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Titel Kino 1/2002 EXPORT-UNION OF GERMAN CINEMA 1/2002 AT BERLIN opening film in competition HEAVEN by Tom Tykwer ACCEPT DIVERSITY Interview with Dieter Kosslick GERMAN BOX OFFICE RECORD Michael ”Bully“ Herbig’s MANITOU’S SHOE SPECIAL REPORT Film Funding in Germany: The Big Six Kino Giovanni Ribisi,Giovanni GmbH) Cate Blanchett Pool (photo © X Filme Creative GERMAN CINEMA Illustration: Angela Hawkins Foto/AD: Werner Schauer Werner Angela Hawkins Foto/AD: Illustration: The Broadway to Business. European Film Market · debis Haus · Mercedes-Benz Showroom phone 0 30-2 53 58-3 72/-3 73 · fax 0 30-2 53 58-3 74 Export-Union des Deutschen Films · Munich · phone: +49-89-5 99 78 70 · Filmförderungsanstalt · Berlin · phone: +49-30-27 57 70 BERLINALE 2002 Willkommen auf der Berlinale 2002 – zu dem Event der Filmbranche. Erleben Sie Stars und Sternchen, tauchen Sie ein in die schillernde Szene und genießen Sie die Faszination Film. KODAK Meeting Point Treffen Sie Kodak im Meyerbeer Coffee-Shop, im Gebäude der Berliner Volksbank, Eichhornstraße 1, direkt neben dem European Film Market. Welcome to the Berlinale 2002 – a very special event for the film industry. Experience stars and starlets. Enjoy the glamorous scene and the fascination of film. KODAK Meeting Point Come join the KODAK team at Meyerbeer- Coffee-Shop, in the Volksbank Berlin building, Eichhornstr. 1, right next to the European Film Market. WELCOME thereʼs more to the story KODAK GMBH · Geschäftsbereich Entertainment Imaging © Eastman Kodak 2002 70324 Stuttgart · www.kodak.de/go/motion KINO 1/2002 32 Das Netz Lutz Dammbeck 33 Poem Ralf Schmerberg 34 Usedomer Maler Heinz Brinkmann 34 Weihnachten 6 Regional Film Funding in Germany Marc-Andreas Bochert The ”Big Six“ 35 Zersetzung der Seele Nina Toussaint, Massimo Iannetta 12 ”Accept Diversity“ Interview with Dieter Kosslick, Director of the Berlin International Film Festival 36 The 100 Most Significant German Films (Part 4) 14 The Realist Director’s Portrait Dominik Graf 36 Unter den Brücken UNDER THE BRIDGES 15 No Superfluous Sentences, Helmut Käutner No Lack of Emotion 37 Die Nibelungen: Siegfried (Teil 1) Director’s Portrait Hermine Huntgeburth NIBELUNGEN: SIEGFRIED (PART 1) Fritz Lang 18 ”Bringing German Films Back 38 Die Nibelungen: to the Forefront“ Kriemhilds Rache (Teil 2) World Sales Portrait ARRI Media Worldsales NIBELUNGEN: KRIEMHILD’S REVENGE (PART 2) 20 Company with an Fritz Lang Unmistakeable Identity 39 Der letzte Mann Producers’ Portrait zero film THE LAST MAN Friedrich Wilhelm Murnau 22 KINO news 40 Der müde Tod DESTINY Fritz Lang 28 In Production 28 Bibi Blocksberg Hermine Huntgeburth 42 New German Films 28 Gott ist tot Kadir Sözen 42 Absolut Warhola AT BERLIN 29 Harte Brötchen PERSPECTIVE Stanislaw Mucha Tim Trageser GERMAN CINEMA 43 Am Rande der Zeit – 30 Heimat 3 Männerwelten im Kaukasus Edgar Reitz ON THE EDGE OF TIME – MALE 30 Junimond DOMAINS IN THE CAUCASUS Hanno Hackfort Stefan Tolz 31 Die Madonna von Vlatodon 44 Baader AT BERLIN Mirjam Kubescha Christopher Roth IN COMPETITION 32 Nackt 45 Babij Jar Doris Dörrie Jeff Kanew CONTENTS 61 Klassenfahrt AT BERLIN FORUM SCHOOL TRIP Henner Winckler 62 Knallharte Jungs MORE ANTS IN THE PANTS Granz Henman AT BERLIN 46 BELLARIA – so lange wir leben! 63 Königskinder SPECIAL BELLARIA – AS LONG AS WE LIVE! Anne Wild PRESENTATION Douglas Wolfsperger 64 Der Mann von nebenan 47 Der Brief des Kosmonauten THE MAN NEXT DOOR THE COSMONAUT’S LETTER Dror Zahavi Vladimir Torbica 65 Missing Allen – Wo ist Allen Ross? 48 Es geschah im August – MISSING ALLEN - THE MAN WHO Der Bau der Berliner Mauer BECAME A CAMERA BUILDING THE BERLIN WALL – Christian Bauer ANATOMY OF A POLITICAL CRISIS 66 Nicht Fisch, nicht Fleisch Ullrich Kasten NEITHER FISH, NOR FOWL 49 Der Felsen Matthias Keilich AT BERLIN A MAP OF THE HEART 67 Nicole und Jean IN COMPETITION Dominik Graf NICOLE AND JEAN 50 Feuer, Eis und Dosenbier Juliette Cazanave