
work with writers and directors on the in-depth development and en­ Over the years, the Script Station has
han­cement of their projects at this very critical phase in the filmmaking received considerable support from its part­
process. ners: the Ger­man Federal Film Board (FFA) and
SOURCES 2, the European Script Writers’ Train­
ing Pro­gramme, which lends its support by
way of experts from its teaching staff.

The Script Station: working

on the in-depth development
of the Talents‘ projects

“Stories may belong to individuals but storytelling

is universal. I look forward to returning with a feature.”
Faisal Qureshi, participant 2010
 Doc Station Dates

accelerating development

Industry professionals assist documentary directors Twelve documentary film projects were wed 16 | 14:00
HAU 3, Top Floor
to refine their film projects. selected in early December for the Welcome to Reality:
Doc Station 2011: Doc Station Presentation
(p.61).
As creative projects that put real life struggles and aspirations
into cinematic stories, documentaries provoke thought and reflec­- Neus Ballús Spain | Angela Bravo Sweden
tion, and sometimes even action. At the Campus Doc Station, it is the Lieven Corthouts Belgium, Ethiopia
authors of these stories who reflect on their concept and treatments Augusto Cesar Diaz Guate­mala, Belgium
and work at developing the quality, range and ambition of their Alyx Duncan Australia, New Zealand
projects, as well as their own creative skills. Alexandra Ger­baulet Germany
This hands-on training, which owes its existence to the support Zipporah Nyaruri Kenya | Katia Paradis Belize
of the German Federal Film Board (FFA) , assists twelve determined Otilia Portillo Mexico | Julian Reich Germany
documentary filmmakers at a time when the pressures and challen­- Juan Sarmiento Colombia, Germany
ges of structuring their treatments are mounting. A week of undivid­- Zuolong Shan China
ed attention, insights and advice by high-profile industry experts will
take them a long way in strengthening and improving the narra­tive The Doc Station has enjoyed tre­­­­m­en­
structure of their treatments. Doc Station mentors include Kathrin ­­­­d­ous sup­port over the years, by way of men­
Brink­mann, Dick Fontaine, Jakob Kirstein Høgel, Ulla Simonen toring and designing of the Project De­vel­­­op­
(SOUR­CES 2), Fleur Knopperts, and Meike Martens. Mentoring ses­s­­­­­ions ment Day, from ZDF/ ARTE – a pre­dominant
running parallel over the week will be preceded by an intensive Project Ger­­man television channel, and from SOURCES
Development Day. 2, the European Script Writers’ Training Pro­
gramme, which lends its support by way of
ex­perts from its teaching staff.

The Doc Station: a week of undivided

attention, insights and advice by experts

“The Berlinale Talent Campus shifts you from

a talent that makes films to a talented filmmaker.”
Arne Kohlweyer, participant 2009
Berlinale Talent Campus #9
 Page Campus Studio

26 Tackling Technology
27
The Campus Studio is a bustling post-production hub
where aspiring filmmakers give films their final touches
for the big screen.

Good films – those that tell a compelling story and effectively

deliver the filmmaker’s vision – are the result of a magical blend of
ideas, aesthetics and the mechanics of filmmaking. A good under­
standing of filmmaking tools and techniques is a prerequisite to
translating these ideas into cinematic language. Designed to assist
Talents in finding the right artistic expression for their films, the Post-
Production Studio is an intensive hands-on educational experience
that gives them a thorough understanding of the integral steps in the
post-process and focuses on improving films in the final stages of
production. Professionalising work processes is the keyword which
Talents learn by way of technological know-how and the expertise
pro­vided to them: The latest technology for ingest and transfer,
editing, grading and mastering digital material are made available to

“ The Editing Studio gave me Talents in the Post-Production Studio. The Editing Studio, for its part,
allows selected Talents to fine tune their rough-cuts and strengthen
the rare chance to see editing in the narrative structure of their stories on the advice and expert

a new light from an experienced guidance of world-class editors. The Campus Studio has been made
possible through the support and cooperation of Camelot Broadcast
editor.”Leong Huat Michael Kam, participant 2009 Services and the German Film and Television Academy Berlin (dffb).

Post-Production Studio
The Post-Production Studio places the reputed cine­mato­
grapher and post-production expert Philippe Ros and post-production
supervisor Ugur Yildrim at the disposal of Talents, who direct them on
using state-of-the-art digital workflow equipment and offer a com­
prehensive survey of the practical filmmaking techniques – from
shooting with digital cameras like Sony F3 and ARRI Alexa to digital
post-production processes including editing, grading, mast­ering and
data management.

The bustling Campus Studio: state-of-the-art digital workflow
equipment from editing suites (above) to digital cameras (below)
Editing Studio
Editing can be an exacting process. And yet, often after weeks
of being closeted in the editing studio, you’ve made little progress.
Noted editors Andrew Bird, Katja Dringenberg, Susan Korda, Gesa
Marten and Molly Malene Stensgaard work with around nine Talents
in the editing room, giving them valuable insight and tips to improve
and strengthen the narrative structure of their projects. Talent editors
and directors will have an entire day with a renowned editor to polish
the rough-cuts of their fiction or documentary short films or excerpts
of their feature-length film. As Astrid Rondero, participant in 2010, ex­
plains, “I had been working on the editing process for a year afraid of
loosing the important part of my short film. The Editing Studio was a
great journey of rediscovery, everything finally found its place”.
Campus Studio Dates

the editor as transformer

Campus Editing Studio expert, the Danish film editor Molly Malene Stensgaard on sun 13 | 14:00
HAu 2
her collaborative work with Lars von Trier, useful skills and the nature of editing. Kill Your Darlings
(p.47).
Film editing is referred to as the “invisible art form“: Molly Malene Stensgaard
thu 17 | 14:00
Film editor
the less you notice the editing the better it is. Do you agree? cinemaxx 17
Cutting on the Edge:
Well, I think it’s somehow right that editing is an invisible art Danish film editor who has edited most of Lars von
Campus Editing
Trier’s films including THE KINGDOM, THE IDIOTS, DANCER
form. But I don’t think in general that it is not good when you notice IN THE DARK, DOGVILLE, MANDERLAY, THE BOSS OF IT ALL
Studio Presentation
(p.65).
it. Editing is very often an art form that is blended into the film, it’s and the forthcoming MELANCHOLIA. From 2006 –2010,
she was com­missioning editor for feature films at the
built in and that is quite beautiful. So if people experience the film Danish Film Institute. She is a lecturer at the Binger Filmlab
thu 17 | 14:00
HAU 3, Top Floor
well, then I feel happy because then I know I have done my job well. in Amsterdam, and in 2007, she was a member of the
Where Things Come
Berlinale Jury.
Together:
Campus Post-Production
So then, should the material influence the style of editing? Studio Presentation
Yes, the material and the vision for the film. I don’t believe in (p.65).
editors having their own way of editing or having a personal style
and applying it to any film. That doesn’t make sense to me.

How do you put the first cut together – do you follow

the script exactly or do you just try to read the film
by watching the material?
A kind of mixture, I think. In the beginning I use the script as
a reference, as guidance to orientate myself in the story. For the first
cut, I don’t take out many lines out of respect for the efforts that
went into the script. I think, at this early stage, it is too soon for me

to be that “wise“ on the story. So normally, I do the first cut pretty Selected filmography
1994 riget, The Kingdom , TV -series | Lars von Trier
much according to the script. But after that it is very much the 1996 Bella, min Bella | Astrid Henning-Jensen
editor’s task to work at the transformation from written language to 1998 The Idiots | Lars von Trier
1999 Falkehjerte | Lars Hesselholdt
film language. And that also means taking a distance from the script 2000 Dancer in the Dark | Lars von Trier
and cutting out dialogue, if reasonable. Being exactly at the point of 2001 Portrait of God | Jon Bang-Carlsen
2002 I Am Dina | Ole Bornedal
this transformation: That’s one of the beauties of the editor‘s work. 2002 Kald mig bare Aksel | Pia Bovin
2003 Dogville | Lars von Trier
2004 in YOUR HANDS | Annette K. Olesen
What is your way then of finding the ideal rhythm for a film? 2005 Manderlay | Lars von Trier
Oh, that’s actually the easy part. It results very much from 2005 Dommeren | Gert Fredholm
2006 1:1 | Annette K. Olesen
working with the material. I think, basically, that is the talent you 2006 The Boss of it All | Lars von Trier
need as an editor from the beginning: You can learn a lot about story­- 2007 Hvordan vi slipper af med de andre
Anders Rønnow Klarlund
­­telling, structure and stuff like that, but a sense for rhythm, music and 2011 Melancholia | Lars von Trier
movements you have or you don’t have.

You just finished your 7th film with Lars von Trier – what is
it you both share that you can work together so well?
Humour is a very important part of being together for such a “Have you ever been on a scholar-
long time in the editing room. Then, we use very little energy on
power struggle issues, which is whose territory and so on. The im­
ship programme, where every
portant thing is to create a room of trust and respect for each other. sample of work from a fellow
Our working relationship is also based on the fact that I am always
allowed and expected to do experiments. Lars von Trier and I never
participant you see makes you
say to each other: “What a bad idea!”, and then discuss it for ten go: ‘wow!‘?”
minutes. We just try it out. Philipp Alfons Heitmann, participant 2010
Berlinale Talent Campus #9
Page Talent Project Market
28 talent-spotting in
29 a global market
“ It was an incredible, invaluable experience,
which really boosted my project specifically
and my professional skills in general.”
Basile Doganis, participant 2010
Talent Project Market assists fresh ideas
and exciting stories to reach the screen.
The more experimental part of the Berlinale Co-Production
Market and a prac­tical training programme of the Campus, the Talent
Project Market “invites directors and pro­ducers with fresh ideas,
exciting and orig­inal stories”, explains its coordinator Kathi Bildhauer.
Selected by an international jury, twelve young producers and
directors have the chance to present their film projects to ex­perienc­-
ed co-producers and financiers atten­ding the Berlinale Co-Production
Market in pre-arranged one-on-one meetings.
Chosen from over 270 projects, the eleven projects mapping
the wide world of cinema will find their place in the Co-Pro­duction
Market’s catalogue:
Challatt of Tunis | produced by Habib Attia Tunisia
Preservation | directed by Nicole Brending USA
The Babadook | produced by Kristina Ceyton Australia, Germany
Youth | produced by Gal Greenspan Israel
Brian | directed by Angela How USA, Singapore
The Find | produced by Dimitri Klepatski Russian Federation
Greicekelly | directed by Rafael Lessa Brazil
The South Is Nothing | directed by Fabio Mollo Italy
Woman of the Father | produced by Aletéia Selonk Brazil
Bad Stock | directed by Rachel Tillotson UK
The Here After | produced by Mariusz Wlodarski Poland
and directed by Magnus von Horn Sweden
Dates
thu 17 | 12:15
HAU 3, Top Floor
On Track with
Market Trends:
Berlinale Co-Production
Market and
Talent Project Market
(p.64).
The Talent Project Market: the unique opportunity
to present projects to potential co-producers
and financiers
Projects selected for the Talent Project Market compete for
four prizes: three pre-selected projects will be pitched publicly to
producers and potential financiers of the Co-Production Market and
receive the three VFF Highlight Pitch Awards of Euros 3,000 each. One
project, to be selected on the spot, will receive the International
Relations ARTE Prize of Euros 2,500. The “Talent Project Highlights“
event is sponsored by VFF (German Collecting Society for Inhouse and
Commissioned Production of Film and TV Programmes).
Not only do Talent directors and producers have the unique
opportunity to present their projects to co-producers and fin­an­ciers,
the four-day programme of the Talent Project Market also allows them
to prepare for their meetings and learn about the international busi­
ness and market. In­du­stry experts and experien­ced pitching trainers
offer valuable insights and guide participating directors and producers
on presenting and marketing their projects and the technicalities of
international co-pro­duc­tion, financing and markets. These initial
training elements serve to prepare Talents for their oncoming one-on-
one meetings with potential partners in­ter­estedin getting on board
projects while they are yet in an early stage of development.
Over and above, Talents can avail of a multitude of informal
networking possibilities including fruitful exchanges and sharing of
projects with co-participants.
Talent Press Dates

nothing if not
critical
thu 17 | 14:00
HAU 2
Covering Cinema:
Critics Meet Filmmakers
(p.64).

The participants of Talent Press 2010:

Established forum for eclectic film criticism

“ Participating in Talent Press was not

only a great experience as a young
film critic and as a film lover, but
Passionate and informed criticism is the buzzword also a unique occasion to dive into
as upcoming film critics and journalists plunge
into the world of cinema.
a thrilling universe.” Loïc Valceschini, Talent Press 2010
Writing about films just before they open in cinema halls, the for participants to exchange ideas and learn from one another as well
“job“ part of being a film critic for a daily or weekly publication, is often as build networks for the development of their writing careers. Mentor
far more challenging and stressful than writing film essays for a Chris Fujiwara stated in an interview: “At Talent Press, you have the
monthly magazine or film blog. Talent Press, a collaborative venture chance to talk and work with people who are motivated by the same
of the Berlinale Talent Campus, the Goethe-Institut and FIPRESCI , has thing as you: the desire to see and understand cinema.” Joining him as
participating press Talents experience the pressures of working in an mentors of Talent Press 2011 are Dana Linssen, Derek Malcolm and
editorial room situation with its very tight deadlines, preparing them Stephanie Zacharek. Their articles will be published daily from Feb­13-
for the real life challenges of the “job“. 17, 2011 on www.talentpress.org, the website of Talent Press – which
In its eighth edition, eight film critics and journalists at different features articles of press Talents and alumni throughout the year – and
stages in their careers and from different corners of the world come on those of the Goethe-Institut and FIPRESCI “Best of Talent Press”, a
together in Berlin: Josefina Maria Garcia Pullés (Argentina), Francis print publication comprising a selection of articles written during the
Joseph Cruz (Philippines), Conall Cash (Australia), Diego Faraone Campus week, will be released on the last Campus day.
(Uruguay), Eren Odabasi (Turkey), Nicholas Deigman (UK ), Bethsheba Talent Press begins with an “Introduction Day“; mentors and
Achitsa (Kenya) and Pamela Pianezza (France). press Talents come together and get to know one another before they
For many of them, Talent Press facilitates their very first ex­- commence their fervent writing and reviewing of films and events.
­­po­sure to an international film festival, where they gain the oppor­ They also gain a more in-depth understanding of the Campus and its
tunity to explore the inner working of the Berlin International Film vast range of events and activities, as well as an overview of the current
Festival and sharpen their knowledge and views on independent and state of film criticism worldwide.
experimental, as well as mainstream cinema. Exchanging views and The first Talent Press International took place in March 2010
receiving feedback and guidance from prominent film critics as they at the Talent Campus Guadalajara.
review films, write about Campus events and conduct high-profile
interviews makes it an invaluable experience. Talent Press, as an For further information on the Talent Press website
estab­lished forum for eclectic film criticism, also provides a space see page 12 or visit www.talentpress.org.

Berlinale Talent Campus #9

 57.
BOROS

internationale
kurzfilmtage oberhausen
5. — 10. mai 2011

www.kurzfilmtage.de
Talent Actors Stage Dates

developing the actor

in you
In its second year, the Talent Actors Stage assists actors sun 13 | 14:00
HAU 3, Top Floor
to enhance their technique and develop their craft. Directing Actors
(p.48).
It’s rigorous, but exhilarating! The Talent Actors Stage offers a challenging opportunity mon 14 | 11:00
to explore acting techniques, dialogue delivery, casting, improvisation and more. In its second tue 15 | 11:00
hau 3, black stage
year and going full throttle, this hands-on training programme is not just for actors, but focuses On the Path with
on interdisciplinary collaboration with directors, producers, scriptwriters and cinematographers Jasmila Žbanić
(p.50).
to foster exchange, dialogue and effective cooperation among practitioners of the different
fields of filmmaking. As such, the Talent Actors Stage facilitates the improvement of actors’ mon 14 | 14:00
HAU 3, Top floor
per­formances by bringing them together with professionals from other film disciplines. In ad­ Embodying the Character
di­t­ion to networking possibilities with other film practitioners and co-Talents, the Talent Actors (p.52).
Stage endeavours to give more prominence to acting Talents within the Campus. tue 15 | 14:00
wed 16 | 14:00
hau 3, black stage
The Talent Actors Stage offers actors five special events: Rehearsed Reading:
Actors Reading Scripts
(p.56).
Directing Actors
Prominent actress and filmmaker Kerry Fox, effective delivery of dialogue, as they read
who was awarded the Silver Bear in 2001 for ­vi­tal scenes from a selection of Script Station
her outstanding performance in Intimacy , projects.
will draw on her vast experience as an actress
and share her perspective as a director to ex­ Meet the Expert
plain how she prefers to work with actors to Two established casting directors, Ulrike Mül­­
assist them in delivering compelling per­for­ ler and Beatrice Kruger, meet actors in two
mances. se­p­a­rate “Meet the Expert“ sessions.
Ulrike Mül­­ler, who casts predomi­
On the Path with Jasmila Žbanić nan­tly German-speaking films, will talk about
For Grbavica , Jasmila Žbanić won the 2006 possibilities for foreign actors to work in Ger­
Golden Bear; her subsequent film On the Path many. Beatrice Kruger, on the other hand, also
feat­­ured in the 2010 Berlinale Competition. does casting for major Hollywood pro­duc­t­
Using these two films as a starting point, but ions and will give insight into casting for inter­
also working with new scenes and through im­ ­national film productions.
­­­provisations, actors participating in this work­­­­­­
shop will audi­tion for Jasmila Žbanić and re­-
cei­­ve valuable feedback on their per­­for­mances.

Embodying the Character

This intensive, interactive acting workshop,led
by renowned acting coach, movement spe­­­c­­­i­
a­list and choreographer Jean-Louis Ro­dri­gue,
focuses on recognising the power of mo­ve­
ment and physicality in creating a cha­rac­ter in
film.

Rehearsed Reading
Dramaturge Alby James will work with actors
and screenwriters on building characters and
bringing scripts to life through smooth and

Berlinale Talent Campus #9

Page Berlin Today Award 2012

32 every step you take

33
Five directing talents will have the special opportunity to make a short film based on the theme
“Every Step You Take” in collaboration with a production company from Berlin / Brandenburg.
The Berlin Today Award, the annual short film competition of the Berlinale Talent Campus, is within reach.

The short film competition of the Berlinale Talent Campus

invited directors from all over the world to submit ideas inspired by
the motto “Every Step You Take”. Does the flap of a butterfly's wings in
Thailand set off a tornado in Texas? Small decisions we take in everyday
life intrinsically influence our near future. What is a harmless accessory
in one part of the world might be a major statement in another that
leads to a chain of reactions. Whether political or private, it is these
moments of taking a step and being aware of it, that are at the core of
the Berlin Today Award 2012.
Fifteen Talents selected prior to the Campus will be able to
present their film ideas to selected producers during the Producers’
Meeting at the Berlinale Talent Campus 2011. The top five projects will
be produced by five production companies from Berlin and Bran­den­
burg – with funding from the Medienboard Berlin-Bran­den­burg and
in-kind contributions from the film industry.
The short films will celebrate their world premiere at the
Opening of the Berlinale Talent Campus 2012 as part of the 62nd
Berlin International Film Festival.

“ I met great collaborators and was given a

huge leg-up to grander production values;
from here-on there's no turning back.”
Bryn Chainey, Berlin Today Award winner 2010

Current and former participants of the Berlinale Talent Campus

are invited to apply for the annual Berlin Today Award.

For detailed information

on the competition please visit:
www.berlinale-talentcampus.de/berlin-today-award

The Berlin Today Award has been funded

by the Medienboard Berlin-Brandenburg since 2003.

The Berlin Today Award 2010 (from above to below)

Director Bryn Chainey won the Berlin Today Award 2010 for Jonah and the Vicarious
Nature of Homesickness | Berlin Today Award 2010 jury members Stephen Daldry (left)
and actress Heike Makatsch (2nd from right) with the managing director of the
Medienboard Berlin-Brandenburg, Kirsten Niehuus, the Federal Government
Commissioner for Culture and the Media Bernd Neumann (right) and Berlinale festival
director Dieter Kosslick
 Berlin Today Award 2011 Dates

five shorts are

“leaving the Familiar sector”
Sharing the limelight, the five short films competing for sat 12 | 17:00
HAU 1
the Berlin Today Award 2011 celebrate their world premiere Opening Ceremony
at the Opening Ceremony of the Berlinale Talent Campus. & World Premiere
of the Berlin Today Award
Films 2011
Since its invention, cinema has helped us to imagine what our by invitation only
(p.46).
lives could be like and how the world could look. Film offers an extra­
ordinary glimpse into a world you've never seen, never dreamt of or SUN 13 | 19:30
ewerk
dared to enter. How do you imagine a world beyond what you've Dine & Shine – Talents
known, and what do you see when you leave the place you know Rendezvous and Award
Ceremony of the Berlin
best? The motto of this year’s competition encouraged film­makers Today Award 2011
to envision a world beyond the familiar. by invitation only
(p.49).
A jury comprising actress Dorka Gryllus, director Hannes Stöhr
and producer Peter Rommel selects the winner of the Berlin Today wed 16 | 20:00
cinestar 5
Award 2011 from: Screening at the European
Film Market
see Berlinale programme
HACKNEY LULLABIES
by Kyoko Miyake | Japan sun 20 | 17:30
COLOSSEUM
Listen to the gentle lullabies sung by the mothers of Hackney, Public screening
transforming London into a different place for each child. at the Berlinale Kinotag
see Berlinale programme
Produced by Filmkantine.

LITTLE RED
by Eva Pervolovici | Romania
Little Red, don’t dawdle along the way. The woods are dark
and dangerous. Produced by Beleza Film.

MUMMY’S LITTLE HELPER

by Michael Lavelle | Ireland
A mother discovers an illegal way to lose weight, with
frightening consequences … especially for her daughter.
Produced by Macchiato Pictures Filmproduktion.

