Polish Days 27–29 July 2020
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Pitch Sessions
Book one-on-one 10 minute pitching sessions and pitch yourself or your project directly to these leading film industry professionals. Sean Cossey - Casting Director - Aikins/Cossey Casting “13 years ago I jumped head first into casting for film & television and haven’t looked back. As did almost every other casting director I know, I started as an assistant, and the rest is history as they say. I’ve had the great fortune of mentoring under one of Canada’s most renowned Casting Directors and feel truly privileged to have him as my partner-in-crime today. Together, we’ve had wonderful experiences… working with incredible Directors the likes of LAWRENCE KASDAN, CHRISTOPHER GUEST, and SCOTT HICKS and also exciting pop-culture phenomena’s such as the TWILIGHT series. Currently I’m working on a number of pilots for the upcoming season, with one to watch out for currently entitled THE WYOMING PROJECT for the CW being developed by Dan & AmySherman Palladino – creators of the GILMOUR GIRLS. And as for the most meaningful reward I get from doing what I do… seeing an actor grow, develop, and achieve their personal best…and all that comes with that.” Tyman Stewart - Talent Agent - The Characters Talent Agency Tyman Stewart has been working in the film industry for Twenty years as a talent agent. He is Senior Vice President and a partner in The Characters Talent Agency (West), and represents many of Canada’s finest actors. His clients can be seen on many Canadian and American television series, and film. Names include Brendan Fletcher, Carly Pope, Daniel Gillies (Spiderman 2 and 3), Amanda Tapping, Michael Shanks, Grace Park, Tyler Labine, Nancy Robertson, Cynthia Stevenson. -
Prime Time – Key
Prime Time – Key Test 4 Name: Klasse: Datum: 1. Listening: Facebook You will hear a discussion between two students about Facebook. For statements 1–6, choose the answer (True or False) which fits best according to what you hear. 1. This is the second discussion taking place this week. True False 2. Today millions of users must use Facebook. True False 3. Simon thinks Facebook is the best social platform. True False © Österreichischer Bundesverlag Schulbuch GmbH & Co. KG, Wien 2011 | www.oebv.at | www.testen-und-foerdern.at Alle Rechte vorbehalten. Von dieser Druckvorlage ist die Vervielfältigung für den eigenen Unterrichtsgebrauch gestattet. 1 / 17 Prime Time – Key 4. Lisa is not against online communication. True False 5. Simon argues that the owners of Facebook are not allowed to keep personal information. True False 6. Many people use Facebook to avoid going out. True False © Österreichischer Bundesverlag Schulbuch GmbH & Co. KG, Wien 2011 | www.oebv.at | www.testen-und-foerdern.at Alle Rechte vorbehalten. Von dieser Druckvorlage ist die Vervielfältigung für den eigenen Unterrichtsgebrauch gestattet. 2 / 17 Prime Time – Key Tapescript: Facebook Teacher Good morning everybody! I think today Simon and Lisa are up for this week’s discussion. (Pause) Simon … Lisa! Would you please take a seat out here. (Klassengeraeusche) If I remember correctly, you are going to discuss the positive and negative aspects of Facebook. Simon Yes … Good morning! Lisa and I have decided to talk about Facebook because social networking sites are becoming more and more significant for masses of people. (Pause) At the moment Facebook has got 500 million users and there are many, many teenagers among them, which is also a reason why we have chosen this topic. -
POLISH CREDIT UNION TV Polish Credit Union TV Is Owned and Operated by St
2018 ABOUT POLISH CREDIT UNION TV Polish Credit Union TV is owned and operated by St. Stanislaus – St. Casimir’s Polish Parishes Credit Union based in Toronto. The program was founded in 1988 (under the name of “Polish Studio”). The program is recorded and produced in the Polish language with occasional use of English content. It is aired weekly every Saturday from 10:30 am to 11:30 am* from the City - largest independent television station in Canada (www.citytv.com). Polish Credit Union TV The Polish Credit Union TV program can reach over 500,000 Polish viewers in Canada and also by 220 Roncesvalles Avenue many U.S. residents in the Rochester, Buffalo, and Detroit areas. Toronto, ON M6R 2L7 Polish Credit Union TV is highly respected in Canada’s Polish community and is enjoyed by it’s loyal C o n t a c t: viewers. Every weekly broadcast is current, informative and professional. Polish Credit Union TV Tadeusz Lis, producer program is additionally available for viewing online on YouTube, URL: www.polcu.tv Tel. 416. 