SPOILT BROTH
by Toby Roberts | UK
A naïve, desperate man’s attempt to rob a post office sets him
The Berlin Today Award
on a collision course with a tough, armed and ruthless criminal. 2011
Produced by heimatmedien.
Hackney Lullabies
Kyoko Miyake
THE DAY WE DANCED ON THE MOON
Little Red
by Tristan Daws | UK Eva Pervolovici
We might all have our day on the moon, but sooner or later
Mummy‘s Little Helper
we will all come crashing down to earth… Michael Lavelle
Produced by Kloos & Co. Medien.
Spoilt Broth
Toby Roberts

The Day We Danced

The Berlin Today Award 2011 is supported by the Medienboard on the Moon
Berlin-Brandenburg and the film industry. Tristan Daws

Berlinale Talent Campus #9

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Meet the Expert
experts at your
bidding
Join different experts for focused discussions
at HAU 1 and HAU 3.
Sunday, Feb 13
Bettina Allamoda
HAU 1, Fox Bar | 12:30-13:30
A Berlin-based artist focusing on the concealed politics of visi­
bility inscribed in history, documentation, fashion, art and architecture,
Bettina Allamoda will introduce you to the visual art projects within
the Forum Expanded programme and beyond. She will also discuss
practices, spaces and production in the city and everything happening
around this year’s Berlinale related to visual arts.
Christian Goldbeck
HAU 3, Black Stage | 12:30 -13:30
German production designer and art director, he has worked
on films such as The Reader , Krabat , Requiem and Go For Zucker!,
receiving German Film Award nominations for the latter three films.
He is also production designer of this year‘s Competition film If not
us, who?. Goldbeck will talk about the job of production de­signers –
to match their visual decisions perfectly with the themes and tone of
each film they work on.
Mathias Schwerbrock & Joachim Knaf
LineProducer – The Art of Budgeting
HAU 3, Top Floor | 12:45-13:30
In cooperation with the Film and Television University (HFF)
“Konrad Wolf“ and Erich Pommer Institut.
Dr. Joachim Knaf, tutor at the Film and Television University
(HFF) “Konrad Wolf“, and Mathias Schwerbrock, German producer, will
focus on three essential questions: How do you get hold of new
financial sources for your project? What is the best way to compute an
international co-production? And how can you increase your profit
from a production? They will demonstrate answers to these questions
through “LineProducer“, a software designed to link the sectors of
bud­geting, financing and cash flow. It incorporates factors such as
currency, country-stocks and co-productions, enabling you to effi­­ci­-
e­n­tly plan your film production.
Sydney Levine
HAU 3, Black Stage | 16:00-16:50
Sydney Levine, founder of FilmFinders with over 25 years ex­
perience in the entertainment industry will talk about how you can
enter the market as a producer, and how to find the right market for
your film project.
Page
34
35
Monday, Feb 14
Michel Reilhac
HAU 1, Fox Bar | 11:00-12:00
Michel Reilhac, executive director of ARTE France Cinema and
Director of Film Acquisitions for ARTE France, will throw light on de­
velop­ing film concepts for broadcasters, be they analogue or cross
media pro­jects.
Isabel Arrate Fernández
HAU 1, Fox Bar | 12:30-13:30
Running the Jan Vrijman Fund of the International Docu­­-
men­tary Film Festival Amsterdam. The fund aims to generate
more attention for documentaries and filmmakers from developing
coun­tries. Her session will focus on the work and possibilities for
funding offered by the Jan Vrijman Fund with special attention on
preparing an application and project proposal.
Peter Belsito
HAU 3, Black Stage | 12:45-13:30
Peter Belsito, US-American producer, cinematographer, pub­
lisher and executive vice president of FilmFinders, will talk about the
inter­national independent marketplace and world festival circuit. He
will explain the dynamics of bigger and smaller markets at different
festi­vals, how they function, the mandates of the festivals and markets,
and how to navigate and operate at these markets.
Sandra Beerends
HAU 1, Fox Bar | 16:00-16:50
Script editor Sandra Beerends has worked with an array of
screenwriters and directors strengthening the narrative structure of
their scripts. She will join you to discuss the creative and strategic
choices you have to make during the writing process, the shooting
and the editing of the film.
Ulrich Kodjo Wendt
HAU 3, Black Stage | 16:00 -16:50
German composer for film and theatre, Wendt has composed
music for feature films such as Fatih Akin’s In July , as well as docu­
mentaries like Jens Huckeriede’s Scoring Blue and Ab nach Rio . He
will focus on score, sound and silence: The correlation of music and
silence in a film and how to use original sound in a score.
Berlinale Talent Campus #9
 N P
I R Scholarships for European
P O Audiovisual Media
K G Professionals in Berlin
O R
W A
M
M

Further studies for qualified applicants in the fields of Contact

 Film, television and video financing, production, marketing
and distribution Kurfürstendamm 225
 New technologies (multimedia, interactivity) D - 10719 Berlin
 TV computer design and computer graphics phone: +49 30 614 28 38
fax: +49 30 614 28 26
e-mail: nipkow-programm@t-online.de
visit: www.nipkow.de

WITH THE SUPPORT OF

Meet the Expert
Tuesday, Feb 15
Erwin M. Schmidt
HAU 1, Fox Bar | 12:30-13:30
German producer, who has worked on a number of art house
films such as You The Living , Dernel and Orly . A 3D producer for
Neue Road Movies, he co-produced Wim Wender‘s 3D film Pina which
premieres in this year’s Berlinale. 3D goes indie with 3 independent
films in the Official Selection of this year's Berlinale. Schmidt will
divulge the secret to achieving the added value of 3D without coll­ap­
sing under increased costs, technical difficulties and sleepless nights.
Beatrice Kruger
HAU 1, Attic Room | 12:30-13:30
A casting director based in Rome, Beatrice Kruger has always
been involved in the discovery and promotion of new acting talent
and recently developed the idea and concept for an interactive web
portal (www.e-talenta.eu). She was responsible for the European and /
or Italian casting of films such as Silk, The International, Casino
Royale, Ocean’s T welve and many more. She will give acting Talents
insight into casting for international film productions.
Iwana Chronis
HAU 3, Black Stage | 12:45-13:30
Manager of the Hubert Bals Fund of the International Film
Festival Rotterdam, she will inform you about the work of the fund and
the funding schemes for filmmakers coming from Africa, Asia, Latin
America, the Middle East and parts of Eastern Europe.
Hanne Skjødt
HAU 1, Fox Bar | 16:00 -16:50
This is the opportunity for you to ask questions and learn more
about Hanne Skjødt’s work as a network manager at the European
Documentary Network (EDN) in Copenhagen, which supports
documentary filmmakers. Since 2000, she has been with the Danish
Film Institute as a distribution and promotion consultant and head of
unit, and in charge of the promotion and distribution of shorts and
documentaries.
Jean-Louis Rodrigue
HAU 3, Black Stage | 16:15-17:00
Jean-Louis Rodrigue, acting coach and movement director,
will talk to you about his acting coaching and movement training as
well as on how to present your film project. He will explain the fun­
damental tools needed to improve your levels of performance in film
and to present your script to potential producers and studios.
Page
37
Wednesday, Feb 16
Wendy Bernfeld
HAU 1, Fox Bar | 12:30-13:30
Wendy Bernfeld, founder and M.D. of Rights Stuff, is a pas­sio­
nate film buff specialising in hard core film acquisition and distribution,
licensing negotiations, and related strategy and rights advice, for
both traditional media and digital new media platforms. She assists
pro­ducers / distributors with their international digital strategy to
maximise revenues across multiple windows and platforms.
Peter Rorvik
HAU 3, Black Stage | 12:30 -13:30
Peter Rorvik will talk about the Durban International Film Fest­i­
val‘s activities for African filmmakers and the existing network that has
been built and supported over the past years.
Kanako Hayashi
HAU 3, Black Stage | 16:00 -16:50
Kanako Hayashi, festival director of the TOKYO FILMeX Inter­­­
national Film Festival, which showcases the best contemporary
independent cinema from Asia, will talk about the Japanese film
industry at present times.
Frédérique Westhoff
HAU 1, Fox Bar | 16:15-17:00
Head of team at ACPFILMS , with the overall objective to con­-­
tri­­bute to the development and structuring of the cinema and
audiovisual industries in the African, Caribbean, Pacific states so that
they can create and disseminate their own works more effectively.
Frédérique Westhoff will talk about their projects, programmes and
corresponding new guidelines. In cooperation with ACPFILMS.
Thursday, Feb 17
Ulrike Müller
HAU 1, Fox Bar | 12:30-13:30
Berlin-based German casting director, Ulrike Müller will talk
about how to establish international connections between casting
directors and actors, and how they can get more freedom to ac­co­m­
modate actors and actresses of different nationalities in one film.
Nikolaj Nikitin
HAU 3, Black Stage | 12:30-13:30
The Berlinale delegate for Eastern-Europe and co-founder
of the film magazine “Schnitt“, curates film festivals across Europe, and
heads the European festival dedicated to editing, “Film+“ in Cologne.
Berlinale Talent Campus #9
www.pardo.ch
Chapter

04 programme

p.40 Timetable | p.46 Day 1 – Sat, Feb 12

p.47 Day 2 – Sun, Feb 13 | p.50 Day 3 – Mon, Feb 14
p.55 Day 4 – Tue, Feb 15 | p.58 Day 5 – Wed, Feb 16
p.63 Day 6 – Thu, Feb 17
Berlinale Talent Campus #9
Page Campus programme

40 Timetable

HAU 1 HAU 1 HAU 2 HAU 3

Fox Bar White Stage
9:00 8:30 9:30
Ticketing and Talent Registration (p.46). Script Station:
Project Development Day
9:30 In cooperation with FFA
Rise and Shine Breakfast and SOURCES 2 (p.24).
Presented by Berlinale Talent Campus (p.46).

11:00 11:30 – 12:30

Taking Off
Essential briefing on services,
programme and hands-on-trainings (p.46).

13:00 12:45 Fast Forward Germany

Doc Station Welcome Christine Berg, Mariette Rissenbeek,
At Attic Room. Daniel Saltzwedel. Moderated by Roman Paul.
In cooperation with FFA and SOURCES 2 (p.25). In cooperation with Medienboard
Berlin-Brandenburg, FFA and German Films (p.46).

15:00 Global Speed Matching

Meet and greet session.
Moderated by Matthijs Wouter Knol (p.46).

17:00 Opening Ceremony & World Premiere

of the Berlin Today Award Films 2011
Dieter Kosslick, Kirsten Niehuus.
Moderated by Matthijs Wouter Knol
and Christine Tröstrum.
Supported by Medienboard Berlin-Brandenburg
(p.46).

9:00 8:30 Ticketing 9:30

Doc & Script Station
9:30 Rise and Shine Breakfast In cooperation with FFA
Presented by Deutsche Welle DW-TV (p.47). and SOURCES 2 (p.24-25).

11:00 The Rules of Engagement

Kerry Fox, Henning Mankell and José Padilha.
Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Panorama (p.47).

12:30 Lunch Break Meet the Expert Speed Matching

Bettina Alamoda (p.35). Directors meet writers and cinematographers
(p.46).

14:00 Filming War Kill Your Darlings

Samuel Maoz, Janus Metz, Danis Tanović. Master class with Susan Korda (p.47).
Moderated by Ben Gibson.
In cooperation with Robert Bosch Stiftung (p.47).

15:00

17:00 In the Limelight: Isabella Rossellini Two Producers Sharing Their Secrets
Moderated by Peter Cowie (p.49). Carole Scotta and Paul Trijbits (p.49).

19:30
More information: Colour code Page

www.berlinale-talentcampus.de

Events open to the public

41
Hands-on training events
Workshops

HAU 3 HAU 3 Other Venues

Black Stage
9:15
Berlin Today Award 2012
Coaching.
Supported by Medienboard
Berlin-Brandenburg (p.32).
Top Floor
9:00
Campus Editing Studio: Introduction Day
Andrew Bird, Katja Dringenberg, Susan Korda,
Gesa Marten, Molly Malene Stensgaard.
In cooperation with German Film and Television
Academy Berlin (dffb) (p.26).
9:30 Campus Post-Production Studio
In cooperation with Camelot Broadcast Services (p.26).
10:00 Score Competition
Editing at Wave-line /
Feedback session with Michael Nyman (p.22).

Talent Project Market (p.28).

15:00
Talent Press
Editorial meeting. In cooperation with
Goethe-Institut and FIPRESCI (p.29).

sat, FEB 12

10:00
Campus Editing Studio In cooperation with dffb (p.26).
Score Competition Editing at Wave-line (p.22).

Diving Into Post-Production 10:30

Philippe Ros. In cooperation with Camelot Broadcast Talent Project Market (p.28).
Services (p.47).

Meet the Expert 12:45 Meet the Expert Joachim Knaf, Mathias 12:30 Reception Manfred Durniok Foundation
Christian Goldbeck (p.35). Schwerbrock. In cooperation with HFF “Konrad Wolf“ for East Asian Talents.
and Erich Pommer Institut (p.35). Supported by Manfred Durniok Foundation (p.15).

Directing Actors 13:00

Master class with Kerry Fox. Campus Post-Production Studio
Moderated by Marten Rabarts (p.48). In cooperation with Camelot Broadcast Services
(p.26).

16:00 15:00 Talent Press

Meet the Expert Editorial meeting.
Sydney Levine (p.35). In cooperation with Goethe-Institut and FIPRESCI (p.29).

Your Body Speaks:

The Art of Presenting Your Film
Jean-Louis Rodrigue (p.49).

Dine & Shine – Talents Rendezvous with Berlinale Guests

and Award Ceremony of the Berlin Today Award 2011
Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick,
Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr.
Moderated by Adrian Kennedy. Supported by Medienboard
Berlin-Brandenburg and Robert Bosch Stiftung (p.49).

sun, FEB 13 Berlinale Talent Campus #9

Page Campus programme

42 Timetable

HAU 1 HAU 1 HAU 2 HAU 3

Fox Bar White Stage
9:00 8:30 Ticketing

9:30 Rise and Shine Breakfast 9:30 Doc & Script Station
Presented by Robert Bosch Stiftung In cooperation with FFA
and Sarajevo Film Festival (p.50). and SOURCES 2 (p.24-25).

11:00 Meet the Expert

Michel Reilhac (p.35).

12:30 Lunch Break Meet the Expert Speed Matching

Isabel Arrate Fernández (p.35). Directors meet sound designers and editors
(p.46).

14:00 In the Limelight: Harry Belafonte The Indie Filmmakers Guide to Cross Media I
Moderated by Rajendra Roy. Martin Ericsson, Bruno Felix, Michel Reilhac.
In cooperation with Berlinale Special (p.51). Moderated by Liz Rosenthal (p.52).

16:00 Meet the Expert

Sandra Beerends (p.35).

17:00 The Shortest Track to Cinema

Catherine Colas, Alexander Stein,
Rudolf Worschech.
Moderated by Maike Mia Höhne.
In cooperation with Berlinale Shorts (p.53).

18:00 20:00 Short and Scary Followed by:

Short film screenings. Evert de Beijer, Short Encounters | 18:30-19:30
Peter Larsson, Hugo Lilja, Jerome Sable, Talents meet short film industry.
Yang Hyo-joo. Moderated by Juliette Veber. In cooperation with Berlinale Shorts (p.53).
In cooperation with Berlinale Shorts and
Berlinale Generation (p.54).

9:00 8:30 Ticketing 9:30 Doc & Script Station

In cooperation with FFA
9:30 Rise and Shine Breakfast and SOURCES 2 (p.24-25).
Presented by Berlinale Talent Campus (p.55).

11:00 Too Good to Be True: Directing Reality

Heddy Honigmann and Andres Veiel.
Moderated by Matthijs Wouter Knol (p.55).

12:30 Lunch Break Meet the Expert Speed Matching

Meet the Expert Erwin M. Schmidt (p.37). Directors meet producers (p.46).
at Attic Room: Beatrice Kruger (p.37).

14:00 Cinematography: Play as Process:

The Establishing Shot Worldbuilding and New Ways to Imagine
Master class with Edward Lachman. Shekhar Kapur, Tali Krakowsky, Saku Lehtinen,
Moderated by Ben Gibson (p.55). Alex McDowell and Andrew Shoben.
In cooperation with 5D Conference, L.A. (p.56).

16:00 Meet the Expert

Hanne Skjødt (p.37).

17:00 In the Limelight: Plugging People: European Producers

István Szabó and Ralph Fiennes Positioning Themselves
Moderated by Mike Goodridge. Jean des Forêts, Nicole Gerhards,
In cooperation with FERA and Robert Bosch Peter de Maegd, Soon-Mi Peten.
Stiftung (p.57). Moderated by Fleur Knopperts.
In cooperation with MEDIA (p.57).
More information: Colour code Page

www.berlinale-talentcampus.de

Events open to the public

43
Hands-on training events
Workshops

HAU 3 HAU 3 Other Venues

Black Stage Top Floor

10:00 Campus Editing Studio In cooperation with dffb (p.26).

10:00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).

On the Path with Jasmila Žbanić Let's Make It Legal 10:30 Talent Project Market (p.28).
In cooperation with Robert Bosch Mareile Büscher, Michael C. Donaldson.
Stiftung (p.50). In cooperation with Raue LLP (p.51).

12:45 Meet the Expert 13:00 Camera Workshop at Camelot

Peter Belsito (p.35). In cooperation with Camelot Broadcast Services (p.51).
13:00 Campus Post-Production Studio
In cooperation with Camelot Broadcast Services (p.26).
13:15 Excursion to the Costume House Theaterkunst
In cooperation with Theaterkunst (p.51).

Embodying the Character 15:00 Talent Press

Jean-Louis Rodrigue (p.52). Editorial meeting.
In cooperation with Goethe-Institut and FIPRESCI (p.29).

Meet the Expert Excursion to “Meet the Docs“ at European Film Market
Ulrich Kodjo Wendt (p.35). Sydney Levine. In cooperation with European Film Market (p.53).

The Legal Sound of Music

Mareile Büscher, Milena Fessmann.
In cooperation with Raue LLP (p.53).

New Horizons in 3D:

Mon, FEB 14
Storytelling and Producing Redefined
at Cubix 8. Alain Derobe, Gian-Piero Ringel,
Erwin M. Schmidt, Wim Wenders.
Moderated by Patrick Palmer, joined by Julian Pinn.
In cooperation with Dolby Laboratories (p.54).

9:30 Campus Post-Production Studio

In cooperation with Camelot Broadcast Services (p.26).
10:00 Campus Editing Studio In cooperation with dffb (p.26).
10 :00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).

On the Path with Jasmila Žbanić 10:30 10:00 Excursion to European Film Market
In cooperation with Robert Bosch Where I Am and Where I Want to Go Sydney Levine.
Stiftung (p.50). Thomas Biniasz (p.55). In cooperation with European Film Market (p.53).

10:00 Camera Workshop at Camelot

12:45 Meet the Expert In cooperation with Camelot Broadcast Services (p.51).
Iwana Chronis (p.37).

Rehearsed Reading I: The Indie Filmmakers Guide to Cross Media II

Actors Reading Scripts Wendy Bernfeld, Ben Grass, Inga von Staden.
Alby James (p.56). Moderated by Liz Rosenthal (p.57). 15:00 Talent Press
Editorial meeting.
In cooperation with Goethe-Institut and FIPRESCI (p.29).

16:15 Meet the Expert

Jean-Louis Rodrigue (p.37).

Building Digital Worlds for the Screen

Shekhar Kapur, Alex McDowell (p.57).

Tue, FEB 15 Berlinale Talent Campus #9

Page Campus programme

44 Timetable

HAU 1 HAU 1 HAU 2 HAU 3

Fox Bar White Stage
9:00 8:30 Ticketing

9:30 Rise and Shine Breakfast

Presented by ACPFILMS (p.58).

11:00 As Queer As It Gets Dial F for Fiction:

John Greyson, Thunska Pansittivorakul, Script Station Presentation
Wieland Speck, Monika Treut, Christine Vachon. Moderated by Merle Kröger.
Moderated by Matthijs Wouter Knol. In cooperation with FFA and
In cooperation with Berlinale Panorama, SOURCES 2 (p.60).
Berlinale Forum and TEDDY AWARD (p.59).

12:30 Lunch Break Meet the Expert Speed Matching

Wendy Bernfeld (p.37). Directors meet actors (p.46).

14:00 The Internationals: Barbara Hammer:

How Small Stories Become Big Claudia Llosa, 16:15 Meet the Expert Making Movies Out of Sex and Life
Kornél Mundruczó, Abderrahmane Sissako. Frédérique Westhoff. Barbara Hammer. Moderated by Stefanie Schulte
Moderated by Dorothee Wenner. In cooperation In cooper­ation with ACPFILMS Strathaus. In cooperation with Berlinale Forum
with ACPFILMS and Robert Bosch Stiftung (p.60). (p.37). Expanded (p.60).

16:00

17:00 The Great World of Sound Why Poverty? Talent Project Market
Master class with Michael Nyman. Hans Robert Eisenhauer and Don Edkins (p.62). Wrap-up session (p.28).
Moderated by Peter Cowie (p.62).

20:30 Christoph Schlingensief: Five Favorites

Anselm Franke, Carl Hegemann, Francis Kéré,
Matthias Lilienthal, Georg Seeßlen. Moderated
by Dorothee Wenner. In cooperation with
Theater Hebbel am Ufer (HAU), Berlinale Forum
Expanded, Goethe-Institut South Africa (p.62).

9:00 8:30 Ticketing 9:30

Doc & Script Station
9:30 Rise and Shine Breakfast In cooperation with FFA and
Presented by Institut français (p.63). SOURCES 2 (p.24-25).

11:00 The Schrader Way to Start a Film 10:30

Paul Schrader. Moderated by Peter Cowie. Talent Actors Stage
In cooperation with Berlinale Special (p.64). Wrap-up session (p.31).

12:30 Lunch Break Meet the Expert Speed Matching

Ulrike Müller (p.37). Last call for everyone (p.47).

14:00 Censored Cinema Covering Cinema: Critics Meet Filmmakers

Sepideh Farsi, Mehrangiz Kar, Rafi Pitts, Alma Har'el, Gerhard Midding, Jay Weissberg,
Ali Sa­ma­di Ahadi. Przemyslaw Wojcieszek. Moderated by
Moderated by Vincenzo Bugno. Dana Linssen. In cooperation with Robert Bosch
In cooperation with World Cinema Fund (p.64). Stiftung, Berlinale Forum and Panorama (p.64).

17:00 17:30 Say It with a Score: Score Competition 16:00

Presentation and Award Ceremony Things to Take Home
Ehud Freedman, Roger Goula, Hubert Henle, Marjorie Bendeck, Kathi Bildhauer,
Michael Nyman, Felix Rösch. Christine Tröstrum.
Moderated by Milena Fessmann. Moderated by Matthijs Wouter Knol (p.65).
In cooperation with Dolby Laboratories (p.65).

21:00 Closing Party (p.65)

More information:
www.berlinale-talentcampus.de
HAU 3
Black Stage
Meet the Expert
Peter Rorvik (p.37).
Rehearsed Reading II:
Actors Reading Scripts
Alby James (p.56).
Meet the Expert
Kanako Hayashi (p.37).
wed, FEB 16
Meet the Expert
Nikolaj Nikitin (p.37).
Thu, FEB 17
HAU 3
Top Floor
The Indie Filmmakers Guide to Cross-Media III
Martin Ericsson, Ben Grass, Lena Thiele.
Moderated by Liz Rosenthal (p.59).
Welcome to Reality: Doc Station Presentation
Heino Deckert. Moderated by Sirkka Möller.
In cooperation with FFA and SOURCES 2 (p.61).
17:00
Happy Returns: The Future After the Campus
Rosario García-Montero, Kaspars Goba, Javier Fuentes-­
León. Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Generation / Panorama /
Co-Production Market, World Cinema Fund (p.62).
10:30 Disclosing the World Cinema Fund
Vincenzo Bugno, Sonja Heinen.
In cooperation with World Cinema Fund (p.63).
12:15 On Track with Market Trends: Berlinale
Co-Production Market and Talent Project Market
Kathi Bildhauer, Martina Bleis, Sonja Heinen.
In cooperation with Berlinale Co-Production Market (p.64).
Where Things Come Together:
Campus Post-Production Studio Presentation
Philippe Ros.
Moderated by Christine Tröstrum.
In cooperation with Camelot Broadcast Services (p.65).
Colour code Page
Events open to the public
45
Hands-on training events
Workshops
Other Venues
10:00 Berlin Today Award 2012 Producers' Meeting
Supported by Medienboard Berlin-Brandenburg (p.59).
10:00 Excursion to the European Film Market
Sydney Levine. In cooperation with European Film Market (p.53).
10:00-15:30
Absolute Hearing I-IV
For composers and sound designers only.
In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film Orchestra
Babelsberg and the Film and Television University (HFF) “Konrad Wolf“ (p.58-59).
Excursion to the European Film Market
Sydney Levine. In cooperation with European Film Market (p.53).
13:00 Screening the Future: Excursion to the Heinrich Hertz Institut
In cooperation with Fraunhofer/Heinrich Hertz Institut (p.60).
15:00 Talent Press
Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29).
10:00 Dress to Impress – Master Class
at Costume House Theaterkunst
In cooperation with Theaterkunst (p.63).
Talent Press
Editorial meeting.
In cooperation with Goethe-Institut and FIPRESCI (p.29).
Cutting on the Edge: Campus Editing Studio Presentation
at CinemaxX 17.
Susan Korda, Paz Lázaro and Florian Weghorn.
Moderated by Kevin Murphy.
In cooperation with dffb (p.65).
Berlinale Talent Campus #9
Page
46
Ticketing and Talent Registration
8:30 | HAU 2
Find out what matters most! Stop by the Talent counter to
pick up your accreditation, and learn about the multitude of events
and activities offered at the Campus and in the Berlinale film pro­
gramme. Our staff members will be happy to answer all your questions
related to logistical issues, ticketing and travel reimbursement.
Besides, here’s where you can meet up with fellow Talents.
Rise and Shine Breakfast
Presented by Berlinale Talent Campus.
9:30 | HAU 2
Variety is the spice of life. And not just on the breakfast menu.
A host of filmmakers from around the world are just as eager for
conversation as you. A tête-à-tête with fellow Talents or members of
the Campus team over hot coffee and croissants is the right start for
you. This breakfast is presented by the Berlinale Talent Campus.
Taking Off
11:30 | HAU 2
This very first and essential briefing will provide all-impor­-
tant information about the coming Campus week. Meaning that you
will be introduced not just to Campus team members, but also
provided information about internet usage and accessing the Campus
database. Moreover, the overall Campus programme and its wide
palette of events will be presented alongside an overview of the
Berlinale film screenings. Last but not least, you will get an idea of
what the various hands-on trainings of the Campus offer. They are the
Score Competition, Campus Studio, Doc and Script Station, Talent
Press, Talent Project Market, the Talent Actors and the Berlin Today
Award.
Fast Forward Germany
Christine Berg, Mariette Rissenbeek and Daniel Saltzwedel.
Moderated by Roman Paul.
In cooperation with Medienboard Berlin-Brandenburg,
FFA and German Films.
13:00 | HAU 2
Interested in making films with German partners? Film funding
organisations from Germany present their respective initiatives and
objectives in promoting German cinema and the prerequisites for
funding. This event invites both German and non-German Talents to
acquaint themselves with what these organisations have to offer.
Representatives of Medienboard Berlin-Brandenburg, German Federal
Film Board (FFA) and German Films will interact with Talents providing
them relevant details.
Campus programme
Saturday, feb 12
Global Speed Matching
Meet and greet session.
Moderated by Matthijs Wouter Knol.
15:00 | HAU 2
Think on your feet! Think fun! Speed matching provides a
stimulating way to connect and network with peers and perhaps find
the perfect match for your film team from this global filmmakers‘
village. The Berlinale Talent Campus, which serves as a networking
platform, invites all Talents for a rapid, efficient and interactive round
to meet future partners and possibly kick-start projects. A good ice-
breaker for effective networking in the days to come, this is where you
will meet fellow Talents – actors, directors, screenwriters, directors of
photography, producers, editors, music composers – you name it. We
promise you a personally and professionally enriching worldwide tour.
Focused speed matching sessions for directors to meet producers or
editors or writers, etc. will take place daily at 12:30.
This year’s speed matching sessions are as follows:
Feb 13 – directors meet writers and cinematographers
Feb 14 – directors meet sound designers and editors
Feb 15 – directors meet producers
Feb 16 – directors meet actors
Feb 17 – last call for everyone
Opening Ceremony and World Premiere
of the Berlin Today Award Films 2011
Dieter Kosslick, Kirsten Niehuus.
Moderated by Matthijs Wouter Knol
and Christine Tröstrum.
Supported by Medienboard Berlin-Brandenburg.
17:00 | HAU 1
We welcome all Talents, mentors and experts to the inaugural
ceremony of the Berlinale Talent Campus 2011! The masters of cere­
mo­ny, Matthijs Wouter Knol and Christine Tröstrum, will greet Talents
and invited guests and present the focus of this year’s Cam­pus. Dieter
Kosslick, Berlinale festival director, will step into the limelight to
address the audience and officially declare open the #9 Berlinale
Talent Campus. The screening of the five Berlin Today Award films,
which celebrate their world premiere, will bring the event to a close.
For details on the Berlin Today Award see p.32-33.
Campus programme
Sunday, feb 13
Rise and Shine Breakfast
Presented by Deutsche Welle DW-TV.
9:30 | HAU 2
The Deutsche Welle DW-TV , whose crew members are busy
cap­turing the high-spirited action at the Campus, present this mor­n­
ing’s breakfast. Start your day with a good, healthy breakfast as you
get to know the Deutsche Welle representatives and catch up with
fellow Talents.
The Rules of Engagement
Kerry Fox, Henning Mankell and José Padilha.
Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Panorama.
11:00 | HAU 1
Whether mainstream blockbuster or low-budget documen­t­
ary, films are capable of engaging the realm of politics, society and
culture. But tackling contemporary issues or working within a very
specific niche is by no means easy. How could a new generation of
filmmakers position themselves in such a climate? Brazilian director
José Padilha won the 2009 Golden Bear for Elite Squad , and his latest
Elite Squad 2 – The Enemy within features in this year’s Berlinale
Panorama. Padilha explores in his films the problems of crime in Rio,
particularly in relation to police corruption and middle-class in­dif­
ference. Joining him on stage is New Zealand actress and director
Kerry Fox who won the 2001 Silver Bear for Best Actress for her role in
Intimacy , and Swedish author, screenwriter, dramatist and activist
Henning Mankell, who is best known for the “Kurt Wallander Mysteries”.
Mankell was on the “Ship to Gaza“ in 2010, which tried to break the
Israeli embargo of the Gaza strip. The three panellists will talk about
how it all began for them – the initial impetus that led them down
their individual paths, how it impacted their lives, shaped subsequent
projects, and how this engagement further developed taking on a life
of its own.
Diving into Post-Production
Case Study with Philippe Ros.
In cooperation with Camelot Broadcast Services.
11:00 | HAU 3, Top Floor
Reputed director of photography and digital imaging super­
visor from France, Philippe Ros will conduct a case study on Oceans , a
film directed by Jacques Perrin and Jacques Cluzaud, which was in
production for over six years. As digital imaging director, technical
supervisor of the image and one of 17 DOPs on oceans , Ros will
divulge “secrets“ to dealing with the challenges that arise when
matching film and digital formats, in particular when numerous shots
are taken under totally different conditions, at differing depths and
with varied lighting, as was the case for Oceans . He will explain how
Page
47
the combination of old lighting tricks, new contrast curves and col­
ourist skills allowed him to achieve his goals quite successfully.
Plac­­ing emphasis on the relationship between the chief digital imag­
ing technician and the colourist, Ros will show how the directors of
Oceans succeeded in creating a strong team and involving the DoPs
in extensive research at various levels.
Filming War
Janus Metz, Samuel Maoz and Danis Tanović.
Moderated by Ben Gibson.
In cooperation with Robert Bosch Stiftung.
14:00 | HAU 1
Portraying high pressure and life-risking situations is inherent
to film­making processes that depict war and crisis situations, whether
fiction or documentary. The very notion of crisis implies that film­
makers have to deal with specific issues: decide what to show and how
to deal with the (fictitious) reality of war and extremity. Reflecting on
such issues are three reputed filmmakers – Danis Tanović bagged an
Oscar in 2001 for No Man’s Land , Janus Metz won the 2010 Grand
Prize at the International Critics' Week of the Cannes Film Festival for
his documentary Armadillo , and Samuel Maoz won the 2009 Golden
Lion at the Venice International Film Festival and two European Film
Awards for Lebanon . All three critically acclaimed films depict war and
portray people under tremendous pressure. Janus Metz and his cine­
ma­to­grapher had to expose themselves to the same risks as the
soldiers. They filmed with two cameras the entire time and even had
some soldiers wear helmet cameras. The absence of dialogue in Maoz’
film script for Lebanon meant that rehearsing seemed pointless: “I
took each of the actors and, separately, locked them in a very small,
dark and hot container. After about two hours, when I knew their
bodies would have shut down, as if hypnotised, I knocked on the iron
walls with a bar, something that sounded very like an attach on a tank
[…] When they came out and I looked in their eyes, I could see that I
didn’t have to explain anything else.” In No Man’s Land , Tanović relies
heavily on humour to defuse the tension and highlight the ironies
of the situation. The three filmmakers will discuss their distinctive
approaches to depicting tense, life-threatening situations, as well as
the creative and political decisions they took while making their films.
Kill Your Darlings
Master class with Susan Korda.
14:00 | HAU 2
The editing process which sounds simple enough – you select
shots and you arrange and modify them to clarify and refine their form
and content – is actually a rather complex and dynamic process. It is a
question of technique and art. Film editing isn’t just about how the
stories you choose to tell in your films can be enhanced, it sometimes
Berlinale Talent Campus #9
Page
48
comes down to rescuing an entire film project. Films often find their
true form in the editing room. This master class by Susan Korda will
take you on an inspiring and educational journey that lays bare the
lessons learnt by previous film teams and editors. You will learn how to
craft a film’s structure and perfect its look such that it grabs an
audience and keeps it there.
Susan Korda, editor, director, writer and lecturer at Columbia
University, and long-time Campus expert, will provide an insider view
of the dynamics of the craft of editing showing clips from a selection
of films such as Bonnie and Clyde to draw attention to a multitude of
details from the sound and edit to the background of a film. She will
discuss different approaches to the work of an editor and elaborate on
the importance of experimentation, for example, by illustrating how a
film can function quite well despite flaws in the wardrobe or the angle
of the camera. She will guide you on how to “kill your darlings“ in the
editing process without losing your collaborators in the montage
stage of filmmaking, and explain how an editor can work with an
overwhelming amount of excess footage, and yet succeed in extra­
cting the best material which is carefully woven into the film, every
decision shaping the tone and pace of the film.
Campus programme
Sunday, feb 13
Isabella Rossellini with William Hurt in the Berlinale
Special‘s film Late Bloomers. (insert)
Toast by SJ Clarkson and produced by Paul Trijbits runs
in the Berlinale Special and at the Culinary Cinema. (left)
Directing Actors
Master class with Kerry Fox. Moderated by Marten Rabarts.
14:00 | HAU 3, Top Floor
Acting is first and foremost a craft. And although honing one’s
acting skills is crucial, it doesn’t come with certified roles or with the
experience of dealing with the demands of each role. Prominent ac­t­
ress and filmmaker, winner of the 2001 Silver Bear for Best Actress for
her outstanding performance in Intimacy , Kerry Fox will reflect on
what it means to dive head and heart into a role and how directors can
assist actors in delivering compelling performances. Drawing on her
vast and versatile acting career and sharing her per­spective as a
director, she will give insight into her own style of working with actors
and her personal experiences with the various directors in whose
films she has starred. Kerry Fox stepped into the limelight with her role
in Jane Campion’s An Angel At My Table and went on to establish
herself in­ter­nationally, working in independent films and television.
Amongst numerous others, she has starred in Gillian Armstrong’s The
Last Days of Chez Nous , Danny Boyle’s Shallow Grave , Thom Fitz­
gerald’s The Hanging Garden , Michael Winterbottom’s Welcome to
Sarajevo and Hans-Christian Schmid’s Storm .
Campus programme
Sunday, feb 13
In the Limelight: Isabella Rossellini
With Isabella Rossellini.
Moderated by Peter Cowie.
17:00 | HAU 1
As the daughter of Ingrid Bergman and Roberto Rossellini,
Isabella Rossellini has been in the limelight her entire life. An actress,
writer and director, it was her gut-wrenching performance in David
Lynch’s Blue Velvet which shot her to fame, and subsequently her
prominent roles, among others, in Death Becomes Her , Immortal
Beloved and Wyatt Earp . She also delivered an unforgettable per­for­
mance in Canadian avant-garde filmmaker Guy Maddin’s The Saddest
Music in the World and narrated his film Brand Upon the Brain! at
the 2007 Berlinale. The famed actress then turned her hand to writing
– collaborating with Maddin on My Dad Is 100 Years Old , a film about
her father – and directing. She wrote, directed and starred in the
delightfully surreal short film series Green Porno about animal sex.
Isabella Rossellini, Jury President of the 61st Berlin International Film
Festival, will talk about the various transitions in her professional life,
her recent foray into writing and directing and her spirited engagement
in human rights advocacy. The session will commence with the screen­
ing of My Wild Life , a documentary film that portrays her life and
work by German director Gero von Boehm.
Two Producers Sharing Their Secrets
Carole Scotta and Paul Trijbits.
17:00 | HAU 2
Many jobs in the film industry are well-defined, for example,
that of the director, scriptwriter or director of photography. Any
de­fin ­ ition of the role of the film producer is imprecise at best! Film
pro­duction requires someone who has the expertise and vision to
take decisions through all four stages of filmmaking. US-American film
producer Richard Zanuck once said: “The producer is like the con­-
­duc­­tor of an orchestra. Maybe he can't play every in­stru­ment, but he
knows what every instrument should sound like.” Pro­duction neces­-
si­­t­ates a command of hundreds of details while keeping the broad
objective of the film firmly in view. This simultaneously implies pro­
viding in­sights and feedback on the creative aspects of filmmaking.
Two veteran film producers, Carole Scotta (The Class and Black
Heaven ) and Paul Trijbits (Tamara Drewe and Toast – which features
in this year’s Berlinale), who between them have been involved in the
production of up to a hundred films and received numerous awards
and nomi­nations, go behind the scenes to explain not just their role
vis-à-vis finance, marketing and distribution, but also the creative
elements to being a producer. Giving examples of some of their past
projects, they will focus on the role of producers as sparring partners,
working closely with directors right from the start, connecting content
with the harsh but creative reality of producing films.
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49
Your Body Speaks: The Art of Presenting Your Film
Jean-Louis Rodrigue.
17:00 | HAU 3, Top Floor
How the director and producer present their project to
potential studio executives and investors often determines if the film
will be made. Effective presentation requires clarity of expression,
confident body language, accessing the imagination and engaging
the audience’s attention by connecting to their emotions. This involves
under­standing how to use “watcher identification“ and empathy as a
way to connect and “seduce” your audience, using mind mapping to
plan a presentation that communicates effectively, developing phy­
sical and mental coordination in order to act out the story dynamically
in time and space, using heroism as a way of making your presentation
un­for­gettable, and connecting to your senses to create the “dream
world” of your story so they “hear and see it”. This is an interactive,
hands-on workshop led by acting coach, movement trainer, choreo­
grapher and senior teacher of the Alexander Technique Jean-Louis
Rodrigue. Some Talents will have the opportunity to present their
projects to Rodrigue in front of an audience as practical application.
This workshop is open primarily to directors, writers, and producers.
Dine & Shine – Talents Rendezvous with Berlinale Guests
and Award Ceremony of the Berlin Today Award 2011
Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick,
Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr.
Moderated by Adrian Kennedy.
Supported by Medienboard Berlin-Brandenburg
and Robert Bosch Stiftung.
19:30 | ewerk
A dinner event where you might find yourself seated beside a
renowned film personality as you feast on mouth-watering delicacies
– that is “Dine & Shine – Talents Rendezvous“. You never know who
you might get seated next to; with every course you switch tables so
that you can converse with different Campus experts. Delicious food,
delectable company and, if you’re lucky, some much needed advice for
your current or next film project. Dine & Shine is traditionally also the
celebration for the winner of the Berlin Today Award; jury members
will announce the contestant who takes home the 2011 award.
Berlinale Talent Campus #9
Page Campus programme

50 monday, feb 14

Sing your song : Susanne Rostock‘s portrait of Harry Belafonte

On the Path with Jasmila Žbanić: critical feedback for actors
Rise & Shine Breakfast: make your first contacts in the morning

Rise and Shine Breakfast

Presented by Robert Bosch Stiftung and Sarajevo Film Festival.
9:30 | HAU 2
Hosting this morning’s breakfast of sweet and savoury delights
are the Robert Bosch Stiftung and the Sarajevo Film Festival. Meet
re­pre­sentatives of both institutions and learn more about the Co-Pro­
duction Prize (see p.15) and the Sarajevo City of Film initiative.