537-2181 ext. 3266 cell: 416.995.8884 e-mail: [email protected] SALE OF COMMERCIAL TIME ON POLISH CREDIT UNION TV www.polcu.tv Polish Credit Union TV has exclusive rights to sell advertising time on City, every Saturday from 10:30 am to 11:30 am *. H e a d O f f i c e: ABOUT City™ St. Stanislaus - St. Casimir’s Polish Parishes Credit Union Limited City™ television stations in Toronto, Vancouver, Calgary, Edmonton, Winnipeg, Saskatchewan, 220 Roncesvalles Avenue and Montreal offer viewers intensely-local, urban-oriented, culturally-diverse television programming. -
Pitchfest Checklist: How to Prepare and What to Bring
Pitchfest Checklist: How to Prepare and What to Bring Jeanne Veillette Bowerman, ScriptMag Editor Pitching anxiety. We all get it. I bet even the pros get a teeny knot in their stomachs. Honestly, I hope to never lose the barb that snags at my insides. It keeps me on my toes. Yes, despite the contacts I have made at studios and production companies, I pitch at a pitchfests. Why? Because it’s a great way to get your foot in the door and make connections with new executives. It’s not about the sale of one idea; it’s about creating a relationship with new producers, submitting polished work that knocks their socks off, and making a great first impression to show them you’re a professional. First step: Be prepared. I don’t care how seasoned you are, there’s prep work involved in presenting your script for a possible sale. Here’s how I prepare for a pitching event as well as what I bring: 1. Travel arrangements: If you haven’t booked a flight yet, plan to stay an extra night. You’ll be exhausted after the event and need time to chill. This way, you can celebrate the success without having to race to the airport. When my schedule allows, I tack on a couple of extra days to take meetings and connect with my existing network who weren’t at the event. If you can get that extra day in L.A., it’ll also give you a chance to take a meeting with one of your old or new contacts, solidifying the connections. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Corpus Christi
CORPUS CHRISTI A FILM BY JAN KOMASA POLAND, FRANCE 2019 Corpus Christi is the story of a 20-year-old Daniel who experiences a spiritual transformation while living in a Youth Detention Center. He wants to become a priest but this is impossible because of his criminal record. When he is sent to work at a carpenter’s workshop in a small town, on arrival he dresses up as a priest and accidentally takes over the local parish. The arrival of the young, charismatic preacher is an opportunity for the local community to begin the healing process after a tragedy that happened there. SYNOPSIS Corpus Christi was actually inspired by true events. Was it It’s interesting that a person deprived of a traditional se- just one particular story? minary formation would actually touch people on a much deeper level. Daniel’s sermons in the film are very direct and There was one case, which actually generated some head- honest – how did you develop them? lines in Poland, of a boy who impersonated a priest for about three months. His name was Patryk and he was probably 19 In order to avoid making another broad comedy à la [Whoopi years old at the time. Mateusz Pacewicz, who wrote the script, Goldberg’s vehicle] Sister Act, we needed to make sure the wrote an article about it and that’s how this entire film came viewer would believe that these people believed as well. It into being. We changed his name to Daniel, but the characters was quite a challenge, both when it comes to the script and are similar and so is the way that led him to this small town. -
Pre-Production Guide for GCSE Film Studies
CONTENTS INTRODUCTION: WHAT YOU HAVE TO DO 3 WRITING A SCRIPT (500 words.) 4 CREATING A STORYBOARD (20 frames.) 8 PRODUCING A FRONT PAGE AND A CONTENTS PAGE FOR A NEW FILM MAGAZINE 14 PRODUCING A MARKETING CAMPAIGN FOR YOUR FILM (At least 4 items.) 