On the Path with Jasmila Žbanić

Actors Workshop with Jasmila Žbanić.
In cooperation with Robert Bosch Stiftung.
Feb 14 + 15 | 11:00 | HAU 3, Black Stage
Auditioning for a role is very different from actually acting in a
film. For many, this is a daunting prospect. Practice and experience is
the only way to overcome the fear and to show your talent in the most
convincing way. This intensive casting workshop is led by director
Jasmila Žbanić, who won the 2006 Golden Bear for Grbavica . Her
subsequent film On the Path featured in the 2010 Berlinale Com­pe­
tition. Using these two films as a starting point, but also working with
new scenes and through improvisations, actors will have the benefit
of Jasmila Žbanić‘s insight as director and will experience her style of
casting. The workshop will allow actors to try and test their form and
Campus programme
monday, feb 14
style which will prepare them for their auditioning ex­per­i­ences in the
professional world. Scenes enacted by acting Talents will be recorded
on camera, which will allow them to reflect on and discuss their own
performances as well as those of others based on the critical feedback
they receive from Žbanić.
Let’s Make It Legal
Mareile Büscher and Michael C. Donaldson.
In cooperation with Raue LLP.
11:00 | HAU 3, Top Floor
One of the major worries of a filmmaker is the threat of a law­
suit, and consequently the fear of the completed film languishing in
legal limbo for an indefinite period of time. Indeed, filmmaking is and
should be a creative endeavour, but in order that this creativity is re­
cognised and appreciated, it is vital to invest attention and resources
to the legal aspects of filmmaking. In fact, taking care of these rather
unglamorous issues in a timely manner can be just as important to the
ultimate success of the film as having a great script, an outstanding
cast, spectacular cinematography or stunning special effects.
This session focuses on the legal issues likely to be encount­
ered during film production. Michael C. Donaldson has represented
writ­ers, directors, producers and artists for over 30 years; his book
“Clear­ance and Copyright: Everything the Independent Filmmaker
Needs to Know” is used as a textbook in over 40 colleges and uni­ver­
sities. Join­ing him onstage is Mareile Büscher, legal counsel at Raue
LLP , who specialises in intellectual property matters, media and enter­
tainment law and copyright litigation and negotiation; she is also a
lecturer on art and copyright law at various institutions. The two legal
counsels will advise, using examples from the productions they have
dealt with – Donaldson in North American and Büscher in Europe – on
what to beware of when making films.
Camera Workshop at Camelot
In cooperation with Camelot Broadcast Services.
Feb 14, 13:00 | Shuttle leaves at 12:30 from HAU 2
Feb 15, 10:00 | Shuttle leaves at 9:30 from HAU 2
Camelot‘s camera workshop during the Campus offers parti­
cipants the possibility to see first-hand and ask questions about a
variety of cameras. They will be demonstrated and guided through
the cameras’ many functions and possibilities. Of particular interest
will be Sony‘s F35, the Arri Alexa, the Red One with MX sensor, the
PMW F3, the Pro-35 adaptor and the Canon 7D with PL mount. Par­ti­
cipants will be able to learn about the cameras‘ many different pro­
perties and recording possibilities, and will also be warned of potential
pitfalls in addition to receiving tips on the best ways to avoid them.
This will place them in a better position to shoot material in a way that
best suits whatever production or post-production work­flow they
51
might find themselves in, in the future. Moreover, this practical work­
shop allows participants to gain real hands-on experience with the
cameras in question and to try them out for themselves. This way, they
can perform their own tests, whether shoulder-held or tripod-based.
Excursion to the Costume House Theaterkunst
In cooperation with Theaterkunst.
13:15 | Meeting point 13:00
at the entrance to HAU 1
Whether it is a dark thriller, a heart-warming comedy, an opu­
lent period drama or a racy science fiction film – they are all fitted
with costumes and accessories at the Costume House Theaterkunst.
The largest and oldest costume house for film, television, theatre and
advertising in Germany, the institution celebrated its hundredth
anniversary in 2007. With branches in Hamburg, Munich and Cologne,
and headquarters in Berlin, the costume house offers about 10 million
pieces from all styles, epochs and trends, making it possible to trace
the past decades of film history and costume equipment. They have
fitted such films as Varieté , Ben Hur , Metropolis , and more recently,
the likes of Inglourious Basterds , The Reader and The White Rib­
bon . Innumerable rows of clothes and accessories, the latter in­clu­des
scarves, gloves, glasses, jewellery, hats and umbrellas, from every era
imaginable adorn the racks of the Theaterkunst, making one wonder
about the extent of creative expression and extreme attention to con­
textual and historical accuracy that go into putting together each
costume and film. This general tour is open to ten Talents.
In the Limelight: Harry Belafonte
Harry Belafonte.
Moderated by Rajendra Roy.
In cooperation with Berlinale Special.
14:00 | HAU 1
Legendary singer actor and human rights activist, Harry
Belafonte is one of the most successful US-American musicians known
worldwide for bringing the Jamaican calypso beat to mainstream
audiences. As an actor, he made his debut in 1953 with Bright Star
and went on to work on such great cinematic works as Otto Preminger's
hit musical Carmen Jones (1954), Robert Wise’s 1959 film noir Odds
Against Tomorrow and Robert Altman’s jazz age drama Kansas City
(1996). Alongside his recording and cinematic work, he has hosted
and ap­pea­red as guest on innumerable TV shows, remaining at the
same time, steadfastly committed to humanitarian issues. A close con­
fidant of Dr. Martin Luther King, he was appointed UNICEF Goodwill
Am­bassador in 1987 and has garnered numerous awards and honours
from the Peace Corps and UNICEF . In conversation with chief curator of
film at MOMA Rajendra Roy, Belafonte will talk about his life, his long-
spanning and versatile career and his active involvement in human
Berlinale Talent Campus #9
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52
rights advocacy. Encouraging a younger generation of filmmakers, he
will explain how he went about using his popularity to reach out to
people in his fight against racial and social inequality.
The Indie Filmmakers Guide to Cross-Media I
Extending the Story: An Introduction to Cross-Media Storytelling
Martin Ericsson, Bruno Felix and Michel Reilhac.
Moderated by Liz Rosenthal.
14:00 | HAU 2
Before the Internet, the way that stories were told, delivered
and shared were restricted by running times, distribution formats and
platforms. The impact of new technologies coupled with an audience
that has way more control over their media than ever before is im-
pact­­ing on the art and craft of storytelling. Just as sound changed the
lands­­cape of filmmaking, technology is changing audience be­haviour
Your Body Speaks: movement trainer Jean-Louis Rodrigue
working with actors (insert) | Dancing in 3D: Wim Wenders‘ Pina
premieres in the Berlinale 2011
Photo Donata Wenders © NEUE ROAD MOVIES GmbH
Campus programme
monday, feb 14
and expectations – they want immersion and interaction. As audiences
move from one platform to another, how does one develop stories
and characters that can travel across screens and devices?
In the first of a series of three sessions on cross-media story­
telling, experts and pioneers will describe how to build story worlds
that can span across multiple platforms and engage audiences in
power­­ful new ways.
Embodying the Character:
Acting on Screen with Your Body
Acting workshop with Jean-Louis Rodrigue.
14:00 | HAU 3, Top Floor
If you did not have words, could you still tell the story? This
workshop focuses on recognising the power of movement and
phy­sicality in creating a character in film. Jean-Louis Rodrigue, a re­
nown­ed movement and acting coach and a senior teacher of the
Alexander Technique as applied to performance in film, helps actors
and actresses find the fluidity of ease, power, precision and passion
in their performance. The Alexander Technique is a meth­od that
explores the basic impulses of human movement – how we interfere
Campus programme
monday, feb 14
with our own coordination and how we can change it. Rodrigue’s
teachings emphasise the awareness of the body and the physicality of
performance.
Every gesture has enormous implications in telling the story
and revealing the character. The workshop will explore the elements
that make an actor charismatic, emotionally authentic and clearly ex­
pres­sive by developing kinesthetic awareness of your body, ex­­plo­r­ing
the basic principles of the Alexander Technique, connecting to breath
coordination and voice to text, being in space and entering the world
of the story, understanding how to bring ritual, myth and primal an­
ces­tors into your performance, and using animal movement as a way
to find the spine of the character and connecting to your em­otions.
Participants are required to have a monologue ready for this intensive
hands-on workshop and interactive experience.
Excursion to the European Film Market
With Sydney Levine.
In cooperation with European Film Market.
Meeting point | entrance to HAU 1
always 15 minutes prior to the start.
“Meet the Docs”
Mon 14, 16:00 | Tue 15, 10:00
Wed 16, 10:00 + 12:30
The European Film Market (EFM ), a film trade fair, is a major
industry meeting for the international film circuit. For nine days during
the Berlinale, film professionals have the opportunity to find out about
the latest productions and developments in the global film scene. The
annual EFM acts as a vital barometer for the upcoming film year, attrac­
ting distributors, film buyers, producers, financiers and co-production
agents, as it assists their positioning in the market and offers op­por­
tunities to develop and cultivate business contacts. This year, over 400
exhibitors from 54 countries and over 650 films will be presented to
industry visitors. The historical location of the EFM , which is housed in
the renaissance-style exhibition hall of the Martin-Gropius-Bau, lends
the vibrantly active event lasting nine days, a certain gla­mour and
charm.
Excursions guided by Sydney Levine, who will also conduct a
“Meet the Expert“ session (see page 35), will enable Talents to acquaint
themselves with the structure and workings of the EFM. Talents spe­cia­
­lising in documentary filmmaking can also join the special tour to
“Meet the Docs”, a joint initiative with the European Documentary
Network (EDN ) and specifically dedicated to the documentary indu­
stry. “Meet the Docs” aims to promote networking and exchange
among buyers, sellers, directors, producers as well as distributors of
docu­mentaries.
53
The Shortest Track to Cinema
Catherine Colas, Alexander Stein and Rudolf Worschech.
Moderated by Maike Mia Höhne.
In cooperation with Berlinale Shorts.
17:00 | HAU 2
Short films that find their way into regular cinema programmes
remain few and far between. And although some dismiss short films
as a medium for filmmakers just starting out, this under-appreciated
genre is thriving, innovative and extremely active. What chances do
short films have these days to be screened in regular cinemas? New
strategies are being developed by proponents of the short film; one
such example is an initiative launched in Germany, which will be
presented by Catherine Colas (ZDF/ARTE) . Berlinale Shorts curator
Maike Mia Höhne will discuss, the various ways, means and actions
undertaken to ensure that shorts get to the big screen, with Catherline
Colas, Alexander Stein, Interfilm Festival producer, and Rudolf Wor­
schech, chief editor of the German film magazine EPD Film. Addit­-
­i­onally, some of the shorts which have managed to reach cine­mas and
audiences will be screened during this session.
Short Encounters
In cooperation with Berlinale Shorts.
18:30 | HAU 2
A singular opportunity for Talents and experts of the short film
genre to network and explore possibilities of producing, distributing
and showcasing short films follows the panel. This mini “marketplace“
will comprise short film industry professionals from within Germany
and abroad – broadcasters, distributors, sales agents, producers, festi­­
val programmers and short film marketing institutions. The infor­mal
event is meant to assist Talents in making contacts for screening and
distributing their short films, enquiring about oppor­tunities, potential
partners and funders, and familiarising themselves with the market of
alternative venues.
The Legal Sound of Music
Mareile Büscher and Milena Fessmann.
In cooperation with Raue LLP.
17:00 | HAU 3, Top Floor
The legal ramifications inherent to the filmmaking process
influence not just the creative but also the practical aspects of making
films and film music. Simply contemplating the myriad copyrights
and clear­ances one needs is a scary prospect. But protecting your film
from lawsuits makes these legal issues integral to filmmaking itself.
Milena Fessmann and Mareile Büscher will elaborate on the im­port­
ance of obtaining music rights and the ins and outs of the process.
Milena Fessmann is a music supervisor and the founder of Cinesong;
the company offers a range of services related to music and films. One
Berlinale Talent Campus #9
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of their latest film projects is Wim Wender’s 3D film Pina which prem­
ieres at this year’s Berlinale. Mareile Büscher is a legal counsel for Raue
LLP on press, media and copyright law. The two ex­perts discuss various
aspects related to rights to music in film: how and when you should go
about obtaining these rights, the process involved in clearing rights to
sound and music and what a proper request for licensing music should
look like.
New Horizons in 3D: Storytelling and Producing Redefined
Alain Derobe, Gian-Piero Ringel, Erwin M. Schmidt, Wim Wenders.
Moderated by Patrick Palmer, joined by Julian Pinn.
In cooperation with Dolby Laboratories.
18:00 | Cubix 8
A shuttle bus starts at 17:30 from meeting point in HAU 1
Films using 3D technologies have gained immense popular­
i­ty with audiences and filmmakers in recent years. The 3D experience
provides audiences with a new immersive experience while it gives
film­makers the opportunity to narrate stories in ways that are more
ela­bo­rate, more life-like than ever before and to push the boundaries
of filmmaking to the limits of their imagination.
Internationally renowned filmmaker Wim Wenders, who has
made masterpieces such as Wings of Desire , the Cuban music
documentary Buena Vista Social Club and Paris, Texas , presents
his latest documentary Pina , a 3D dance film that is a tribute to the late
German contemporary dancer and choreographer Pina Bausch, at this
year’s Berlinale. As Wenders explains, “The two-dimensional cinema
screen is just not capable of capturing Pina Bausch’s work, either
emotionally or aesthetically. When I watched her dance for the first
time twenty-five years ago, I was captivated and deeply moved. I was
able to understand human movement, gestures and feelings in a
whole new way. And this magic is what I would like to translate to the
screen […] 3D gives us the possibility of taking the audience directly
onto the stage, into the middle of the event”.
Campus programme
monday, feb 14
Short and Scary: Broken Night by Yang Hyo-joo (above)
Get Real! by Evert de Beijer (bottom left)
Showing excerpts from the film, Wenders, together with
stereo­­grapher Alain Derobe and producers Gian-Piero Ringel and
Erwin M. Schmidt, presents a case study on Pina and discusses the
cre­­a­tive possibilities that 3D technologies open up for filmmakers, and
the role of the producer in developing such highly artistic films that
create a truly immersive experience for audiences.
Short and Scary
Short film screenings. Evert de Beijer, Peter Larsson, Hugo Lilja,
Jerome Sable and Yang Hyo-joo. Moderated by Juliette Veber.
In cooperation with Berlinale Shorts and Berlinale Generation.
20:00 | HAU 1
You would think that you’ve seen it all already, the chills and
thrills that delight twisted minds. What we offer those in the mood for
a little spine-chilling fear is an exceptional selection of five short scary
films from this year’s programmes of the Berlinale Shorts and Berlinale
Generation. We take you through dark worlds and the many faces of
horror with a couple who struggle with catching and taming zombies,
bloody lobotomy experiments and a relationship on the verge of
falling apart in Hugo Lijla’s The Unliving, with the atmospheric photo­
graphy of Yang Hyo-joo’s Broken Night , which depicts harsh reality
when one is ensnared by one’s own tricks, with the woods, the soil and
the darkness – damp, raw and stone age-like in Peter Larsson’s ani­
mated experimental Seven Days in the Woods , with Jerome Sable
and Eli Batalion’s horror rock musical The Legend of Beaver Dam
which has kids, an evil monster and a gory fight to death in the woods,
and last but not least, with a high school student lost in the world of
computer games, protecting a sexy female mega singer from all kinds
of attacks in Evert de Beijer’s Get Real!. Present at the screenings will
be the five filmmakers who discuss their short and scary works with
New Zealand director and producer Juliette Veber.
Campus programme
tuesday, feb 15
Rise and Shine Breakfast
Presented by the Berlinale Talent Campus.
9:30 | HAU 2
This morning’s Rise and Shine Breakfast offers the early birds a
tasty start to a promising new Campus day. Enjoy a selection of sweet
and savoury delights as you catch up with Talents and Campus team
members.
Where I Am and Where I Want to Go:
Choosing Personal Strategies in Daily Life
Workshop by Thomas Biniasz.
10:30 | HAU 3, Top Floor
Any kind of creative work requires the ability to grasp some­
thing that exists purely in the imagination and shape it into something
tangible and successful. Translating innovative ideas into reality
requires a creative strategy. This hands-on workshop, led by psy­cho­
logist, executive coach and management consultant Thomas Biniasz,
focuses on learning to define yourself and your projects in the present,
visualising possible options for the future and developing and im­
proving decision-making in order to synchronise the present and the
future.
Biniasz, whose core competencies comprise executive coach­
ing, developing and implementing leadership programmes and facili­
tating change processes in large organisations, will take you through
the three-phased “Walt Disney Strategy“ which divides the world into
dreamers, realists and critics. This workshop, designed for up to 20
participants, will help you learn about your personal goals and your
professional positioning to enhance your individual impact.
Rehearsed Reading: an acting and scriptwriting workshop
with independent producer and script consultant Alby James
55
Too Good to Be True: Directing Reality
Heddy Honigmann and Andres Veiel.
Moderated by Matthijs Wouter Knol.
11:00 | HAU 1
Incorporating fictional-style elements in documentary films
have enriched the genre tremendously and resulted in compelling
storytelling taken from reality. Yet, critics question re-enactments,
stag­ing of interviews or even the adding of music in documentary
films. On this panel are two outstanding filmmakers who have creat­-
ed their own unique filmic language in both their documentary and
fictional work: Andres Veiel is considered one of Germany’s leading
documentary filmmakers; his latest feature If not us, who? features in
this year’s Berlinale Competition. Veiel’s social and political viewpoint
is strongly reflected in the choice of themes of his re­mark­able pro­
ductions, for example, the documentary Black Box BRD and the
feature the kick . Another preeminent filmmaker, Heddy Honigmann
is noted for her ability to make an emotional connection with people
she films; her subjects have included cab drivers in Peru, immigrant
musicians on the Parisian metro and Cuban exiles in New Jersey.
Winner of major awards at festivals around the world, her artistic
œuvre has been honoured with retrospectives, for example, at the
MOMA in New York and Arsenal Cinema in Berlin. Through examples
from their respective filmographies, the experts will discuss the extent
to which directors can create their own filmic reality when making
docu­mentaries or use documentary elements when making fiction
films.
Cinematography: The Establishing Shot
Edward Lachman. Moderated by Ben Gibson.
14:00 | HAU 1
One of the most significant cinematographers of independent
and Hollywood cinema, Ed Lachman has worked with directors such
as Werner Herzog, Wim Wenders, Todd Haynes, Todd Solondz, Steven
Soderbergh and Ulrich Seidl, and is reputed to successful switch bet­­­
ween documentary and fictional forms. “It’s not a cameraman’s job to
make nice pictures,” says Lachman, “but to bring out the truth.” His
guiding principle can be seen in the multitude of films he has shot,
such as The Virgin Suicides , Far From Heaven – which earned him an
Academy Award nomination, Erin Brockovich , Desperately Seeking
Susan and the documentaries Lightning Over Water and La Sou­
frière . This highly acclaimed director of photography, who is also a
filmmaker – he directed the controversial Ken park together with
Larry Clark in 1995, will show excerpts from some of his independent
and Hollywood film projects and elaborate on his style of working and
his artistic influences, as well as on how one can create a particular
look and atmosphere of a film from the start, one that penetrates with
insight and accuracy and pervades until the end.
Berlinale Talent Campus #9
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Exciting discussions: Actor and director Ralph Fiennes with Vanessa Redgrave
in his Berlinale Competition film Coriolanus | Production designer Alex McDowell
joins the Campus again (insert) | Liz Rosenthal moderates all three “Indie
Filmmakers Guide“ sessions (right page)
Play as Process: Worldbuilding and New Ways to Imagine
Shekhar Kapur, Tali Krakowsky,
Saku Lehtinen, Alex McDowell and Andrew Shoben.
In cooperation with 5D Conference, L.A.
14:00 | HAU 2
Our lives are subject to a structure within which we enact our
daily acts and rituals, play our games and design our future. The five
guests on this panel – each an expert in his/her field of spe­­­ci­alisation
­­
– will address how one can create a virtual landscape of things and
spaces around us and consequently in art and film. This session brings
together production designer Alex McDowell (Fight Club, Minority
Report ), he is also the founder of 5D: The Future of Immersive Design;
film­maker Shekhar Kapur (Elizabeth and Elizabeth the Golden
Age ); ex­pe­r­ience designer and founding member of 5D Tali Krakowsky;
founder of Greyworld, an artists‘ collective creating art in public
spaces, Andrew Shoben; and art director of Remedy Entertainment
Saku Lehtinen, who is responsible for the audiovisual experience of
games. Based on the core idea behind the 5D Conference – talking
about learning about seeing better stories – the five panellists will
explore the notion of “playing“ at the centre of the new creative col­
laborative space, and the designer’s recent ability to build worlds
using digital tools, for an immersive audience experience.
Campus programme
tuesday, feb 15
Rehearsed Reading
Workshop with Alby James.
Feb 15 + 16, 14:00 | HAU 3, Black Stage
The look, the style of movement and the ability to adapt these
to the different character roles and filmic setting are core aspects of
the actor’s craft. Equally crucial to bringing characters of a script to life
is the smooth and effective delivery of dialogue. This workshop of the
Talent Actors Stage focuses on dialogue training and will have Talent
actors reading vital scenes from a preselected script of the Script
Station. Mentor Alby James will work with Talent actors and script­
writers on building characters, exploring how characters would act,
react and talk in a variety of circumstances and in the different
situ­at­ions portrayed in each scene. Alby James, a successful theatre
direc­tor for fifteen years before he moved into films, radio and
television drama, was previously head of development for two years
with EON Screenwriters’ Workshop in London and is currently in­de­
pendent producer. Scriptwriters will have the opportunity to ob­serve
a screen­play brought to life for the first time. Participating actors and
script­writers are invited to offer opinions, reactions, feedback and
suggestions at the end of each reading.
Campus programme
tuesday, feb 15
The Indie Filmmakers Guide to Cross-Media II
Extending Partnerships:
How to Produce Cross-Media Projects
Wendy Bernfeld, Ben Grass and Inga von Staden.
Moderated by Liz Rosenthal.
14:00 | HAU 3, Top Floor
Creating cross-media projects demands a whole new set of
skills, collaborators and finance partners from across the media in­du­
s­tries. This session looks at the extended role of the cross-media pro­­­­
ducer and examines potential new alliances and partnerships with
online networks, multiplatform broadcasters, brands, agencies
and other new financiers, as well as the legal issues involved.
In the Limelight: István Szabó and Ralph Fiennes
With Ralph Fiennes and István Szabó.
Moderated by Mike Goodridge.
In cooperation with FERA and Robert Bosch Stiftung.
17:00 | HAU 1
Renowned British actor turned director Ralph Fiennes, whose
debut film Coriolanus premieres prominently at this year’s Berlinale,
has acted in films such as The Constant Gardener, Sunshine, The
Reader, The Hurt Locker, Schindler’s List and The English Patient .
He was nominated for Oscars for the latter two films. Fiennes steps
into the spotlight with Hungarian filmmaker, István Szabó – a name
that resonates in the world of cinema. He was awarded an Oscar for
Mephisto and received tremendous accolade not just for his im­pres­-
s­ive slate of films such as Colonel Redl , Hanussen , Meeting Venus
and Sweet Emma, Dear Böbe , but also for the historic and con­tem­-
p­orary relevance of the social and political themes they ad­dress.
The celebrated actor and director who worked closely together on
Sun­shine , an epic tale that follows the Hungarian Jewish family,
Sonnen­schein, through five generations, will discuss what it takes for
a director to get actors to step into their roles with an ease that brings
out convincing performances and what the close collaboration on the
content of the film means and entails.
Plugging People: European Producers Positioning Themselves
Jean des Forêts, Nicole Gerhards, Peter de Maegd
and Soon-Mi Peten. Moderated by Fleur Knopperts.
In cooperation with MEDIA.
17:00 | HAU 2
Emerging producers have plenty of tools to put their com­pa­
nies on the map and can choose from an array of funding opportunities
for support. So much for marketing talk! What is the reality on ground
when you set up your own company and want to distinguish yourself
from others? How can you build a steady track record as a producer
and be successful in getting your film out there?
57
Three European producers, who have made their mark in the
past decade, will discuss the dos and don’ts when establishing oneself
as a producer. They will be joined by Soon-Mi Peten, MEDIA Devel­op­
ment Programme representative, who will emphasise the signi­ficance
of new producers and entrepreneurs for the audiovisual industry and
highlight the opportunities MEDIA offers young producers: how it en­
ables them to broaden their horizons and streng­then their profiles,
gain access to financing and networking op­por­tunities. MEDIA, the
EU 's support programme for the European audio­visual industry, has
facilitated the development and distribution of thousands of films as
well as training activities, festivals and pro­motion projects through­
out the continent over the past 20 years. MEDIA is one of the Berlinale
Talent Campus’ most essential partners.
Building Digital Worlds for the Screen
Shekhar Kapur and Alex McDowell.
17:00 | HAU 3, Top Floor
Creating the physical world surrounding a film story involves
not just design but also in-depth research, problem-solving and
technical insight. As a creative process of visualising and physically
developing an environment, it becomes a key element of the story­
telling process. This workshop, for a selected group of production de­
sig­ners, is led by two master craftsmen: Indian filmmaker and pro­
ducer Shekhar Kapur and production designer and producer Alex
McDowell. Shekhar Kapur has made critically acclaimed films like
Bandit Queen , the award-winning historical biopic Elizabeth and its
sequel Elizabeth: The Golden Age , which was nominated for two
Oscars. Alex McDowell is one of Hollywood’s most acclaimed pro­
duction designers with films such as Minority Report , Charlie and
the Chocolate Factory , Fear and Loathing in Las Vegas , Fight
Club and Corpse Bride comprising his film portfolio. Showing ex­
cerpts from their films, the two professionals will examine in-depth
the production of a plausible and realistic world on screen. Parti­ci­pa­
ting Talents will have the opportunity to discuss their own projects
and receive input, insight and guidance.
Berlinale Talent Campus #9
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Rise and Shine Breakfast
Presented by ACPFILMS.
9:30 | HAU 2
Early birds catch the worm! In this case, it’s the breakfast. This
morning’s scrumptious spread of breakfast delights is offered by
ACPFILMS . Learn more about their fund and get to know their re­pre­
sentatives over hot coffee and delicious chocolate croissants.
In the Berlinale Forum: Thunska Pansittivorakul‘s The Terrorists
(above) | The future after the Campus shone bright for alumna
Rosario García-Montero whose The Bad Intentions runs in the
Berlinale Generation
Campus programme
wednesday, feb 16
Absolute Hearing I-IV
Excursions to the Heinrich Hertz Institut and the German
Film Orchestra Babelsberg; Q&A with Michael Nyman;
Master Class Sound Editing & Re-recording Mixing
at the Film and Television University (HFF) “Konrad Wolf”.
For composers and sound designers only.
In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film
Orchestra Babelsberg, Film and Television University (HFF) “Konrad Wolf“.
9:30 | Meeting point at the entrance of HAU 1
Absolute Hearing I-II: Excursions to the Heinrich Hertz Institut
and the German Film Orchestra Babelsberg
The Heinrich Hertz Institut is a state-of-the-art research insti­
tute for communication systems and digital media and services where
Talents will learn about pioneering technologies for screen and sound
developed for the future. The scores of the Score Competition, recor­
ded with the German Film Orchestra Babelsberg, are remixed in Wave
Field Synthesis (WFS), in order to show the spatial sensation of the tech­
nology. These scores will be presented at the Heinrich Hertz Institut.
WFS is a sound technology which offers high creative potential for an
im­mersive interactive “cinema of the future”.
Campus programme
wednesday, feb 16
The excursion then moves to the German Film Orchestra
Babels­berg, the only professional orchestra for film music in Germany,
invites sound designers and composers for a guided tour of its pre­
mises. It gets its name from the illustrious Babelsberg Studios, where
noteworthy films such as Dr. Mabuse , The Blue Angel , The Life of
Others and The Ghost Writer were produced.
Absolute Hearing III-IV:
Master class sound editing & re-recor­d­ing mixing on
The Last Station at the HFF-mixing stage
The sound and music excursion makes its final halt at the Film
and Television University (HFF ) “Konrad Wolf”. A tour of one of the most
modern and biggest film academies in Germany will be followed by a
Q&A session with esteemed composer and Score Competition mentor
Michael Nyman. Prof. Martin Steyer, vice president of HFF “Konrad
Wolf” and re-recording mixer of the award-winning film The Last
Station directed by Michael Hoffman and featuring Helen Mirren,
James McAvoy and Christopher Plummer, will conduct a master class
on the film: the relation and interaction of picture and sound and the
creative work in the mixing theatre (the re-recording stage). Based on
an autobiographical novel of the same name by Jay Parini, The Last
Station is a historical drama that depicts the last year in the life of
Russian author Leo Tolstoy and his struggle to balance fame and
wealth with his commitment to a life devoid of material things.
Berlin Today Award 2012
Producers’ Meeting
Supported by Medienboard Berlin-Brandenburg.
10:00 | Hessische Landesvertretung
The Berlinale Talent Campus offers young directors worldwide
the opportunity to work with producers from Berlin-Brandenburg,
and a golden chance at the Berlin Today Award 2012. Five films based
on the theme “Every Step You Take” will enjoy their world premiere at
the 10th Berlinale Talent Campus in 2012. The winning film, which will
take home the Berlin Today Award 2012, will be selected by a jury of
five eminent film professionals. But that’s still in time to come! At this
year’s Campus, fifteen preselected Talents and ten production com­
panies will converge at the Producers’ Meeting for a marriage of sorts.
Talents will meet Berlin-based producers in one-on-one meetings
to present their film projects; likewise producers will present their
respective companies and the scope of their work. An intensive day,
full of presentations and discussions, Talents and pro­ducers will also
vote for their preferred partners. From the wish list put together at the
Producers’ Meeting, the Campus will select in spring 2011 the final five
film projects and match them with five production companies. Please
see page 32 for more information on the Berlin Today Award and the
theme for 2011.
59
As Queer As It Gets
John Greyson, Thunska Pansittivorakul,
Wieland Speck, Monika Treut and Christine Vachon.
Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Panorama,
Berlinale Forum and TEDDY AWARD.
11:00 | HAU 1
Queer cinema originated in times when queer opinions and
lifestyles weren’t as yet part of the prevailing film industry in western
countries. Queer filmmakers experimented with new, different forms
of storytelling working with low-budgets and digital shooting formats
way before the mainstream caught up with them. Not only has queer
cinema established itself as a thriving niche in present times, it has
also been successful in forging greater mainstream acceptance of
queer perspectives in cinema and everyday culture. At the same time,
queer cinema appears increasingly less interested in demonstrating
the importance of “daring to be different“, but more in celebrating the
fact that “queer“ is now somewhat “normal“. Is this what the queer
movement has been striving to achieve? How does one define a
queer film today and are there differences at an international level?
Cele­bra­ting the 25th TEDDY AWARD , the queer film prize of the
Berlinale, five prominent filmmaking pro­fessionals come together on
this panel: Filmmaker and queer activist Wieland Speck, who is one of
the initiators of the TEDDY AWARD in 1985; renowned indie producer
Christine Vachon, who has produced many of the iconic queer films of
the past two decades; Thai filmmaker Thunska Pansittivorakul, whose
The Terro­rists premieres in this year’s Berlinale Forum; Canadian
filmmaker, video artist and activist John Greyson, whose Urinal
(1989) and Fig Trees (2009) both won TEDDY AWARDs at the Berlinale;
and Monika Treut, one of Germany's most preeminent directors when
it comes to queer films, whose Gendernauts won the TEDDY AWARD
in 1999. They will discuss the concept and form of the “queer film“, the
possible future role of queer cinema and the challenges faced by
filmmakers in less queer-friendly parts of the world.
The Indie Filmmakers Guide to Cross-Media III
Extending the Audience:
How to Engage an Audience Across Multiple Platforms
Martin Ericsson, Ben Grass and Lena Thiele.
Moderated by Liz Rosenthal.
11:00 | HAU 3, Top Floor
As audiences discover and experience stories across a rapid­ly
expanding array of platforms and devices, strategies for engaging
aud­iences are evolving. Looking at a variety of case studies, speakers
will demonstrate a number of models and lessons learned from mak­
ing film stories available across multiple platforms, sites and devices to
special events and digital word-of-mouth campaigns.
Berlinale Talent Campus #9
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60
Screening the Future: Excursion to the Heinrich Hertz Institut
In cooperation with Fraunhofer / Heinrich Hertz Institut.
13:00 | Heinrich Hertz Institut
Meeting Point | 12:30 at the entrance to HAU 1
Innovations for the digital future – this is the core of the
re­search and development work conducted by the Heinrich Hertz
Institut – both in the field of high-tech communications systems and
digital media and services use. The Heinrich Hertz Institut is a leading
research institute for Mobile Broadband Communications, Photonic
Networks and Electronic Imaging for Multimedia. Multimedia is seen
as one of the key components in information technology as images,
video, language, sound and additional data are being used for an
increasing number of services. Additionally, the institute heads the
German National project (PRIME), which deals with 3D production
technologies for film and broadcasting. Their innovative approaches
for the film industry com­prise image processing, image communication
and 3-D displays, as well as the development of new audio technologies.
Research and development trends in the next generation of cutting-
edge screen and sound technologies will be demonstrated and ex­
plained to Tal­ents visiting the institute.
Dial F for Fiction: Script Station Presentation
Moderated by Merle Kröger.
In cooperation with German Federal Film Board (FFA) and SOURCES 2.
14:00 | HAU 3, White Stage
It isn’t the director alone who makes a great film artistic. They
do so because they work with exceptional, artistic scripts. The best film
scripts are therefore lasting works of art which contain moments of
bril­li­ance, elegance and emotionality that make us want to return to
them time and time again. As every year, the Script Station 2011 will
be a fascinating showcase of current global storytelling – locally roo­
ted in twelve writers’ experienced reality and personal imagination.
One topic depicted in several stories is farewell – as a long process of
accompanying a mother with dementia, as a harsh break when a wife
suddenly disappears, leaving her husband thrown out of his daily
routine, as a painful experience in letting go an impossible love to save
one’s own identity. Reflections of world politics shine through highly
personal encounters – taking place in Athens and Beirut, or even
beyond the coastline of Somalia. Remarkably strong women have to
deal with teenage pregnancy in the US Bible Belt or with the drug
scene in Bucharest, with prejudice in Jordan and Uganda. While male
protagonists catch our hearts in their vulnerability: be it an outcast
young rebel from rural India or a boy in love with death on the island
of Borneo, Indonesia. These screenplays, at various stages of de­vel­
opment, will be discussed for the first time as works in progress by
their writers and expert mentors, each depicting the aural, visual and
lingual elements required to transform their stories into cinema.
Campus programme
wednesday, feb 16
The Internationals: How Small Stories Become Big
Claudia Llosa, Kornél Mundruzcó and Abderrahmane Sissako.
Moderated by Dorothee Wenner.
In cooperation with ACPFILMS and Robert Bosch Stiftung.
14:00 | HAU 1
The most powerful stories emerge from the reality one is most
engaged in. They are linked to the place(s) you come from, situations
you’ve experienced and reflect issues that deeply move and interest
you. In the words of award-winning filmmaker and producer Ab­de­r­
rahmane Sissako, “When you work as a filmmaker, you have an intense
desire to express yourself and I think that the best way to do so is to
speak about oneself or one's experiences”. But how does one transform
small, unique stories into compelling narratives that appeals to in­ter­
national audiences?
On stage with Abderrahmane Sissako, whose sharply political
films such as Bamako and Life on Earth are fitting critiques of glo­
balisation, colonisation and social justice, is critically acclaimed film­
maker Claudia Llosa, who won the 2009 Golden Bear and an Academy
Award nomination for The Milk of Sorrow , and Hungarian director
and 2003 Campus alumnus Kornél Mundruczó, whose Tender Son –
The Frankenstein Project screened in competition at Cannes in
2010, his current project features in the 2011 Berlinale Co-Production
Market. The noted filmmakers, whose films are deeply grounded in
stories from their own backyard and have received tremendous
international recognition, will elaborate on how they decide which
stories to develop into films and what makes a local film an inter­
national one. They will discuss the significance of support at a national
and regional level, particularly if one is keen on working and distri­
buting films internationally.
Barbara Hammer:
Making Movies Out of Sex and Life
Barbara Hammer.
Moderated by Stefanie Schulte Strathaus.
In cooperation with Berlinale Forum Expanded.
14:00 | HAU 2
She has inspired a generation of queer, feminist and avant-
garde artists and filmmakers. Barbara Hammer, a highly prolific visual
artist working primarily in film and video, has made over eighty films
and videos in the past forty years. Galvanised by the second wave of
feminism, Hammer soon became a pioneer of queer cinema. Although
the subjects she addresses are astonishingly diverse, her innovative
and playful approach to form is unchanging. Her work is about re­vea­
ling, showing, expressing, uncovering that which has not been seen
before. “I try to give voice and image to those who have been denied
personal expression.” Her experimental films of the 1970s dealt with
taboo subjects through performance, in the 1980s she used optical
Campus programme

wednesday, feb 16 61

Barbara Hammer‘s Generations screens at the Berlinale Forum

Expanded (above) | Michael Nyman, the Score Competition‘s
mentor (insert)

printing to explore perception and the fragility of 16mm film itself,

and in the 1990s she began making documentaries about hid­den
aspects of queer history. Her documentaries tell the stories of people
who have been excluded and relegated to the margins of history and
are often essay films that are multilayered and engage audiences
viscerally and intellectually with the goal of activating so­­­c­i­al change.

Photo Francesco Guidicini

Each decade has marked a new direction in her work as she continues
her inward exploration with an unfailing radical sincerity to talk about
sexuality, womanhood, illness, aging and mortality.
Her film A Horse is Not a Metaphor won the 2009 Teddy
Award for Best Short Film, and her most recent Generations (made
with Gina Carducci) celebrated its world premier at the MOMA in
New York in 2010. Barbara Hammer, who will present the two films
Generations and Maya Deren’s Sink at the Berlinale Forum Expanded
this year, will talk about the evolution of her wide-ranging body of from Colombia to a revolutionary love story in Guatemala. We learn
avant-garde films and on how she views her own creative trajectory. how the economic crisis hits a family business in China, and how an
Ethiopian girl is hit by her HIV diagnosis. The directors unravel com-
Welcome to Reality: Doc Station Presentation plex patterns of life in small-town Germany, in Barcelona’s suburbia,
Heino Deckert. Moderated by Sirkka Möller. mov­ing from New Zealand to China, and from Chile to Sweden. They
In cooperation with German Federal Film Board (FFA) and SOURCES 2. seduce us with the timeless idea of love in Mexico, and with the
14:00 | HAU 3, Top Floor ancient songs of Belize. And last but not least, they surprise us with the
Turning a fascinating idea grounded in reality into a factual story of a Kenyan female truck driver, and the dilemma of two cage-
work of art is indeed a long and lengthy process. The Doc Station gives fighting friends in Germany, who have to face each other. These stories
a unique snapshot of the world, seen through the eyes of 12 filmmakers of the Doc Station, currently at different stages of development, will
from five continents. They span from personal histories of violence be presented for the first time to a professional audience.

Berlinale Talent Campus #9

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62
The Great World of Sound
Master class with Michael Nyman.
Moderated by Peter Cowie.
17:00 | HAU 1
Scoring for film is not a solo venture, but rather a collaborative
project that requires a comprehensive understanding of the film and
the aim of the filmmaker, envisaging it from a sonic perspective before
bringing it to life. That’s what most people are familiar with vis-à-vis
the music of Michael Nyman – the distinguishing style of his film
scores. Having worked as a film composer for over 30 years, he has
composed a string of notable scores for over ten films of British art
house director Peter Greenaway, several Michael Winterbottom films,
and of course the astounding music for Jane Campion’s The Piano .
But Nyman is more than just a film composer – with over 300 works
only ten percent are film scores. He is also a conductor, composer,
leader of the Michael Nyman Band, photographer and filmmaker. In
this master class, Nyman will explore ideas behind the tension which
exists between music/soundtrack composing, sound effects and
mov­ing and still images, and how all of these interact and affect each
other in the completion of a film. Showing excerpts from his own films
as well as the commercial films he has scored, he will talk about his
approach and understanding of soundtrack composing from the
perspective of a visual artist and filmmaker.
Why Poverty?
Don Edkins and Hans Robert Eisenhauer.
17:00 | HAU 2
Myriad films have been made on poverty but a large pro­­por­
tion of them are stereotypical approaches often seen on television.
Experts call them “development porn“ as images of passive help­less­
ness and deprivation are easy to absorb and easier to ignore. “Why
Poverty?” aims to initiate a global dialogue on poverty through public
media, challenging people to participate and come up with their own
solu­tions to eradicate poverty. This cross-media project, launched by
Don Edkins, executive producer of the HIV/Aids project “Steps for the
Future” and “Why Democracy?”, will comprise eight one-hour and
thirty short documentary films to be distributed via innumerable
inter­national broadcasters, the internet and mobile platforms during
a theme week in 2012. The films will depict how people find ways
to overcome and fight poverty in daily life, fostering the belief that
things can improve if we set our minds to it. Don Edkins will explain
the underlining concept and the objectives of the project, the broad
themes related to poverty under which the films will be made, and
the process of applying with short film ideas, which can be submitted
by interested Talents from February 2011. Joining him on stage is
­co-initiator Hans Robert Eisenhauer (ZDF/ARTE ), who will ela­borate on
the process of initiating a project of this size and scale.
Campus programme
wednesday, feb 16
Happy Returns: The Future After the Campus
Rosario García-Montero, Kaspars Goba
and Javier Fuentes-León.
In cooperation with Berlinale Generation, Berlinale Panorama,
World Cinema Fund, Berlinale Co-Production Market.
17:00 | HAU 2
The ninth edition of the Campus assists filmmaking pro­fes­
sionals in their quest to position themselves in an ever-expanding and
fast changing world of cinema, where taking risks and facing chall­en­
ges head-on is slowly becoming a matter of course. In the limelight
today are Campus alumni who have been invited to the Berlinale 2011
with the films or market projects they worked on since they attended
the Campus. Javier Fuentes-León and Rosario García-Montero will tell
us how they managed to make their film projects a reality, discussing
their personal and professional struggles in staying on the filmmaking
path and in positioning themselves. Presenting excerpts from their
films, they will elaborate on how they addressed the challenges that
arose whilst taking creative and strategic decisions for their projects,
decisions that have brought them back to the Berlinale with inspiring
new films.
Christoph Schlingensief: Five Favourites
Anselm Franke, Carl Hegemann, Francis Kéré,
Matthias Lilienthal and Georg Seeßlen.
Moderated by Dorothee Wenner.
In cooperation with Theater Hebbel am Ufer (HAU),
Forum Expanded and Goethe-Institut South Africa.
20:30 | HAU 1
He was once arrested for exhibiting a poster with the words
“Kill Helmut Kohl” (then chancellor of Germany), and a year later
form­ed a political party, Chance 2000, which urged Germans to vote
for themselves in the 2000 national elections. Christoph Schlingensief,
the enfant-terrible of the German-speaking cultural scene, and cer­
tainly its best-known artistic provocateur, passed away in August
2010. An artist, film, theatre and opera director, he was tireless in his
attempts to urge a critical reflection on issues such as immigration,
unemployment, rights of the disabled, etc.
This evening isdedicated to Christoph Schlingensief with se­
lec­ted film, photo and sound material from his work in theatre, visual
art, film and opera. Five specialists, friends and companions will show,
comment and discuss their favourite Schlingensief work. With Anselm
Franke (curator) on “Medien-Kunst” (“Media Art”), Carl Hege­mann
(dra­ma­turge) on “Mea Culpa”, “Parsifal” and “Der fliegende Holländer”
(“The Flying Dutch­man”), Matthias Lilienthal (artistic director of
HAU) on “Ausländer Raus!” (“Foreigners Out!”), Francis Kéré (architect)
on the “Operndorf” (“Opera Village”) and Georg Seeßlen (film critic) on
his films.
Campus programme
thursday, feb 17
Rise and Shine Breakfast
Presented by Institut français.
9:30 | HAU 2
Today’s breakfast is presented by the Institut français and offers
you a great start to a new Campus day. Meet representatives of the
Institut français and chat with fellow Talents as you enjoy café au lait
and oven-fresh croissants.
Dress to Impress
Master class for production designers
at Costume House Theaterkunst.
In cooperation with Theaterkunst.
10:00 | Excursion | Shuttle leaves at 9:30 from HAU 2
Production designers and their teams would be at quite a loss
if it wasn’t for the Theaterkunst. A reputed institution with a long
tradition of outfitting films, Theaterkunst designs very personal and
in­di­vidual collections for each film in line with their specifications.
Their highly skilled team of wardrobe masters, tailors, designers and
costume painters custom-makes every piece of clothing (or disguise)
no matter how eccentric. As film costumes are a vital part of the narra­
tive elements and contribute to the overall effect of the film, nothing
about their form, colours, material, cut and design can be left to
chance. Visiting the Theaterkunst is similar to taking a journey into the
past where one revisits such classics as Ben-Hur , The Blue Angel and
Metropolis , and the more recent critically acclaimed films The Lives
of Others and Inglourious Basterds .
A guided tour around Theaterkunst will introduce produc­-
t­ion designer Talents to the vast collection of clothes and accessories
stretch­ing back decades and to the tiny details that go into costume
63
and production designing. Talents will also benefit from an en­light­
ening case study of the historical drama The Last Station , which was
filmed in Germany and supplied costumes by Theaterkunst. The film is
an adaptation from the best-selling historical novel by Jay Parini and
illustrates Russian author Leo Tolstoy’s struggle to balance fame and
wealth with his commitment to a life devoid of material things.
Disclosing the World Cinema Fund
Vincenzo Bugno and Sonja Heinen.
In cooperation with World Cinema Fund.
10:30 | HAU 3, Top Floor
With the aim of bringing new perspectives to the big screen
from countries with little financial aid, the World Cinema Fund, an
initiative of the Berlin International Film Festival, the German Federal
Cultural Foundation in cooperation with the Goethe-Institut, finances
independent productions from around the world. Supporting films
from Latin America, Africa, the Middle East, Central and South East
Asia and the Caucasus, the fund looks for independent cinema that
narrates local stories, embodies innovative ideas, concepts and aes­
thetics. As Project Manager Vincenzo Bugno explains, “Our job is an
incredible privilege. We deal with countless stories, visions and visual
worlds but we are also very ambitious: we try our best in order to
support strong projects with an original artistic profile. And it works!”
Eighty fiction and documentary films have received funding from the
World Cinema Fund so far. One of their very recent success stories is
Uncle Boon­mee Who Can Recall his Past Lives by Thai director
Apichatpong Weera­sethakul, which won the Palme d’Or in Cannes in
2010. Moreover, three World Cinema Fund films will have their world
premiere at the 2011 Berlinale: The prize in Competition, Medianeras
Berlinale Talent Campus #9
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64
in Panorama and the bad intentions in Generation. In this session,
Project Managers Vincenzo Bugno and Sonja Heinen elaborate on the
scope and objectives of the fund before they present all-important in­
for­mation regarding the application process.
The Schrader Way to Start a Film
Paul Schrader. Moderated by Peter Cowie.
In cooperation with Berlinale Special.
11:00 | HAU 1
When the lights go off, the hall goes dark and the curtain rises,
its time to sit back and enjoy the film. The anticipation that comes with
the opening scene is often crucial to the success of the film as it sets
the tone and allows the viewer to delve into the world it is creating.
Many films hinge on the success of the opening scene as they compel
us to remember and relive the moment, either with relish or tense
with fear. Paul Schrader, US-American screenwriter and director, has
written a range of outstanding films such as Taxi Driver – which
features in the 2011 Berlinale Special – Raging Bull and The Last
Temp­tation of Christ , and is the acclaimed director of Mishima: A
Life in Four Chapters , American Gigolo and Blue Collar . With a
spotlight on the perfect opening scene, Schrader will talk about
creating an atmosphere that engages the audience, defines the film
and keeps the audience hooked from the very start. Using excerpts
from the films he has written and/or directed, he will discuss how to
open a film story that imparts the opening thematic component of
everything that is to follow.
On Track with Market Trends:
Berlinale Co-Production Market & Talent Project Market
Kathi Bildhauer, Martina Bleis and Sonja Heinen.
In cooperation with Berlinale Co-Production Market.
12:15 | HAU 3, Top Floor
The 8th Berlinale Co-Production Market brings together about
500 reputed international producers, film financiers, sales agents and
distributors, as well as broadcasting and funding representatives, for
exclusive and concentrated networking. As its name implies, it is a ser­
vice platform for those interested in international co-production to
discover the most promising pre-selected projects, financing pos­si­
bilities and have productive exchanges on current topics. A per­so­n­
alised schedule of one-to-one meetings with producers of selected
projects is put together for each participant based on their preference
of projects from the Co-Production Market’s catalogue. Since its in­­­­­­­-
cep­tion in 2004, 115 films, comprising approximately 40% of all pro­
jects presented at the Berlinale Co-Production Market, have been
made, premiered at major festivals worldwide and released in cinemas.
In addition, the Co-Production Market closely collaborates with the
Berlinale Talent Campus for the Talent Project Market, which opens up
Campus programme
thursday, FEb 17
opportunities for young filmmakers to present their projects at the
Co-Production Market and connect with international film industry
professionals. Head of the Co-Production Market, Sonja Heinen, to­
gether with Kathi Bildhauer and Martina Bleis will introduce the role
and workings of the market, its range of events and the application
and selection process, as well as how Campus alumni can apply to the
Talent Project Market.
Censored Cinema
Sepideh Farsi, Mehrangiz Kar, Rafi Pitts and Ali Samadi Ahadi.
Moderated by Vincenzo Bugno.
In cooperation with World Cinema Fund.
14:00 | HAU 1
Filmmaking remains politically sensitive facing censorship and
limitation of artistic expression in far too many countries, one such
example is Iran. Iranian filmmakers Jafar Panahi and Mohammad Ras­
soulov were recently sentenced to imprisonment and banned from
making films. Yet, films do get made in Iran, films that strive to tackle
social issues head-on. And despite the fact that Iran’s current creative
climate con­tin­ues to be in the clasp of a repressive regime, an im­pres­
sive body of work earning critical acclaim and international recognition
is being pro­duced. How do Iranian filmmakers deal with censorship
and the imposed restrictions, and what consequences does this have?
Pro­mi­nent Iranian filmmaker Rafi Pitts, whose film The Hunter prem­i­
e­red in the 2010 Berlinale Competition, will be joined by Mehrangiz
Kar, eminent Iranian human rights activist and author, Iranian director
Sepideh Farsi and Ali Samadi Ahadi, German filmmaker of Iranian
descent. They will talk about how filmmakers can join forces and
respond to political censorship.
Covering Cinema: Critics Meet Filmmakers
Alma Har'el, Gerhard Midding,
Jay Weissberg and Przemysław Wojcieszek.
Moderated by Dana Linssen.
In cooperation with Robert Bosch Stiftung,
Berlinale Forum and Berlinale Panorama.
14:00 | HAU 2
Films, the most accessible and popular of art forms, are pre­
dominantly reviewed and evaluated in print and online media. A rare
opportunity to experience a face-to-face session between film critics
and filmmakers as they discuss the latters‘ films! Under critical review
are Made in Poland by Przemysław Wojcieszek, which feature in this
year’s Berlinale Forum, and Bombay Beach by Alma Har‘el, screening
in the Berlinale Panorama. Reputed film critics – Gerhard Midding,
freelance film critic for German daily newspapers, magazines, as well
as radio and television, and Jay Weissberg, film critic for Variety – will
undertake an in-depth critical analysis of the film, dissecting the
Campus programme
thursday, feb 17
thematic, the dramatic and the aesthetics aspects with the filmmakers
in question. The panelists will also reflect on the current state of film
criticism: how young filmmakers deal with critiques and vice-versa.
Where Things Come Together:
Campus Post-Production Studio Presentation
Philippe Ros.
Moderated by Christine Tröstrum.
In cooperation with Camelot Broadcast Services.
14:00 | HAU 3, Top Floor
The right blend of ideas and techniques can take your film
places, but getting acquainted with technological aspects of film­
making can be quite intimidating. The Campus Post-Production Studio
is a technical hands-on training programme geared to assist Talents in
learning practical filmmaking techniques with the latest digital work­
flow equipment and the guidance of prominent cine­mato­graph­ers
and post-production experts. 24 Talents chosen to work with expert
practitioners in the Digital Workflow segment were able to shoot and
experiment with digital cameras like Sony F3 and ARRI Alexa and digi­
tal post-production processes including editing, grad­ing, master­ing
and data management. Philippe Ros will present the final outcomes of
this bustling post-production hub.
Cutting on the Edge: Campus Editing Studio Presentation
Susan Korda, Paz Lázaro, Florian Weghorn.
Moderated by Kevin Murphy.
In cooperation with dffb.
14:00 | CinemaxX 17
That extra little insight and input is sometimes all it takes to
polish a rough-cut and strengthen the narrative structure of a fiction
or documentary project. Internationally renowned editors join the
Campus Editing Studio to give advice and feedback that will help take
films that extra distance. Selected participants will present excerpts
from their rough-cuts and describe how the one-day session in the
editing room provided fresh insights and approaches to their projects.
In conversation with Susan Korda, the participants will explain the
challenges they identified within their rough-cuts and the various
approaches that were tried and tested in the Editing Studio.
Often the editing process can drag on longer than expected,
and film festival submission deadlines are fast approaching. When is
a rough-cut polished enough to present to festival programmers? Paz
Lázaro, Programme Manager, Berlinale Panorama, and Florian
Weghorn, Co-Director, Berlinale Generation, will join the conversation
and share their experiences when viewing rough-cuts during the
programming process. The discussion will turn to when and how to
present a rough-cut, as well as shedding light on the expectations of
programmers when they select a rough-cut for screening.
65
Things to Take Home
Marjorie Bendeck, Kathi Bildhauer and Christine Tröstrum.
Moderated by Matthijs Wouter Knol.
16:00 | HAU 2
One of the last events of the ninth Berlinale Talent Campus and
you begin to ask yourself – is this really the end? This session is de­
signed to show you that there is life after the Campus, and in fact,
there is a whole lot in store – a host of new opportunities, activities
and events that may be of advantage to you and can be availed of
from your home base. Members of the Campus team will present an
overview of the various extra-Campus services that could be useful in
developing your current and future film projects. Information about
Campus activities throughout the year, including the online Campus
community and Campus international editions will be provided.
Say It with a Score:
Score Competition Presentation and Award Ceremony
Ehud Freedman, Roger Goula, Hubert Henle, Michael Nyman
and Felix Rösch. Moderated by Milena Fessmann.
In cooperation with Dolby Laboratories.
17:30 | HAU 1
Scoring for film is all about imagery – it not only helps to create
the ambience of the film and its plot, but also to elicit the emotions
of the characters. The transformative power of a score when com­­­-
bined with images is quite amazing. It guides emotions and can signal
a change in theme or mood, a quality in a particular character or lend
landscapes a certain character-like quality. As Francis Ford Coppola
stated, “Music is a big factor in helping the illusion of the film come to
life.” And it is most effective when it works subtly, evoking and tuning
the emotional response of the audience without them being aware of
it. This is the craft of the sound composer – complementing dialogues,
lighting, set-design and the montage of the film with music. Three
emerging composers and finalists of the Campus Score Competition
have spent the past week working on their scores under the guidance
of Michael Nyman. The three composers join him on stage to discuss
the process of creating original music and weaving it seamlessly to
moving images. At the end of the session, the winner will be presented
the Score Competition Award 2011: a unique tour of the best sound
studios in Los Angeles, sponsored by Dolby Laboratories.
Closing Party
21:00 | HAU 2
As the exhilarating Campus week comes to a close, we invite
all Talents and experts to wind down at the Closing Party in HAU 2.
A final farewell from the Campus team will follow the screening of the
“Best of Berlinale Talent Campus”, snapshots of the week capt­u­red by
the Deutsche Welle DW-TV Crew.
Berlinale Talent Campus #9
Chapter

05 Index

p.68 Index of events | p.69 Index of experts

p.75 Index of participants | p.77 Note of thanks
p.78 Team and imprint | p.79 Partners
Berlinale Talent Campus #9
Page Index of events

68 make your own itinerary

Alongside the master classes that are of general interest, the Berlinale Talent Campus
offers about 80 panel discussions, workshops and individual sessions.
Find out which events best suit your needs:

Interesting for actors Cutting on the Edge: Interesting for producers

Directing Actors | p.48
Embodying the Character | p.52
On the Path with Jasmila Žbanić | p.50
Rehearsed Reading | p.56
The Rules of Engagement | p.47
Speed Matching on Feb 16 | p.46
Interesting for cinematographers
Camera Workshop at Camelot | p.51
Cinematography: The Establishing Shot | p.55
Diving into Post-Production | p.47
Speed Matching on Feb 13 | p.46
Where Things Come Together: Campus Post-
Production Studio Presentation | p.65
Interesting for composers
and sound designers
Absolute Hearing | p.58
The Great World of Sound | p.62
The Legal Sound of Music | p.53
Say It with a Score: Score Competition
Presentation and Award Ceremony | p.65
Speed Matching on Feb 14 | p.46
Interesting for directors
Covering Cinema:
Critics Meet Filmmakers | p.64
Campus Editing Studio Presentation | p.65
Filming War | p.47
Disclosing the World Cinema Fund | p.63
The Indie Filmmakers Guide
to Cross Media | p.52,57,59
Kill Your Darlings | p.47
Let‘s Make It Legal | p.51
New Horizons in 3D:
Storytelling and Producing Redefined | p.54
Short Encounters | p.53
The Shortest Track to Cinema | p.53
Speed Matching on Feb 13 | p.46
Speed Matching on Feb 14 | p.46
Speed Matching on Feb 15 | p.46
Speed Matching on Feb 16 | p.46
Welcome to Reality:
Doc Station Presentation | p.61
Why Poverty? | p.62
Your Body Speaks | p.49
Interesting for editors
Cutting on the Edge:
Campus Editing Studio Presentation | p.65
Diving into Post-Production | p.47
Kill Your Darlings | p.47
Where Things Come Together: Campus
Post-Production Studio Presentation | p.65
Dial F for Fiction:
Script Station Presentation | p.60
Disclosing the World Cinema Fund | p.63
Excursion to the European Film Market | p.53
The Indie Filmmakers Guide
to Cross Media | p.52,57,59
The Legal Sound of Music | p.53
Let‘s Make It Legal | p.51
New Horizons in 3D:
Storytelling and Producing Redefined | p.54
On Track with Market Trends:
Berlinale Co-Production Market and
Talent Project Market | p.64
Plugging People: European Producers
Positioning Themselves | p.57
Short Encounters | p.53
The Shortest Track to Cinema | p.53
Speed Matching on Feb 15 | p.46
Two Producers Sharing Their Secrets | p.49
Welcome to Reality:
Doc Station Presentation | p.61
Why Poverty? | p.62
Your Body Speaks | p.49
Interesting for production designers
Building Digital Worlds for the Screen | p.57
Dress to Impress – Master Class at Costume
House Theaterkunst | p.63
Excursion to the Costume House
Theaterkunst | p.51
Play as Process: Worldbuilding
and New Ways to Imagine | p.56

Interesting for screenwriters

Dial F for Fiction:
Script Station Presentation | p.60
New Horizons in 3D:
Storytelling and Producing Redefined | p.54
Rehearsed Reading | p.56
Speed Matching on Feb 13 | p.46
Katriel Schory at the Campus 2010: Check also the Meet the Expert sessions
Why Poverty? | p.62
for talks that might interest you Your Body Speaks | p.49
 Index of experts
experts
Abram, Ido
Director of communications of the EYE Film Institute Netherlands, the new national
film institute. He is a board member of ACE and member of the International Ad­
visory Board of the CineMart and the Hong Kong Film Financing Forum. (p.28)
Allamoda, Bettina
Artist working in the contextual field of visual arts in a transdisciplinary sense, her
work reflects architectural interdependencies of urban public spaces and projective
functions of the built environment. Focusing on the mediatisation of history and
documentation, her work shows the analysis and exposure of concealed politics of
vi­si­bility inscribed in the surfaces of fashion, art and architecture. (p.35)
Arrate Fernández, Isabel
Head of the Jan Vrijman Fund, initiated in 1998 by the International Documentary
Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded over
400 creative documentary projects in development and (post-)production stage by
filmmakers from developing countries. (p.35)
Beerends, Sandra
Dutch script editor and guest lecturer. She has worked with an array of screenwriters,
directors and producers strengthening the narrative structure of their scripts and
films. At the public broadcaster NTR, she was responsible for various award-winning
series and worked on several feature films, family films and documentaries. (p.35)
Behesht Nedjad, Roshanak
She is the founder and producer of Flying Moon, a Berlin-based production com­
pany, which focuses on features films and documentaries. With an emphasis on
inter­national co-productions, Flying Moon films include COMRADES IN DREAMS and
FULL METAL VILLAGE. She also produced FOOTBALL UNDER COVER, OVERSEAS AND
UNDER YOUR SKIN and HOME FROM HOME and most recently, LOVESONG. (p.28)
Belafonte, Harry
In addition to a long, successful singing and acting career, the US-American Harry
Belafonte is well-known as an advocate for human rights and has received awards
from the Peace Corps and UNICEF. His film career includes Carmen Jones, Island in
the Sun and Kansas City. Susanne Rostock’s documentary about Belafonte’s life,
Sing Your Song, will be screened at this year’s Berlinale Special. (p.51)
Belsito, Peter
American producer, cinematographer and publisher, he was the executive vice pre­
sident of FilmFinders. Together with Sydney Levine, he successfully merged Film­
Finders with IMDb and Amazon.com. He has been involved in the professional edu­
cation of young filmmakers at festivals, market panels and forums. (p.35)
Berg, Christine
Former managing director of the Film Fund Schleswig-Holstein, she is the project
director of the German Federal Film Fund (DFFF) at the German Federal Film Board
(FFA). She also worked for the production company Kinowelt where she produced
MOSTLY MARTHA. (p.46)
Bernfeld, Wendy
Founder of Rights Stuff BV, established in 1999. She specialises in hardcore content
licensing negotiations and related rights advice for traditional and new media.
Based in Amsterdam, she has over 24 years experience in film/payTV channel start-
up and programme buying, beginning originally as an entertainment lawyer and
then spending her career as a senior movie buyer/TV executive. (p.37,57)
Beyer, Klaus-Peter
Artistic director of the German Film Orchestra Babelsberg, he was the music pro­du­
cer of the 2001 version of Lotte Reiniger’s THE ADVENTURES OF PRINCE ACHMED, mu­sic
composer of CONVERSATIONS WITH A BEAST and studio manager of THE MUSKE­TEER.
(p.22, 58)
Biniasz, Thomas
Psychologist, executive coach and management consultant. Since 2001, he is direc­
tor of PSM. His core competencies are executive coaching, developing and im­ple­
menting leadership programmes and facilitating change processes in big organi­
sations. (p.55)
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Bird, Andrew
British-born editor who works chiefly in German cinema. He collaborated with Fatih
Akin, whose films THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN he edited. Among
others, he received the German Camera Award and Film+'s Schnitt Prize. He edited
Miranda July’s THE FUTURE, which runs in this year’s Berlinale Competition. (p.26)
Brinkmann, Kathrin
Commissioning editor of the department ARTE “Thema” within the German TV
channel ZDF, she used to commission “Das Kleine Fernsehspiel” from 1994-2000.
Recently she commissioned COMRADE COUTURE by Marco Willms, SUPER ART MAR­KET
by Zoran Solomun and A JIHAD FOR LOVE by Parvez Sharma. (p.25)
Büscher, Mareile
Berlin-based lawyer at Raue LLP, she focuses on intellectual property matters, media
and entertainment law, as well as copyright litigation and negotiation. She has lec­
tured on the subject of art and copyright law for various institutions including the
Humboldt University Berlin. (p.51, 53)
Chronis, Iwana
Manager of the Hubert Bals Fund of the International Film Festival Rotterdam.
Previously, she worked at the Prince Claus Fund for Culture and Development,
where she coordinated the Cultural Emergency Response (CER) programme. During
those years, she also collaborated with IFFR’s CineMart for the Prince Claus Fund
Film Grant. (p.37)
Colas, Catherine
Commissioning editor for short and long films at ZDF/ARTE, she is also responsible
for the ZDF magazine “Short Circuit”. Since 1995, she works at ARTE in Paris in the
feature film department, for the programme “Metropolis” and as production man­a­
ger for documentary films. (p.53)
Cowie, Peter
Film historian and long-time international publishing director of “Variety" magazine,
he has written some 30 books on film and film icons, and has contributed numerous
commentaries to “Criterion” DVDs. In 1963 he was the founding editor of the annual
“International Film Guide”. His latest book is on Akira Kurosawa. (p.49, 62, 64)
De Beijer, Evert
Dutch short film director, screenwriter and graphic designer. In 1980 he completed
his first animated film, Gerard which ran successfully at festivals, followed by The
Characters which was honoured with numerous prizes and awards. His most re­
cent film Get Real! will be shown in this year’s Berlinale Generation. (p.54)
de Maegd, Peter
Independent film producer focusing on new opportunities of the converging media.
He was involved in the production and marketing of various Caviar Films releases
such as DIRTY MIND, LEFT BANK and MY QUEEN KARO. With Caviar Films, he develops
the drama series THE ARTISTS in co-production with several European broadcasters.
In 2004 he founded the production company Potemkino. (p.57)
Deckert, Heino
Producer and managing director of MA.JA.DE Film Production. In 1995 he founded
d.net, an informal union of seven European producers. In 2003 he established the
world sales agency Deckert Distribution. He lectures on documentary production
and distribution for organisations such as EDN and Eurodoc. (p.61)
Derobe, Alain
French cinematographer and stereographer. Having been involved in numerous
feature films, Derobe specialised on 3D cinema and developed various systems that
are crucial for 3D filming. He is the founder of the Association of French Cine­ma­
tographers and UP3D, an association of French stereographers. He is the stereo­
grapher of PINA, screening in this year‘s Berlinale. (p.54)
des Forêts, Jean
Alumnus of 2008, he is the producer of numerous short and feature films including
AGUA FRÍA DE MAR by Paz Fábrega and HÉROS by Bruno Merle. In 2010 he started his
own company, Petit Film. Currently in production are 40 DAYS OF SILENCE by Saodat
Ismailova, LEONES by Jazmín López and WIR SIND TOT by Tobias Nölle. (p.14, 57)
Berlinale Talent Campus #9
Page
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Donaldson, Michael C.
Entertainment lawyer for independent filmmakers for over thirty years. In addition
to representing writers, producers and directors, he serves as General Counsel to
Film Independent and the Writers Guild Foundation. His books on faire use, copy­
right, negotiation and trademarks for independent filmmakers are standard re­fer­
ence books. He lectures at law and film schools worldwide. (p.51)
Driessen, Ellis
Working through the privately owned company Proctor Film & TV, she has also
work­­ed for Fortissimo Films as the acquisition consultant for Europe & the Middle
East, as an independent sales agent and an individual producer for German speaking
countries. Driessen has been involved in the Binger Filmlab and is a member of the
feature film advisory commission of the Netherlands Film Fund. (p.28)
Dringenberg, Katja
One of Germany’s finest film editors, she won the German Camera Award for Andres
Veiel‘s Black Box BRD and Die Tödliche Maria by Tom Tykwer. She has also directed
the documentaries Kindheit Hinter Draht and Ich Dich Auch. (p.26)
Edkins, Don
Producer of the Southern African series on truth and reconciliation Landscape of
Memory, and the multi-awarded documentary project Steps for the Future. He is
executive producer of the STEPS International global documentary project “Why
Democracy?” which encompassed long and short films, one of which, TAXI TO THE
DARK side, won an Oscar for Best Documentary in 2008. (p.62)
Eisenhauer, Hans Robert
Head of Thema at ZDF/ARTE. Before working in the film industry, he was a freelance
journalist and moved to ZDF/ARTE in 1991, where he commissioned international
co-productions including Buena Vista Social Club and Taxi to the dark side. (p.62)
Ericsson, Martin
Senior designer and creative director of The Company P in Sweden. He has initiated,
written and designed more than twenty pieces of participative art ranging from
reality games to Sci-Fi and Fantasy-LARPs. Together with the Swedish channel SVT,
he created The Truth About Marika, which won an Emmy Award in 2008. (p.52, 59)
Farsi, Sepideh
Iranian filmmaker based in Tehran and Paris. Before making her first film, she worked
in visual arts and photography. She won the FIPRESCI Prize at the Mumbai Inter­
national Film Festival for Homi D. Sethna, filmmaker and Best documentary prize in
Festival dei Popoli for Harat. Her most recent documentary Tehran Without
Permission which portrays her hometown, is shot entirely on a mobile phone. (p.64)
Felix, Bruno
Director and independent new media producer. In 2000 he co-founded Submarine,
an independent production studio specialised in documentaries and new media. As
a producer, he has worked with directors such as Douglas Gayeton, Peter Greenaway
and Thé Tjong-Khing. Previously, he was responsible for the new media strategy of
Dutch Public broadcaster VPRO, and Director of VPRO Digital. (p.52)
Fessmann, Milena Goba, Kaspars
German music supervisor, she is the founder of Cinesong, which offers a full range
of services related to music and films. She was music consultant for more than a
hundred films including Wender’s pina which premieres at the Berlinale. (p.53, 65)
Fiennes, Ralph
Oscar-nominated British actor, he celebrates his directing debut at this year’s
Berlinale Competition with Coriolanus. His extraordinary filmography as an actor
includes films such as Schindler’s List , The English Patient , The Hurt locker,
István Szabó’s Sunshine, and The Reader. (p.57)
Fontaine, Dick
Documentary filmmaker, currently head of documentary direction at the National
Film and Television School UK, he has made over 40 films for television and in­de­
pendent media. A founding member of Granada Television’s WORLD IN ACTION, he
developed experimental art films with John Cage, Roland Kirk, Johnny Rotten and
Kathleen Battle. (p.25)
Index of experts
experts
Fox, Kerry
Acclaimed New Zealand actress, her film debut was Jane Campion’s An Angel At My
Table, for which she won, among others, the Best Actress Award at the New
Zealand Film & TV Awards. Fox starred in Welcome to Sarajevo and won the Silver
Bear for Intimacy at the Berlinale 2001. In 2009 she performed in Hans-Christian
Schmid’s Storm, and will soon appear in Jonathan Teplitzky’s Burning Man.
(p.31, 47, 48)
Franke, Anselm
Curator and writer, he is the artistic director of Extra City Centre for Contemporary
Art in Antwerp. He has edited and published with different publishing houses and
contributes to a number of magazines such as Partkett and Cabinet Magazine.
Franke is on the advisory board of the Berlinale Forum Expanded. (p.62)
Fuentes-León, Javier
Peruvian filmmaker, he made the film Undertow, which received awards at festivals
such as Sundance and San Sebastian. It was also Peru‘s national entry for the 2011
Oscars. 2005 Talent Project Market alumnus, Fuentes-León returns to the Berlinale
Co-Production Market with his project “The Woman Who Feared the Sun“. (p.14, 62)
Fujiwara, Chris
Writer, film critic, journalist, editor and translator, he is the author of various books
such as “Jerry Lewis," "Otto Preminger: The World and Its Double” and “Jacques
Tourneur: The Cinema of Nightfall”. He is editor of “Defining Moments in Movies” and
of the online film-criticism magazine “Undercurrent” and contributes to numerous
journals such as “Film Quarterly”. (p.29)
García-Montero, Rosario
Peruvian director and screenwriter and Campus alumna from 2007, her short film
Are You Feeling Lonely? (2003) won numerous awards at film festivals. Her feature
film The Bad Intentions, for which she found her co-producers at the Talent Project
Market 2007 and which is supported by the World Cinema Fund, will celebrate its
world premiere in this year’s Berlinale Generation. (p.14, 62)
Gazdag, Gyula
Hungarian director of theatre, film and television, his feature films include: A
HUNGARIAN FAIRY TALE, STAND OFF and SINGING ON THE TREADMILL. He is the artistic
director of the Sundance Filmmakers Lab, teaches at the Binger Filmlab and is a
Distinguished Professor at the UCLA School of Theatre, Film & TV. (p.24)
Gerhards, Nicole
Producer for NIKO Film, her filmography includes films The Stranger in Me, Chaque
Jour est une Fête and Töte Mich. She was supported as “New Talent“ by MEDIA in
2007. (p.57)
Gibson, Ben
Director of the London Film School, he has commissioned and produced films by
Terence Davies, Derek Jarman, John Maybury and many others as an independent
producer and as the head of production at the British Film Institute. He is the foun­d­
ing chairman of The Script Factory. (p.47, 55)
Documentary film director and photographer, he made the award-winning Seda.
People of the Marsh. His home@lv features in this year’s Berlinale Panorama.
Since 1996, he has worked as a director, scriptwripter and cinematographer on more
than 15 documentaries that focus on social and environmental issues. (p.62)
Goldbeck, Christian
German production designer and art director. He has worked on films such as The
Reader, Krabat and Requiem; he was nominated for the German Film Award for all
these three films. He is production designer of Andres Veiel’s If Not Us, Who? which
premieres in this year’s Berlinale Competition. (p.35)
Goodridge, Mike
Editor of Screen International, he is in charge of all editorial content on the brand
which covers Screendaily.com, Screen print dailies at Berlin, Cannes, Toronto and
AFM and the monthly print magazine. He has a regular column in El Mundo in Spain.
In 2000 he published his first book “Directing”. (p.57)
Index of experts
Gough, Louise
Australian script editor and dramaturge currently based in NYC, she has worked as a
script manager, edited a number of feature film scripts and has developed over
40 professionally produced plays. She works as a development executive for Robyn
Kershaw Productions, Australia, and as a script editor at SOURCES 2. (p.24)
Grass, Ben
Managing director of Pure Grass Films, he produced BEYOND THE RAVE and KIRILL,
which won a Webby for Best Drama Episode in 2009. Pure Grass Films are currently
working on four transmedia properties and financing a contemporary remake of
Oliver Twist (TWIST). Grass was formerly responsible for Sony Pictures Digital in
Europe and was senior advisor for Corporate Strategy at the BBC. (p.57, 59)
Greyson, John
Canadian filmmaker, video artist, writer and activist, he directed numerous short
films including THE PERILS OF PEDAGOGY and MOSCOW DOES NOT BELIEVE IN QUEERS.
Among his feature films are ZERO PATIENCE, LILIES and FIG TREES; the latter won the
2009 TEDDY Award for Best Documentary. He is a professor at York University, where
he teaches film and video theory, film production and editing. (p.59)
Gryllus, Dorka
Hungarian award winning film and theatre actress who studied at the Budapest
Academy of Drama and Film. In 2004 she participated in the Berlinale Talent Campus
and was selected as a Shooting Star during the 55th Berlinale. Among her most
recent films are The Bone Man by Wolfgang Murnberger (Berlinale Panorama 2009),
Soul Kitchen by Fatih Akin and Irina Palm by Sam Garbarski. (p.33, 49)
Hadžihalilović, Lucile
French director, editor and producer. Her first feature INNOCENCE won numerous
awards including Best First Film at San Sebastian Film Festival. Previous films include
MIMI, which was shown at Sundance, Cannes and Toronto. With Gaspar Noé, she
foun­ded the production company Les Cinémas de la Zone, which most recently
produced ENTER THE VOID, for which she co-wrote the script. (p.24)
Hammer, Barbara
American experimental filmmaker, video artist, feminist activist and author. Hammer
has directed over eighty films and videos. Her most recent films include Resisting
Paradise and A horse is not a metaphor, which won the Teddy Award in 2009.
Her memoir “HAMMER! Making It in Sex and Movies“ was published in the spring of
2010. Retrospectives of her work were shown at The Museum of Modern Art in New
York City, the Reina Sofia in Madrid, and the Tate Modern in London. Two of her films
will be screened at this year’s Berlinale Forum Expanded. (p.60)
Har’el, Alma
Music video and commercial director, her documentary Bombay Beach was selected
for this year’s Berlinale Panorama. In addition to directing a number of music videos,
she has directed TV spots starring Danny DeVito, Carl Reiner, Garry Marshal and Jerry
Stiller for Obama’s presidential campaign. (p.64)
Hayashi, Kanako
Festival director of the TOKYO FILMeX International Film Festival, which showcases
contemporary independent cinema from Asia, she was a member of the Berlinale
Jury in 2002 and the Manfred Salzgeber Prize of the Panorama section. (p.37)
Hegemann, Carl
Prominent dramaturge, he has worked at a number of theatres including The
Ber­­liner Ensemble. He served as the dramaturg-in-residence at the Volksbühne am
Rosa-­Luxemburg-Platz in Berlin, working with notable directors such as Frank
Cas­torf, Christoph Schingensief, Rene Pollesch and Einar Schleef. (p.62)
Høgel, Jakob Kirstein
Artistic director of the talent development scheme New Danish Screen. Previously,
he was a film consultant at the Danish Film Institute, supporting documentaries,
and was co-founder of the documentary production company Cosmo Doc where he
produced award-winning films such as PROSTITUTION BEHIND THE VEIL. (p.25)
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71
Honigmann, Heddy
Peruvian-born documentary and feature filmmaker, as well as screenwriter. Her
extraordinary filmography includes Metal and Melancholy , O Amor Natural ,
Good Husband, Dear Son and Goodbye. Winner of numerous awards, her work has
been honoured in many retrospectives including at the MOMA in 2003. (p.55)
James, Alby
Former head of development at EON Screenwriters’ Workshop. Independent pro­du­
cer and script consultant for emerging talent for feature films and television drama
series. His career began in theatre and he has produced, directed and written a large
number of notable theatrical and radio plays. His work on feature films and tele­-
vision dramas started in the mid-90s. (p.31, 56)
Kapur, Shekhar
Acclaimed Indian film director and producer. He rose to popularity with his film
Bandit Queen. Among others, he directed Elizabeth, which was nominated for
seven Oscars and Elizabeth: The Golden Age, starring Cate Blanchett. His future
projects include Paani, to be released in 2011, produced by Danny Boyle. (p.56, 57)
Kar, Mehrangiz
Iranian lawyer, human right activist and author. She has served as a fellow, among
others, at the National Endowment for Democracy, the American University in
Wash­ington DC, the University of Virginia and Columbia University. She was a Rad­
cliffe Fellow at Harvard and is currently based at the Carr Center for Human Rights
Policy at Harvard’s John F. Kennedy School of Government. (p.64)
Kennedy, Adrian
Actor/comedian, TV writer and senior producer of Deutsche Welle DW-TV‘s daily
show “Euromaxx“. He is a founding member of the Berlin & Brandenburg Society for
Authentic and Historical Music. (p.49)
Kéré, francis
An architect and development activist from Burkina Faso, he won the Aga Khan
Award for Architecture in 2004. Together with Christoph Schlingensief, he is the
architect of Operndorf Africa, which will put in place working and living conditions
that facilitate education, dialogue and art production. (p.62)
Knaf, Joachim
Tutor at the Film & Television University (HFF) “Konrad Wolf” for interdisciplinary film
economics, with a focus on financing and calculation. He has been working in inter­
national feature and documentary production since 1996 and was producer and line
producer of numerous international co-operations. (p.35)
Knopperts, Fleur
Former director of the Forum for international co-financing of documentaries at IDFA
in Amsterdam. In 2007 she set up MeetMarket – international marketplace for in­de­
pendent documentary projects at Doc/Fest Sheffield. Since 2009, she is head of
development at Volya Films. (p.25, 57)
Korda, Susan
Susan Korda edited the Oscar-nominated and Sundance-crowned FOR ALL MAN­
KIND, and TEDDY winner TREMBLING BEFORE G-D. Korda also writes and directs, and
was most recently a producer on WILLIAM KUNSTLER: DISTURBING THE UNI­V ERSE.
Her own work includes VIENNA IS DIFFERENT and ONE OF US. Korda teaches at
Columbia’s Graduate Film Program and Binger Film Lab, Amsterdam. (p.26, 47, 65)
Kosslick, Dieter
Festival director of the Berlin International Film Festival since 2001, he was managing
director of Hamburg‘s cultural film fund since 1983. He became director of the
Hamburg Film Fund in 1988 and director of the Filmstiftung Northrhine-Westphalia
in 1992. (p.46, 49)
Krakowsky, Tali
Former director of experience design at Imaginary Forces, she is a founding member
of “5D: Future of Immersive Design”. Throughout her career, she has led the con­
ceptual and strategic development of projects integrating storytelling, new media
and physical environments. She has published several articles and given lectures on
the topics of design, technology and architecture. (p.56)
Berlinale Talent Campus #9
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Kruger, beatrice
A casting director based in Rome, Beatrice Kruger was responsible for the Euro­pean
and/or Italian casting of films such as SILK , THE INTERNATIONAL , CASINO ROYALE ,
OCEAN’S TWELVE and many more. (p.31, 37)
Kurz, Sibylle
Pitching trainer and consultant for film schools and film institutes all over Europe,
she specialises in intensive pitching training, project presentation, proposal devel­
opment, dramaturgical doctoring and consultancy work. (p.28)
Lachman, Edward
Oscar-nominated US-American director of photography and filmmaker. He has
work­­ed with directors such as Steven Soderbergh, Paul Schrader and Robert
Altman. His extraordinary filmography includes Erin Brockovich , Far From
Heaven and most recently Ulrich Seidl‘s new film Paradise. (p.55)
Larsson, Peter
Swedish animation film director, his Seven Days in the Woods will be screened in
this year’s Berlinale Shorts. His most recent films are The People And The Whale, The
Man Who Got Nowhere, What We Already Know and Seven Trips Wo rse. (p.54)
Lehtinen, Saku
Finnish art director of Remedy Entertainment Ltd, he is responsible for the entire
audiovisual experience of games such as the recent psychological action thriller
game “Alan Wake“. (p.56)
Levine, Sydney
Over 35 years experience in the entertainment industry, she was a pioneer acqui­
sitions executive and founder of FilmFinders, the first database used for tracking
new films worldwide. She established the video rental division of Republic Pictures
and Lorimar Home Video. (p.35, 53)
Lilja, Hugo
Swedish film director. He has worked with the Emmy Award winning company ”The
Company P” and directed their web series Dollplay, which was developed by FOX.
He founded and run the productions company Accordion Film in Sweden between
2005-2007. Lilja presents his film The Unliving in the Berlinale Shorts 2011. (p.54)
Lilienthal, matthias
Artistic director of Theater Hebbel am Ufer (HAU), he was head dramaturge at the
Volksbühne in Berlin, and in 2002 directed the “World Theatre” festival in the Ruhr
district in Germany. He has successfully developed a chain of performing arts pro­
jects that look at contemporary society with a sharp and insightful eye. (p.62)
Linssen, Dana
Since 1997, she is writing film criticism for the Dutch daily newspaper NRC Handels­
blad, became editor-in-chief in 1998 and later co-publisher of the Dutch inde­pen­
dent film monthly De Filmkrant. She recently launched the Slow Criticism Project as
a counterbalance against the commodification of film criticism. (p.29, 64)
Llosa, Claudia
Peruvian filmmaker whose first feature film MADEINUSA won numerous awards,
among them the FIPRESCI prize in Rotterdam. Her second film THE MILK OF SORROW
won the Golden Bear at the 2009 Berlinale. THE MILK OF SORROW was nominated for
the Academy Award in the Best Foreign Film category in 2010. (p.60)
Maccarone, Angelina
Director and writer based in Berlin. Her first feature film UNVEILED was nominated
for various awards and won the Hessische Filmpreis. In 2006, her film PUNISH ME
received the Golden Leopard at the Locarno Film Festival. Maccarone works as a
lecturer at the German Film and Television Academy Berlin (dffb). (p.22)
Malcolm, Derek
British film historian and critic for “The Guardian” for decades, he is President of the
British Federation of Film Societies and the International Film Critics Circle, as well as
Honorary President of FIPRESCI. He writes for the “London Evening Standard”. (p.29)
Mankell, Henning
His most iconic literary creation is a series of crime novels with the character of Kurt
Wallander. He has written children’s books and several plays. He was a member of
Index of experts
experts
the International Jury at the Berlinale in 2009. He is socially and politically engaged,
and participated in the “Ship to Gaza” project in 2010. (p.47)
Maoz, Samuel
Israeli film director; his debut feature film LEBANON won the Golden Lion at the
Venice Film Festival in 2009 and the European Discovery and Best Photography at
the European Film Awards in 2010. (p.47)
Marten, Gesa
German editor, dramaturge and lecturer, she was nominated for Best Editing at the
Ger­man Television Awards for ABNEHMEN IN ESSEN and at the German Camera Award
for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won Film+‘s Schnitt
Prize for WAS LEBST DU? in 2005 and for Perestroika in 2009. (p.26)
Martens, Meike
German producer and production manager for co-productions, she participated in
the Campus in 2009. She co-produced numerous films and documentaries including
THE DAY OF THE SPARROW and NOSTALGIA DE LA LUZ, directed by Patricio Guzmán,
which won the Prix Arte at the European Film Awards 2010. (p.25)
McDowell, Alex
British production designer and film producer, he has worked with Tim Burton,
Steven Spielberg and David Fincher. His filmography includes FEAR AND LOATHING
IN LAS VEGAS, FIGHT CLUB and minority report. He is also founder and director of
“5D Conference”, an interdisciplinary network focusing on the impact of technologies
in design fields. (p.56, 57)
Metz, Janus
Danish documentary director whose latest film ARMADILLO premiered at the Cannes
Film Festival and was awarded the Grand Prix de la Semaine de la Critique. Metz
holds a master degree in visual anthropology, his international breakthrough came
in 2008 with the two films, LOVE ON DELIVERY and TICKET TO PARADISE. (p.47)
Midding, Gerhard
Film journalist for EPD Film magazine and several other newspapers, film maga­­
zines and radio programmes in Germany, Austria and Switzerland, he is the German
corres­pondent of the French magazine “Positif”. (p.64)
Müller, Ulrike
German casting director for films such as When We Leave with Sibil Kekilli, which
won numerous awards and Hochhäusler’s Eine Minute Dunkel, which premieres in
the Berlinale Forum, and Sleeping Sickness, which features in this year’s Berlinale
Competition. Müller was awarded the German Casting Prize in 2010. (p.31, 37)
Mundruczó, Kornél
Hungarian director, actor and writer. He won, among others, the FIPRESCI prize for
the film Delta at the 2008 Cannes Film Festival. His film Pleasant Days won a Silver
Leopard at the Locarno Film Festival in 2002. He returns to the Co-Production Market
with his new project “The Flying Man“. (p.14, 60)
Nikitin, Nikolaj
The Berlinale delegate for Eastern-Europe and co-founder of the film magazine
“Schnitt“, he is member of FIPRESCI and the European Film Academy. He curates
international film festivals in Germany and across Europe, and heads the only
European festival dedicated to editing, “Film+“ in Cologne. (p.37)
Nyman, Michael
See interview on p. 23 (p.62, 65)
Padilha, José
Award-winning Brazilian director of the films Bus 174 and Elite Squad, the latter
won the Golden Bear at the 2008 Berlinale. Most recently, he directed the
documentaries Garapa and Secrets of the Tribe. Padilha presents his sequel Elite
Squad 2 – The Enemy Within at this year’s Berlinale Panorama. (p.47)
Palmer, Patrick
Co-founder and chief operating officer of IRIDAS, he has worked on the front edge of
software technologies for the film industry for the last decade. Palmer is one of the
driving forces in making Stereo 3D post-production tools more versatile. He also
gives master classes on Stereo 3D at various locations throughout Europe. (p.54)
Index of experts
Pansittivorakul, Thunska
Thai independent film director, his short films, documentaries and feature films
were screened in over 100 international film festivals. Most recently, he directed The
Terrorists which will be screened in this year’s Berlinale Forum. (p.59)
Paul, Roman
Co-founder of Razor Filmproduktion. He co-produced the Oscar-nominated Waltz
with Bashir and Paradise Now (the Berlinale’s Blue Angel Award, a Golden Globe
and an European Film Award). He also co-produced Cirkus Columbia and Miranda
July’s The Future; the latter premieres in this year’s Berlinale Competition. (p.46)
Peten, soon-mi
Audiovisual consultant before joining the MEDIA Programme in 2000, she specialised
in development support for independent European producers. She continues this
work as selection coordinator within the European Commission‘s Education, Audio­
visual and Culture Executive Agency. (p.57)
Pinn, Julian
Chair of both the BSI and ISO Technical Committees on Cinematography, he is re­s­
pon­sible for the development of Dolby’s motion picture services portfolio. With
fifteen years experience as a Dolby consultant for both original and foreign language
movie releases, he is heavily involved with standards-making. (p.54)
Pitts, Rafi
Iranian filmmaker, producer and screenwriter, his short and feature films received
numerous awards at international festivals and are often categorised as films of the
new wave of Iranian Cinema. His most recent films It’s Winter and The Hunter were
screened in the Berlinale Competition in 2006 and 2010. (p.64)
Rabarts, Marten
Artistic director of the Binger Filmlab Amsterdam, he is a producer and screenwriter
for cinema and TV. He worked for LA's Propaganda Films, PolyGram Filmed Enter­­-
tain­­ment group and Manifesto, and has collaborated with Sarah Radclyffe, Tim
Bevan and Alison Owen on films such as Derek Jarman's EDWARD II. (p.24, 48)
Reilhac, Michel
Michel Reilhac is the executive director of ARTE France Cinéma and the director of
film acquisition for ARTE France. For Canal+, he made TO BE A MAN in 1999, and in
2000 directed KENYA ISLANDS for ARTE. He produced CRY WOMAN, which was in Un
Certain Regard of the Cannes Film Festival, and THE GOOD OLD NAUGHTY DAYS
(which he directed) was presented in the Filmmakers Fortnight. (p.35, 52)
Ringel, Gian-Piero
German producer, he founded his own film production company Ringel in 2004. In
2006 he produced the short film Das MaSS der Dinge and his first feature film
Nachmittag premiered in the 2007 Berlinale Forum. As managing director of the
company Neue Road Movies, he has produced Wim Wender’s Pina, which features in
this year’s Berlinale. (p.54)
Rissenbeek, Mariette
Managing director of German Films, she is responsible for public relations and press,
international festivals and “Das Rendezvous“, an annual German-French film meet­
ing. Her career began at Tobis Filmkunst in Berlin before she started working as a
producer at Ziegler Film. Independently, she produced HIGHWAY SOCIETY by Mika
Kaurismäki, among others. (p.46)
Rodenkirchen, Franz
Script advisor and tutor in international workshops and individual project devel­
opment, he is based in Berlin. He is head of selection for Torino Film Lab, a script
advisor at the Binger Filmlab, where he also teaches script editing to industry pro­
fessionals. (p.24)
Rodrigue, Jean-Louis he has been working as a 3D producer for Neue Road Movies, co-producing Pina,
Member of the faculty at the UCLA School of Theater, Film and Television, his unique
style of acting coaching, movement training and movement design can be seen in
W. with Josh Brolin, HUMAN NATURE with Patricia Arquette, THE AFFAIR OF THE
NECKLACE with Hilary Swank, SEABISCUIT with Elizabeth Banks and BEE SEASON with
Juliette Binoche. (p.31, 37, 49, 52)
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73
Roginas, Renate
Renate Roginas led, as producer, the international co-production department of
Telfrance. She works as head of studies, lecturer and tutor. She established Villa Kult
in Berlin, a venue and meeting place for international professionals from film, tele­
vision, media, radio and the arts. (p.32)
Rommel, Peter
German producer, whose GRILL POINT by Andreas Dresen won the Silver Bear in
2002. Other films are NIGHT SHAPES, LOST KILLERS and SUMMER IN BERLIN. His 2009
production CLOUD 9 won a German Film Award and WHISKEY WITH VODKA was the
winner of the International Film Festival Karlovy Vary. (p.33, 49)
Rorvik, Peter
Director of the Durban International Film Festival, a flagship project of the Centre
for Creative Arts, which Rorvik has headed since 1999. He is also the director of
three other major annual festivals produced by the CCA; Time of the Writer, Jomba!
Con­temporary Dance Experience and Poetry Africa. (p.37)
Ros, Philippe
Director of photography and digital imaging. He supervised the cinematography in
HOME, Yann Arthus-Bertrand’s feature film from 2009. Ros was cinematographer for
OCEANS, directed by Jacques Perrin and Jacques Cluzaud, and has worked as tech­ni­
cal supervisor of cinematography. (p.26, 47, 51, 65)
Rosenthal, Liz
Digital film and media expert, she is the founder and director of Power to the Pixel, a
cross-media company and forum based in London. She also founded Earthly Delight
Films, launched the online animation project “Marsipan” and set up and ran the UK
office for Next Wave Films from 1998 to 2002. (p.52, 57, 59)
Rossellini, Isabella
Italian actress, filmmaker and author. Her career is defined by a diverse body of
work, including films such as Blue Velvet, The Saddest Music in the World and
The Solitude of Prime Numbers, which was nominated for a Golden Lion at the
Venice Film Festival in 2010. She is this year‘s President of the Berlinale Jury (p.49)
Roy, Rajendra
Chief curator of film at the Museum of Modern Art, New York. From 2004-08, he was
on the Competition Selection Committee of the Berlinale, and continues to serve as
an advisor to the festival. (p.51)
Sable, Jerome
Writer, director and composer with credits in stage and film. His film The Legend of
Beaver Dam, which he co-directed with Eli Batalion, will be screened at this year’s
Berlinale Generation. Sable co-wrote and directed the short comedy series crazy/
sexy/awkward for FremantleMedia, and the musical short Meanwhile… (p.54)
Saltzwedel, Daniel
Funding advisor for feature-length documentary films at the Medienboard Berlin-
Brandenburg, he has worked extensively in film production as a production assistant
and subsequently, as a producer at Zero Film. (p.46)
Samadi Ahadi, Ali
German filmmaker of Iranian origin. In 2006 his documentary Lost Children won
the German Film Award. Most recently, he directed the intercultural comedy Salami
Alei­kum. With his documentary The Green Wave, which features in this year’s German
Cinema-LOLA@Berlinale, he responds to the opposition movement in Iran. (p.64)
Schmidt, Erwin M.
German producer, he has been involved in a number of art house films, including
You The Living, Dernel and Orly. He was line producer for Shirin Neshat’s Women
without Men which won the 2009 Silver Lion at the Venice Film Festival. Since 2008,
which premieres in this year’s Berlinale. (p.37,54)
Schory, Katriel
Executive director of the Israel Film Fund since 1999, he founded the production
com­pany Belfilms and produced over 200 films including award-winning feature
films, TV dramas and international co-productions. (p.28)
Berlinale Talent Campus #9
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Schrader, Paul
US-American screenwriter and film director. He wrote the screenplays of some of the
most iconic films of modern cinema. Among them are Taxi Driver, which is part of
this year‘s Berlinale Special. He celebrated his directorial debut with Blue Collar in
1978 and wrote/directed American Gigolo and Adam Resurrected. (p.64)
Schulte Strathaus, Stefanie
Curator at Arsenal – Institute for Film und Video Art in Berlin, and programmer of the
Berlinale Forum Expanded, she is the co-founder and board member of the Kinothek
Asta Nielsen in Frankfurt/ Main. (p.60)
Schwerbrock, Mathias
German producer, his film portfolio includes AIMÉE & JAGUAR, NIGHTSONGS and JOHN
RABE. In 2009 he worked as a producer of 24H BERLIN, a 24-hour documentary told in
real time. He is currently co-producing the Shah Rukh Khan production DON 2. (p.35)
Scotta, Carole
French producer and founder of the independent production and distribution
com­pany Haut et Court. The company produced and co-produced over twenty
feature films, among them COCO AVANT CHANEL and ENTRE LES MURS and distributed
over hundred films. It is currently producing THE WOMAN IN THE FIFTH directed by
Pawel Pawlikowski with Kristin Scott Thomas and Ethan Hawke. (p.49)
seeSSlen, georg
One of Germany‘s most influential media critic, Georg Seeßlen writes for magazines
and newspapers like “Die Zeit“, “taz“ and “EPD film“. He teaches at different German
film academies and universities and has written about 20 books on film topics. (p.62)
Shoben, Andrew
Founder of Greyworld, which has created works in hugely coveted locations across
the world and has permanent installations in twelve countries. In 2004 he launched
“The Source”, a permanent installation for the London Stock Exchange. Shoben is a
regular contributor to television, radio and print. (p.56)
Simonen, Ulla
Producer in her own company MADE, she also works as a producer for Klaffi Pro­duc­
tions and as a documentary script advisor for SOURCES 2. She lectures both nationally
and internationally on different aspects of documentary productions and is a mem­
ber of the European Film Academy. (p.25)
Sissako, Abderrahmane
Filmmaker who has worked in Mali and France. His WAITING FOR HAPPINESS won the
FIPRESCI Prize at the 2002 Cannes Film Festival. Sissako was a member of the inter­
national Jury at the Berlinale and at Cannes. In 2008, he contributed the segment
DIGNITY to the international project “Stories on Human Rights”. (p.60)
Skjødt, Hanne
Network manager at the European Documentary Network (EDN) based in Copen­
hagen. Since 2000, she has been with the Danish Film Institute as distribution and
promotion consultant and head of unit for the promotion and distribution of shorts
and documentaries. (p.37)
Speck, Wieland
Head of Berlinale Panorama since 1992, he initiated, together with Manfred Salz­
geber, the Teddy Award. He is author and producer of numerous film productions
and directed, among others, Escape to Life: the Erika and Klaus Mann Story. He
has also worked for European film institutions and taught at universities. (p.59)
Staden, Inga von
Media architect, coach and educator for creative industries. She directs the pro­
gramme Interactive Media at the Film Academy Ludwigsburg. Having initiated,
founded and directed various projects such as “The Academy of converging media”,
she also worked for the Medienboard Berlin-Brandenburg from 2004-2007. (p.57)
Stehling, Frank
CEO and owner of the Berlin based PRIMEHOUSE GmbH. He has been active in many
fields of the film and media business such as scriptwriting, direction, production and
funding. Stehling’s professional focus includes business development and script
development, market research, world sales, financing and interactive media. (p.32)
Index of experts
experts
Stein, Alexander
Managing director of the International Short Film Festival, Interfilm, in Berlin. Stein
has been working for Interfilm since 1998 and co-founded the limited company
Inter­film in 2000. (p.53)
Stensgaard, Molly Malene
See interview on p.27. (p.26)
Steyer, Martin
German sound mixer who worked on numerous acclaimed films including YELLA,
THE LAST KING OF SCOTLAND and THE LAST STATION. He won the German Film Award
for Best Sound Editing for REQUIEM and TRADE. He is Professor at the Film & Television
University (HFF) “Konrad Wolf” since 2005 and its vice president since 2006. Since
2008, he has been the programme director of INSIGHT OUT at the HFF. (p.59)
Stöhr, Hannes
German director and scriptwriter who studied at the German Film and Television
Academy Berlin (dffb). Among the films he wrote and directed are Berlin is in
Germany (Panorama Audience Award 2001), One day in Europe (Berlinale Com­
petition 2005) and Berlin calling (2008). He works as a guest lecturer at the dffb
and the Film Academy in Ludwigsburg. (p.33, 49)
Szabó, István
Hungarian filmmaker who won an Academy Award for MEPHISTO in 1981. His films
MEETING VENUS, SWEET EMMA, SUNSHINE and BEING JULIA have received numerous
awards, among others, at the Berlinale, Cannes and Venice Film Festivals. Most
recently, he wrote and directed, THE DOOR, starring Helen Mirren. (p.57)
Tanović, Danis
Bosnian film director and screenwriter. His film No Man’s Land won an Oscar for Best
Foreign Film, the European Film Academy Award and the César Award. Tanović was
member of the international Jury in Cannes in 2003. Well received by the critics was
also his most recent film Cirkus Columbia. (p.47)
Thiele, Lena
As creative director and cross-media producer Lena Thiele is developing and pro­
ducing new formats in the field of documentary film, online, mobile and games. She
joined Gebrüder Beetz Filmproduktion in January 2010. Previously she headed a
Berlin-based digital media company and a games studio as creative director. (p.59)
Todsharow, Martin
Film music composer, producer and musician. He wrote scores for Oskar Roehler’s
films including ELEMENTARY PARTICLES and AGNES AND HIS BROTHERS. He also wrote
scores for NOTHING BUT GHOSTS, MINOTAUR and HILDE and worked as lecturer at the
Film Academy Ludwigsburg, the German Film and Television Academy Berlin (dffb)
and the Film & Television Uni­versity (HFF) “Konrad Wolf” in Potsdam. (p.22)
Treut, Monika
One of Germany‘s most preeminent documentary and fiction directors when it
comes to queer films. She writes and produces her own films, among which are the
award-winnning VIRGIN MACHINE, MY FATHER IS COMING and GENDERNAUTS, for
which she won a Teddy Award in 1999. (p.22)
Trijbits, Paul
Producer of award-winning films such as THE MAGDALENE SISTERS, THE WIND THAT
SHAKES THE BARLEY and TOUCHING THE VOID. He was head of the New Cinema Fund
of the UK Film Council before he joined Ruby Films in 2007 as partner and exe­cutive
producer. Recently completed at Ruby Films were TAMARA DREWE and TOAST, the
latter features in Culinary Cinema at this year’s Berlinale. (p.49)
Ukwuoma, Selina
Formerly a development executive at EON Screenwriters' Workshop and Cuba Pic­t­
ures, she now works as a freelance script editor, consultant and tutor. She has worked
on a number of projects including the feature BOY A, which screened at the 2008
Berlinale Panorama. (p.24)
Vachon, Christine
US-American producer of critically acclaimed films such as BOYS DON’T CRY, I’M NOT
THERE and FAR FROM HEAVEN. Vachon formed the production company Killer Films
Index of experts Index of participants Page