20 HOW WILL YOU DO? 22 GCSE FILM STUDIES GUIDE TO PRE-PRODUCTION PRE-PRODUCTION: (ALMOST) THE FINAL FRONTIER! INTRODUCTION: WHAT YOU HAVE TO DO Ok boys and girls, hereʼs the brief guide to making your pre-production, as promised. As you know, this will need to be finished as a first draft BEFORE you come back to school, along with the pitch. This is all your first shot at this, remember, so while it needs to be complete, you WILL be able to improve upon it before final hand in. Thereʼs lots of advice and pictures to help you along the way with your work in your text book, but hereʼs a few more handy hints and tips for completing the work to help you along the way. First, hereʼs what the exam board wants you to do: ʻSelling an Idea – Pitch and Pre-production (30 marks) These two linked pieces are designed to enable an understanding of the ways in which films are created and sold. Students will have already completed their initial research and analysis focussing on a film that they have chosen, the following two elements of the coursework gives them the chance to explore ideas for their own film. They should work on their own with a specific target audience in mind. -
Coproduction Market Guide
COPRODUCTION MARKET GUIDE MEDIA Antena Catalunya MEDIA Antena Andalucía MEDIA Antena Euskal Herria MEDIA Desk Spain The Coproduction Market Guide has been designed to provide independent European producers and distributors with information related to events and markets around Europe where they can meet potential coproducers, distributors, broadcasters and sales agents. Special thanks to the MEDIA Desk Switzeland MEDIA Antena Catalunya Mestre Nicolau 23, entresól 08021 Barcelona Tel.: 34 93 5524940 / Fax: 34 93 5524953 E-mail: [email protected] www.antenamediacat.eu MEDIA Antena Andalucía C/ Levíes, 17 41004 Sevilla Tel.: 34 95 5037258 / Fax: 34 95 5037265 E-mail: [email protected] www.antenamediaandalucia.com MEDIA Antena Euskal Herria Ramón María Lili 7, 1ºB 20002 San Sebastián Tel.: 34 943 326837 / Fax: 34 943 275415 E-mail: [email protected] www.mediaeusk.eu MEDIA Desk Spain Ciudad de la Imagen Luis Buñuel 2, 2ºA 28223 Pozuelo de Alarcón (Madrid) Tel.: 34 91 5120178 / Fax: 34 91 5120229 E-mail: [email protected] www.mediadeskspain.com European Co-Production Meetings The Co-Production Meetings are designed for bringing together film professionals in order to encourage opportunities for international co-production and to contribute actively to the dynamism of the film industry. These one-to-three-day events, such as Cinemart in Rotterdam, B2B in Belgrade, Producers Network in Cannes, Open Doors in Locarno, CineLink in Sarajevo, Crossroads in Thessaloniki and Baltic Event in Tallinn serve as a meeting platform for a variety of industry professionals from all over the world, people who are looking for high-quality international projects, good business contacts and new initiatives for co-operation with other countries. -
Official Feature Film Pitch Deck
Official Feature Film Pitch Deck Written & Directed By Alejandro Montoya Marin Love is not like in the movies... right? Synopsis LOW/FI was created with a delicate balance between comedy and drama. It analyzes the life of Lea, a woman in her early 30’s, who has been heavily influenced by pop culture since childhood. After years of mimicking and adhering to advice conveyed through music and film, she is disappointed to find that life isn’t panning out as expected and she is slipping further away from her dreams. Lea then stumbles across the startling realization that she has fallen for the tricks and lies coerced by mainstream society. But everyone knows as adults, being yourself is what is important and it is a lesson that Lea learns throughout the film. Logline: Lea has spent her whole life thinking that love is like movies and tv. After a series of terrible relationships, Lea decides to purge pop culture from her life in an attempt to find real love and the real meaning of her life. Theme: Pop culture gives us unrealistic expectations about the nature of love and life. Tone: The quirkiness of “Scott Pilgrim vs. The World” meets the quarter-life drama of “Garden State.” Director’s Statement LOW/FI is very near and dear to my heart. Although the main character, Lea, is female, I completely identify with her and my intuition tells me that people from all walks of life and from various generations will, as well. Music is a universal art that spikes emotions at any given time. -
Encounters with 'China' in Popular Japanese Television Dramas