75

with Pamela Koffler and Katie Roumel. In 1998 her first book “Shooting to Kill” was A Broadhurst,
published, followed by “A Killer Life” in 2006. Vachon was a jury member of the Abdollahyan, Frances Clare
Sundance Film Festival and at the Sarajevo Film Festival. (p.59) Fatima Geza Brown, Rob
Veber, Juliette Abuhamdan, Zaid Busch, Olaf
New Zealand producer and director, she produced films such as The Price of Milk Achitsa, Bethsheba Butzmühlen, Stefan
and Toy Love. Veber's debut feature-length documentary Trouble is My Business Adizes, Topaz Buyi, Philip Roy
premiered in the 2008 New Zealand International Film Festival. (p.54) Ai , Elizabeth
Veiel, Andres Ajayi, Christine C-D
Leading German film director, his film If Not Us, Who? features in this year’s Berlinale Albuliwi, Bandar Cash, Conall
Competition. His documentaries Black Box BRD won the 2002 European Film Award Aldershoff, Chiel Ceyton, Kristina
and Addicted to Acting won the 2004 Panorama Audience Award. (p.55) Alexandre, Zeff Chalupnik, Roman
Weissberg, Jay Aloni, Omri Chapman, David
Film critic at “Variety“, he was a researcher at the Photofest film stills archive in the Alves, Maria Collington, Sasha
USA and continues to divide his interests between film and art history by working in Amat, Georgina Corthouts, Lieven
the world of Old Master drawings. (p.64) Amescua, Priscila Cotorruelo, Ivonne
Wenders, Wim Amirpour, Ana Lily Cruz, Francis Joseph
Wenders has been an influential figure in New German Cinema. His films The Anadu, Chika Cukali, Koloreto
American Friend, Wings of Desire and Buena Vista Social Club have won num­ Anderson, Josephine Damnjanovic, Natasa
erous prestigious awards. His forthcoming film Pina, an homage to the late choreo­ Andreeva, Maria Davari, Maryam
grapher Pina Bausch, was shot in 3D and premieres at this year‘s Berlinale. (p.54) Andrizzi, Mauro De Felice, Fabio
Wendt, Ulrich Kodjo Apopei, Mihai Marius Deigman, Nicholas
German composer for film and theatre who did music for feature films such as In July, Arias, Felipe Delbeke, Maarten
directed by Fatih Akin, as well as the documentary films Scoring Blue by Christian Asim, Adnan Diaz, Augusto Cesar
Bau and Ab nach Rio by Jens Huckeriede. His work in theatre includes The World Attia, Habib Doering, Philipp
Is Big and Salvation Lurks Around the Corner and live performances. (p.35) Aubert, Sebastien Duncan, Alyx
Wenner, Dorothee Aun, Anu Durán, Mauricio
Documentary filmmaker, author and journalist, she has been on the se­lec­tion Ayub, Ishtiaque Durand, Jonathan
committee of the Berlinale Forum since 1990 and serves as the Berlinale delegate for Dvornik, Klemen
India and Sub-Saharan Africa. Among others, she has made the 2008 documentary B
Peace Mission. (p.60, 62) Bajac, Stasa E-F
Westhoff, Frédérique Bakker, Tristen Eakwattanakij,
Head of team at ACPFILMS; its overall objective is to contribute to the development Balci, Emine Emel Kamontorn
and structuring of the cinema and audiovisual industries in the African, Caribbean, Baletic, Hajdana Eliash, Elisa Valentina
Pacific countries so that they can create and disseminate their own works more Ballús, Neus Erríquez, Ezequiel
effectively. (p.37) Balulu, Rafael Escala, Charena Theressa
Wojcieszek, PrzemysŁaw Baptist, Willem Essuman, Hawa
Polish film director. He made his directorial debut with Kill them all, followed by Barrejón, Sergio Evans, Gareth
the critically acclaimed Louder than Bomb in 2001. Since 2004, Wojcieszek has also Bartenev, Denis Exarchou, Sofia
directed plays. He wrote and directed the feature film Made in Poland, which Bastes, May Anne Fantone, Gerald Patrick
celebrates its world premiere in the 2011 Berlinale Forum. (p.64) Bastos, Mario Faraone, Diego
Worschech, Rudolf Baumeister, Clemens Farina, Giorgia
Editor of the EPD Film magazine, he was a research associate at the German Film Ben Hamra, Fariñas, Mauro
Museum, Frankfurt from 1987 to 1995, where he curated several exhibitions and film Mohamed Ali Fegan, Jorge Alejandro
series and published texts on Western and German films and on film policy. (p.53) Berliner, Caroline Fernández, Juan Daniel
Yang, Hyo-joo Berliner, Michael Ferreiro, Héctor
Korean short film director, her film The Unbroken will be presented in this year’s Biain, Juan Manuel Freedman, Ehud
Berlinale Shorts. She won numerous awards for her previous shorts One Last Day Bisset, Christopher
and Jouissance. Most recently, she won the Asian New Force award at the 15th Bizri, Hisham G
Hong Kong Independent Short Film and Video Awards. (p.54) Boeuf, Sabrina Gamat, Zalina
Zacharek, Stephanie Bofarull, Anna Maria Gammon, Charlotte
Chief film critic for “Movieline”, she was the senior writer and film critic for Salon.com Böhrnsen, Jytte-Merle Gandour, Molly
for many years. Her writing on books and pop culture has also appeared in “The New Bohun, David Ganuza, Iker
York Times”, “The Los Angeles Times”, “Rolling Stone” and “Sight and Sound”. (p.29) Borghi, Pablo Gabriel García, Josefina María
Žbanić, Jasmila Boulay-Goldsmith, García, Daniel
Bosnian screenwriter, artist and director, she won the 2006 Golden Bear for Grbavica. Charlotte Gebresenbet, Zelalem
In 1997 she founded the artists’ association Deblokada – through which she has Bravo, Angela Geissendörfer, Hana
directed and produced her films. Her latest film On the Path was presented in the Brending, Nicole Gerbaulet, Alexandra
Berlinale Competition 2010 and distributed worldwide. (p.31, 50) Brkusic, Hrvoslava Giampà, Giorgio