1 (De)Constructing Identities? Encounters with ‘China’ in Popular Japanese Television Dramas Prof. Hilaria Gössmann PhD, Griseldis Kirsch MA, University of Trier, Germany 1. Introduction The history of Japanese television drama is nearly as old as the history of Japanese television itself. Since the first production was aired the same year television emerged there (in 1953), television dramas have been highly successful.1 Although the influence of American family dramas and movies was enormous, Japanese TV stations – both private and public – soon began producing their own dramas, which over time became more popular than American productions (Hirahara 1991a: 19-20). Japanese television dramas are roughly divided into television films (tanpatsu dorama) and television series (renzoku dorama).2 Particularly in the 1950s and 1960s, both films and series tended to address socially controversial topics such as Japan’s own war history or social problems. Thus, Japanese television dramas are not only ‘pure entertainment’, rather films are praised for their ‘closeness’ to society and are often produced as entries for ‘Art Festivals’ (geijutsusai)3 (Hirahara 1994: 46). A survey conducted in the 1980s, however, found that women do not only watch television dramas for entertainment; on the contrary, they use drama as a means to obtain ideas for their own way of living (Masumedia bunka to josei ni kansuru chôsa kenkyûkai (ed.) 1986: 109).4 Although both the number of television dramas broadcast as well as the ratings sank significantly in the 1980s, the producers and authors of television dramas still endeavored to 1 The first dramas were mainly live telecasts. 2 Television films are produced and broadcast by both NHK (the public Japanese television station) and commercial stations. -
Investor Presentation
Investor Presentation September / October 2011 TF1 GROUP Pay TV Advertising Diversification Audiovisual Broadcasting Free Channels Production (()France) adggyency & Internet rights international 2011: A RECORD FOR TV CONSUMPTION Women<50: 3h52 12’ min more vs 2010 / +5% 3h52 3h44 4 +: 3h46 3h40 3h40 16’min more vs 2010 / +8% 3h34 3h32 3h46 3h28 3h31 3h24 3h24 3h13 3h19 3h27 3h24 3h26 3h29 3h23 3h30 3h11 3h22 3h23 3h02 3h18 3h16 3h03 3h08 3h09 3h14 3h00 3h00 2h59 2h57 2h53 3h07 3h03 2h59 2h52 2h47 2h51 2h46 2h46 2h39 2h42 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 Source: Médiamétrie/Médiamat (TV Consumption / January-July) TF1, A EUROPEAN LEADER Audience share (in%) of leading European channels Gap between each leader on their own national territories for H1 2011 (*) and its challenger Leader TF1 23,8 8.6 pts Challenger France 2 15,2 Leader BBC 1 20,9 5.4 pts Challenger ITV1 15,5 Leader RTL 14,2 1.4 pts Challenger Das Erste 12,8 Leader TVE1 14,9 0.8 pts Challenger Tele 5 14,1 Leader Rai 1 19,1 1.5 pts Challenger Canale 5 17,6 Source: Médiamétrie – 1st half 2011. 4 + (France) / Eurodata TV – BARB - Kanter Media (UK) / Eurodata TV – AGB – GFK (Germany) / Kantar Media (Spain) / Eurodata TV – Auditel – AGB Nielsen (Italy). FIRST-HALF 2011: UNRIVALLED TELEVISION OFFER 50 best audiences All channels combined 23. 8% 26. 8% audience share audience share Individuals Women<50 pdm Very solid leader 6.3 50 / 16 / 2 million viewers 50 prime time with over 8 million viewers in prime time 16 with over 9 million 87% 2 with over 10 million of top evenings with Individuals Source: Médiamétrie – Médiamat 5 TF1, 1ST FRENCH TV CHANNEL (ON INDIVIDUALS – 4 YEARS AND +) Audience share 4 years and + (in %) Jan.–Aug. -
Industrial Trajectory and Regulation of the French TV-Market Victor Lavialle
Industrial trajectory and regulation of the French TV-market Victor Lavialle To cite this version: Victor Lavialle. Industrial trajectory and regulation of the French TV-market. Economics and Fi- nance. Université Paris sciences et lettres, 2019. English. NNT : 2019PSLEM049. tel-02439079 HAL Id: tel-02439079 https://pastel.archives-ouvertes.fr/tel-02439079 Submitted on 14 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Prepar´ ee´ a` MINES ParisTech Trajectoire Industrielle et Reglementation´ de l’Audiovisuel en France Industrial Trajectory and Regulation of the French TV-market Soutenue par Composition du jury : Victor Lavialle Franc¸oise Benhamou Le 17 decembre´ 2019 Professeure d’Economie,´ Universite´ Presidente´ Paris 13 Marc BOURREAU Professeur d’Economie,´ Tel´ ecom´ Paris- Rapporteur ´ o Tech Ecole doctorale n 396 Paul BELLEFLAMME Economie,´ Organisation, Professeur, UC Louvain Rapporteur Societ´ e´ Thomas PARIS Professeur, HEC Paris Examinateur Elisabeth´ FLURY-HERARD¨ Vice-presidente´ de l’Autorite´ de la Con- Examinatrice Specialit´ e´ currence Olivier BOMSEL Economie´ et Finance Professeur d’Economie,´ Mines Paris- Directeur de these` Tech Acknowledgements First and foremost, I would like to express my gratitude to Olivier Bomsel, for trusting me with this challenging research topic, and for providing me with a dedicated and pedagogical supervision.