Berlinale Talent Campus #9

Page Index of participants Index of countries

76 Participants

Giberti, Luca Kofler, Michael Milne, Anne R Steyer, Sabine Meet participants
Gieren, Stefan Kolb, Tilman Mishra, Bikas Ranjan Rachuba, Remigiusz Steytler, Willem from 88 countries:
Gildehaus, Lisa Koos, Olivier Molina, Catalina Raffel, Felix Stránská, Martina
Giorgetti, Alessio Koskas, Corentin Mollo, Fabio Rajabi, Hamed Strelnikova, Svetlana Afghanistan,
Goldstein, Verena Leona Kostovski, Ogi Morales, Maura Ramadan, Mohamed Szymańska, Joanna Albania, Angola,
Goula, Roger Kozemount-Sanidis, Moreira, Francisco Raman, Shanker Argentina, Armenia,
Grant, Lauren Michelle Efthymios Motoyoshi, Retsu Randriamahaly, Sitraka T Australia, Austria,
Greene, Nicholas Krastev, Georgi Muhumuza, Peter Rankin, Matthew Takkin, Helen Bangladesh, Belgium,
Greenspan, Gal Kristoffersen, Erlend M. Müjdeci, Hüseyin Kaan Rantonen, Mika Tanović, Ines Belize, Bolivia,
Griniūtė, Albina Krizmanić, Ivana Munsamy, Kimeshree Rebner, Daniel Tillotson, Rachel Bosnia and Herzegovina,
Grinspum, Daniel Krummenacher, Michael Reddy, Emmet Tisminetzky, Micaela Brazil, Bulgaria,
Groothof, Marinus Kubescha, Mirjam Anne N Reich, Julian Titova, Yana Cameroon, Canada,
Grosan, Cristina Kuonen, Sebastian Nasiru, Idi Reischer, Laila Torres, Harald Carlos Chile, China,
Großheim, Juliane Nel, Willem Renneke, Ursula Toulemonde, Jacques Colombia, Costa Rica,
Gueli, Caterina L Nesterenko, Mariia Reshetnikova, Ekaterina Traila, Alex Croatia, Cuba, Cyprus,
Guerrero, Ianis Lääne, Madli Neuville, Maaike Rév, Marcell Trifonova, Temenuga Czech Republic,
Lai, Yan Chi Niemczyk, Aleksandra Riddell, Benjamin Trinh, Dinh Le Minh Denmark,
H Laizāne, Agnese Nistor, Edgar Alexandru Rittmannsberger, Ecuador, Egypt,
Haddad, Fadi Lale, David Noonan, Mark Michael U-V Estonia, Ethiopia,
Halldorsson, Jakob Lamhene, Eric Norton, Sam Rodman, Miha Ugarte, Myriam Finland, France,
Hariche, Hugues Lamont, Emma Nyaruri, Zippy Rodríguez, Octavio Valente, Maria Georgia, Germany,
Haseen, Nohar Langhof, Julia Romagno, Andrada van der Tholen, Jemima Ghana, Greece,
Hazboun, Ramzi Laperrousaz, Clara O Rösch, Felix van Koevorden, Niels Guatemala,
Heinzerling, Zachary Lara, Katia Odabaşı, Eren Vardar, Özcan Honduras,
Hommer, Jörg Leclere, Astrid Okorougo, Obinna S Vavouris, Nikolaos Hong Kong,
Hörcher, Gábor Lee, David O'Leary, Terence Saag, Sigrid Vekarić, Barbara Hungary,
Hotait, Laila Lenken, Susanna Oliva, Mariana Saleem, Azhur Vilanova, Lara Iceland, India,
How, Angela Leo, Maximilian Olsson, Iris Salvatori-Sinz, Axel von Horn, Magnus Indonesia, Iran,
Hsiung, James Levick, Jessica Omewiri-Pius, Peter Samavi, Setareh von Lingen, Markus Ireland, Israel, Italy,
Hussaini, Sayed Jalal Liauw, Suryani Opalka, Tomasz Samusik, Rafal Voutas, Sam Jamaica, Japan,
Hutter, Magdalena Lim, Kah Wai Orey, Mauricio Santos, André Vukovic, Vesi Jordan,
Lindner, Tobias Orjonikidze, Nino Saqr, Hisham Salah Kazakhstan, Kenya,
I-K Lindström, Tobias Oswald, Thomas Sárkány, Claudia W Latvia, Lithuania,
Ilana, Nadira Little-White, Damali Sarmiento, Juan Wagenbauer, Kristina Luxembourg,
Inserra, Lovissa Ļitvinova, Elīna P-Q Sattarov, Azizbek Wagner, Johanna Madagascar,
Ismaiel, Ahmed Lo Savio, Giorgia Pacsay, Attila Savill, Michelle Wai Kit, Wong Malaysia, Mexico,
Ivanov, Volodymyr López, Nazly Pálos, Gergely Scarlato, Dimitri Wallner, Martin Moldova,
Jalla, Rajesh Lovre, Ivana Paradis, Katia Scheidt, Marie Elisa Warrink, Derk-Jan Netherlands,
Jimeno, Margarita Lupik, Victoria Parhizgar, Golkou Schmidt, Steffen Philipp Watson, Justine New Zealand,
Jurkiewicz, Tomasz Pastor, Carles Schönherr, Andrea Weber, Klaudia Aida Nigeria, Norway,
Kadan, Soudd M Pedregal, Alejandro Sedgwick, Gabriel Wermke, Christoph Pakistan,
Kalafati, Dafni Foteini Machado, Paulo Pedreira, Rafael Segal, Ron Weydemann, Jonas Palestinian Territory,
Kamya, Agnes Maciulskis, Vilius Petev, Vladimir Sekyaya, Patrick Wigens, Jon Peru, Philippines,
Kangas, Jonas Mackerras, Josephine Pianezza, Pamela Selonk, Aletéia Włodarski, Mariusz Poland, Portugal,
Kanic, Vladimir Magee, Micah Pfeifer, Mario Shakeel, Mohammed Wolf, Janine Romania,
Kato, Yosuke Marre, Emmanuel Pitsillidou, Theofano Shan, Zuolong Wysocki, Jonathan Russian Federation,
Kerimaa, Ville-Veikko Martínez, Jesús Gerardo Portillo, Otilia Sheridan, Tomás Serbia, Singapore,
Kesteris, Pauls Masferrer, Marta Pourseifi, Hossein Shoval, Deborah Y-Z Slovenia, South Africa,
Khaindrava, Giga Matthews, Kate Procter, David Šimić, Ivana Yamamoto, Hyoe South Korea,
Khan, Jibran Mavroidi, Martha Protsenko, Guillaume Singh, Pushpender Yim, Kyung-dong Spain, Sweden,
Khedr, Tamer Maza, Santiago Prühl, Karsten Skalski, Rafal Zabukaite, Jurga Switzerland, Syria,
King, Peter Mazzi, Enrico Pujol, Anna Snorrason, Ragnar Zaharia, Thailand, Tunisia,
Kirkland, Alex McConville, Sean Quadekker, Matthias Sokolova, Ekaterina Maria-Florentina Turkey,
Klem, Flemming McGrath, Anna Quinones, Jesse Solf, Rita Zirngibl, Christoph Uganda, Ukraine,
Christian Meghie, Alison Soper, Ben Zlotorowicz, Piotr United Kingdom,
Klepatski, Dimitri Mendoza, David Carlos Sotorra, Alba Zogka, Elena Antigoni United States,
Knuten, Henrik Martin Mesich, Jennifer St. John, Jennifer Zoldnere, Astra Uruguay,
Koçi, Gentian Mijović, Luna Stan, Monica Zoratti, Carlo Vietnam
Danke schön!
MANY THANKS
ACPFILMS Frédérique Westhoff, Moussa Sawadogo.
Ambassade de France Charles Malinas,
Nathalie von Bernstorff and Carole Lunt.
A&O HOTEL and HOSTEL Mitte Robert Hering, Tina
Bierwolf, Denitza Babekova and Jasper Beckmann.
ARTE Deutschland Hans Robert Eisenhauer and
Kathrin Brinkmann.
ARTE France Michel Reilhac and Annamaria Lodato.
Auswärtiges Amt (Federal Foreign Office)
Dr. Guido Westerwelle, Werner Wnendt,
Max Mal­­dacker, Helmut Lörsch, Bernhard Abels and
Katharina Cramer-Hadjidimos.
Bar 7000 Jeremias Loock.
Berliner Pilsener Bettina Pöttken.
Berlin Today Award Producers 2011 Beleza Film:
Jessica Landt, Falk Nagel; Filmkantine: Katrin Springer,
Volker Ulrich; heimatmedien: Moritz Wessendorff;
Kloos & Co. Medien: Stefan Kloos, Vanessa Temp;
Macchiato Pictures Filmproduktion: Ismail Sahin,
Holger Sorg.
Binger Filmlab Gamila Ylstra and Marten Rabarts.
BKM – Der Beauftragte der Bundesregierung für
Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg
Berggreen-Merkel, Ulrike Schauz and Michael Knoche.
BMW Karsten Engel, Maximilian Schöberl,
Manfred Bräunl and Hans-Reiner Schröder.
British Council Rebecca Walton, Amaka Ugwunkwo,
Christine Bardsley and Elke Ritt.
Camelot Broadcast Services Victor Nikolaidis,
John Henry and Christian Klimpke.
COLT Dr. Adelino Santos.
Daazo Film and Media Ltd. Dániel Deák, Zoltán Aprily
Deutsche Weine Monika Reule.
Deutsche Welle Eric Bettermann, Christoph Lanz,
Rainer Traube, Arno Hefner, Melanie Matthäus, Bettina
Kolb, Dieter Roser, Hanne Kehrwald, Fred Oelschlegel,
Pamela Schobess, and the Deutsche Welle trainees.
Deutsches Filmorchester Babelsberg
Klaus-Peter Beyer and the musicians.
dffb – German Film and Television Academy
Prof. Jan Schütte, Maximilian Müllner,
Kathrin Osterndorff, Stefan Beckers, Laura Gintar
and Alex Leser.
Dolby Laboratories Julian Pinn and Hubert Henle.
Durban International Film Festival Peter Rorvik
and Nashen Moodley.
European Film Academy Marion Döring,
Stephanie Röders and Pascal Edelmann.
European Film Market Beki Probst, Catherine Buresi.
European Film Promotion Renate Rose and Karin Dix.
ewerk Ralf Regitz (†), Friedrike Tiedtke, Tjabo Reuter.
Festival internazionale del film di Locarno
Nadia Dresti and Mario Timbal
FFA – German Federal Film Board Peter Dinges,
Christine Berg and Birthe Klinge.
FIDMARSEILLE Jean-Pierre Rehm, Fabienne Moris
and Anaëlle Bourguignon.
FIPRESCI Klaus Eder.
Fraunhofer / Heinrich Hertz Institut Michael Witte
and Ralf Schäfer.
Gahrens & Battermann Michael Kugel.
Goethe-Institut Buenos Aires Stefan Huesgen,
Dr. Gabriela Massuh and Inge Stache.
Goethe-Institut Johannesburg Peter Anders.
Goethe-Institut Mexico Folco Näther, Sebastian Huber.
Goethe-Institut Tokyo Raimund Wördemann
and Mihoko Tanno.
Goethe-Institut München Prof. Dr. Klaus-Dieter
Lehmann, Dr. Hans-Georg Knopp,
Dr. Christian Lüffe and Marina Ludemann.
Gorol & Partner Stephan Gorol, Verena Zimmermann
and Leonie Würfel.
Guadalajara International Film Festival
Iván Trujillo Bolio.
Hebbel am Ufer (HAU 1-3) Matthias Lilienthal,
Sonja Hildebrandt, Rahel Häseler, Elisabeth Knauf,
Kirsten Hehmeyer, Matthias Schäfer, Kathrin Veser
and the entire HAU team for their cool theatre.
Holland Subtitling Wibo de Groot, Ron van der Meij.
Hugo Boss Philipp Wolff and Claudia Schmidt.
IDFA Cathalijne de Wilde.
Insight Out Max Hemmo.
Internationale Kurzfilmtage Oberhausen
Marcus Schütte.
jobs und böhm Sonja Jobs and Sylvia Böhm.
Kulturprojekte Berlin Tommy Nick.
London Film School Ben Gibson.
L’ORÉAL PARiS Jérôme Bruhat, Yvonne Rostock
and Heike Leder.
Manfred Durniok Foundation Michiko Teramoto.
MEDIA Training Programme of the European
Union Aviva Silver, Costas Daskalakis, Arnaud Pasquali,
Soon-Mi Peten and Aurélie Varin.
MEDIA International
Irina Orssich Slavetich and Emmanuel Cocq.
Medienboard Berlin-Brandenburg Kirsten Niehuus,
Elmar Giglinger and Daniel Saltzwedel.
Nipkow Programme Uta Ganschow
and Petra Weisenburger.
Rabenhorst Johannes H. Mauss.
Robert Bosch Stiftung Dr. Ingrid Hamm,
Dr. Kurt Liedtke, Frank Albers and Karin Angela Schyle.
Sarajevo Film Festival Mirsad Purivatra,
Amra Baksić Camo and Jovan Marjanović.
Serve-U Phillip Sünderhauf.
SOURCES 2 Dr. Renate Gompper, Marion Gompper.
Talent Campus Buenos Aires María Marta Antin,
Manuel Ferrari and Agustina Arbetman.
Talent Campus Durban Monica Rorvik.
Talent Campus Guadalajara Lorena Rossette Riestra
and Ana de la Rosa Zamboni.
Talent Campus Sarajevo Asja Makarević,
Ivana Pekušić and Adnan Beširović.
Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer.
Theaterkunst Susanne Franke, Nikole Fölster,
Birgit Raabe.
Page
77
The Film and Television University (HFF)
„Konrad Wolf“ Prof. Dieter Wiedemann,
Prof. Martin Steyer and Holger Lochau.
The Post Republic Rebekka Garrido and Michael Reuter.
TOP-IX Torino e Piemonte Internet Exchange
Silvano Giorcelli and the entire team.
U.S. Embassy Berlin Philip D. Murphy, Elisabeth Corwin,
Wolfgang Brandt and Kerstin Reichert.
VFF Prof. Johannes Kreile, Prof. Norbert Flechsig
and Prof. Georg Feil
Viva con Agua Benjamin Adrion.
Wave-Line Matthias Behrens.
Wirtshaus am Ufer Thomas King and the entire team.
20sec.net Jens Rietdorf and Robert Wagner.
KBB – Kulturveranstaltungen des Bundes in Berlin
GmbH Charlotte Sieben, Ute Meyer, Johannes Emig,
Andrea Schreiber, Susanne Grünberg, Petra Hemprich,
Stefan Martin and Jana Daubitz.
Berlin International Film Festival: Our colleagues
Thomas Hailer, Bernadette Kamp, Juliane Grieb, Antonia
Pössinger, Denise Anh-Dao Beyschlag, Karin Hoffinger
and Daniela Weber. Johannes Wachs and Wolfgang
Janßen. Anne Gebhardt, Kerstin Iskra, Melike Öztürk,
Dr. Albert Drügemöller and Eva Simhart. The section
heads Christoph Terhechte, Maike Mia Höhne, Dr. Rainer
Rother, Maryanne Redpath and Florian Weghorn, Linda
Söffker, Wieland Speck and their teams. Vincenzo Bugno,
Stefanie Schulte Strathaus, Wilhelm Faber, Frauke Greiner,
Dagmar Forelle, Anne Marburger and their teams.
Hans von Trotha. Markus Hönle, Nina Orda, Gunnar
Gilgen and Irena Akopjan; Karen Arikian, Anke Leweke,
Elisabeth Lequeret, Alexis Grivas, Pamela Pickering,
Nikolaj Nikitin, Norman Wang and Dorothee Wenner for
strategic expert approach. Last but not least Dieter
Kosslick! Our juries: Score Competition Klaus-Peter
Beyer, Martin Steyer, Martin Todsharow, Angelina
Maccarone. Doc Station Kathrin Brinkmann, Fabienne
Moris, Sirkka Möller. Script Station Alby James, Franz
Rodenkirchen, Merle Kröger. Talent Project Market
Katriel Schory, Roshanak Behesht Nedjad, Ellis Driessen
and Prof. Georg Feil. Talent Press Klaus Eder, Marina
Ludemann, Oli Baumgarten, Rubaica Jaliwala, Frauke
Greiner, Christiane Steiner. Berlin Today Award Jury
Dorka Gryllus, Peter Rommel, Hannes Stöhr. Berlin Today
Award preselection Daniel Saltzwedel, Bärbel Mauch,
Alexandra Gramatke, Gerhard Meixner, Christiane
Steiner. Special thanks to Peter Cowie and Liz Rosenthal.
Campus Team 2011 Andrea, Anja, Ana, Anna, Andreas,
Carme, Christiane, Daniel, Farina, Jana, Janne, Johannes,
Kathi, Katrin, Kevin, Lira, Marcie, Marcus, Maria, Marjorie,
Merle Ka., Merle Krö., Michael, Nan, Nicole, Oli, Rubaica,
Sirkka, Stefan, Susann and Tobi; to all photographers,
volunteers, angels, service suppliers and technicians.
Many thanks to our location partners
Berlinale Talent Campus #9
Page Imprint

78 Team

Matthijs Wouter Knol, Marjorie Bendeck, Kevin Murphy, Kathi Bildhauer, Marcus Forchner, Carme Correa, Farina Isrusch,
Maria Casas, Michael Hoffmeister, Christiane Steiner, Rubaica Jaliwala, Andrea Rieder, Merle Kröger, Andreas Westphal,
Nicole Münch, Tobi, Lira Lousinha, Anna Lässer, Katrin Wirth, Johannes Sieverding, Jana Daedelow, Anja Joos,
Merle Kasprzak, Oliver Baumgarten, Christine Tröstrum, Nan Xiao, Stefan Pethke, Verena Zimmermann, Sirkka Möller
and Marcie Jost. (from left to right)

Berlin International Editor Talent Project Market Press Acquisition Rubaica Jaliwala, Publisher
Film Festival Daniel Bickermann Dr. Kathi Bildhauer, & Support Matthijs Wouter Knol, Berlin International
Festival Director Sonja Heinen Susann Pataki Farina Isrusch, Film Festival
Dieter Kosslick Online Editor Talent Press Daniel Bickermann
Marcus Forchner Oliver Baumgarten, Administration Support Berlinale Talent Campus
Berlinale Talent Campus Rubaica Jaliwala Michael Hoffmeister Cartography Potsdamer Straße 5
2011 Talent Administration Talent Actors Stage Runze & Casper, 10785 Berlin
Programme Manager Coordination: Anja Joos Event Agency Berlin
Matthijs Wouter Knol Marjorie Bendeck , Berlin Today Award Gorol & Partner: Phone: +49 30 25 92 05 15
Lira Lousinha Christiane Steiner, Stephan Gorol, Photography Fax: +49 30 25 92 05 19
Project Manager Maria Casas Verena Zimmermann, Berlin International campus@berlinale.de
Christine Tröstrum Selection Commitee Leonie Würfel Film Festival, www.berlinale-talentcampus.de
Marcie Jost, Guest Managers David Ausserhofer,
Head of Press Kevin Murphy, Jana Daedelow, IT Project Management Peter Himsel and An initiative of the Berlin International
Film Festival, a business division
and Communication Stefan Pethke, Anna Lässer 20sec.net –Jens Rietdorf co­op­eration partners, of the Kulturveranstaltungen des
Christiane Steiner Ana de la Rosa Zamboni distributors, Bundes in B ­ erlin GmbH.
Trainee IT Technology film productions
Programme Coordination Hands-on trainings Merle Kasprzak serve-u –
Andrea Rieder Score Competition Phillip Sünderhauf Print | Design
Marcie Jost, Interns Print
Events & Administration Janne von Busse Programme Consultant Königsdruck, Berlin
Nicole Münch Campus Studio Farina Isrusch Peter Cowie Cover
Andreas Westphal, Press BOROS, Christian Boros,
Press & Communication Kevin Murphy, Johannes Siever­ding Imprint Ingo Maak,
Assistant Katrin Wirth Stefan Pethke Talent Administration Circulation 4.000 Sven Quadflieg
Doc & Script Station Nan Xiao Layout
Communication & Event Sirkka Möller, Website, Communication Editorial Office jobs und böhm,
Assistant Maria Casas Merle Kröger Carme Correa Oliver Baumgarten, Sonja Jobs
Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin

Celebrating Our Official Partners

Main Partner

Co-Partner

Supporter

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes
in Berlin GmbH , funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German Bundestag.

In cooperation with MEDIA – Training programme of the European Union and Medienboard Berlin-Brandenburg.

Berlinale Talent Campus #9

www.berlinale-talentcampus.de