Matthias Dinter 68 Nirgendwo in Afrika 51 Fickende Fische NOWHERE IN AFRICA AT BERLIN PERSPECTIVE DO FISH DO IT? Caroline Link GERMAN CINEMA Almut Getto 69 Der Schuh des Manitu GERMAN BOX 52 Germanikus MANITOU’S SHOE OFFICE RECORD Hanns Christian Müller Michael ”Bully“ Herbig OVER 10 MILLION ADMISSIONS 53 Die grüne Wolke 70 Semana Santa THE LAST MAN ALIVE Pepe Danquart Claus Strigel 71 Starbuck – Holger Meins 54 Halbe Treppe Gerd Conradt AT BERLIN IN COMPETITION GRILL POINT 72 Tattoo Andreas Dresen Robert Schwentke AT BERLIN 55 Heaven 73 Unterwegs in die nächste Dimension OPENING FILM/ Tom Tykwer NEXT DIMENSION: MIND OVER MATTER IN COMPETITION 56 Herz Clemens Kuby Horst J. Sczerba 74 Viel passiert – Der BAP Film 57 Hilfe, ich bin ein Junge! ODE TO COLOGNE AT BERLIN AT BERLIN HELP, I’M A BOY Wim Wenders OUT OF COMPETITION CHILDREN’S FILM FEST Oliver Dommenget 58 Die Hoffnung stirbt zuletzt 77 Film Exporters AT BERLIN FINAL HOPE GERMAN CINEMA Foreign Representatives Marc Rothemund 79 59 Hundsköpfe 79 Imprint DOG HEADS Karsten Laske AT BERLIN 60 Jochen – Ein Golzower FORUM aus Philadelphia JOCHEN – A GOLZOWER FROM PHILADELPHIA Barbara & Winfried Junge REGIONAL FILM FUNDING IN GERMANY German filmmakers are the envy of their colleagues around Moreover, State Minister of Culture Julian Nida-Rümelin, Europe because of the plethora of film subsidy programs at whose ministry also finances the annual German Film Awards (with national and regional level. Euro 2.8 million) and the German Short Film Awards (with Euro 150,000), has an additional Euro 3.6 million for backing culturally In fact, in 2000, some Euro 190 million was at the public funds’ innovative film projects and also makes a financial contribution to disposal to invest in all aspects of the film and television industry – the Council of Europe’s pan-European co-production fund from the development of screenplays through production and EURIMAGES, while the Kuratorium junger deutscher distribution to cinema modernization programs and the promo- Film, a public foundation funded by the states, places particular tion of German cinema and television abroad as well as running emphasis on the backing of newcomer filmmakers and children’s location offices to promote their respective locations and local films. infrastructures. The location offices offer a variety of information on shooting in the area, including the organization of location In addition, first-time filmmakers, short films and more experi- tours in the region. mental works are catered for by a network of regionally organi- zed, culturally-oriented film funds such as Filmbüro NW, In short, German cinema couldn’t survive without these film sub- Filmbüro Mecklenburg-Vorpommern and Kino & sidy programs which channeled some Euro 108 million of their Filmbüro Hessen. Euro 190 million total budget into production support. The essen- tial role played by the public funds becomes even more apparent Admittedly, Germany’s federal structure has both advantages and when one realizes that the production volume of the domestic disadvantages. On the one hand, a German filmmaker can travel film production in Germany has been between Euro 179 million from Schleswig-Holstein in the far north of the country to Baden- and Euro 205 million - meaning that around two thirds of the Württemberg in the deep south-west and stop off at all of the budgets for German feature films have come from the various film various regional film funds in between to scrape his budget subsidy programs. together. Although this article will be focusing on the six major On the other hand, critics argue, the result can often be a hotch- economically-oriented regional funds – Filmboard Berlin potch of compromises, a German road movie in the worst sense Brandenburg, FilmFernsehFonds Bayern, Film- of the word, the plot making sudden and unexplained relocations Förderung Hamburg, Filmstiftung NRW, MFG just in order to meet a particular fund’s requirements. Baden-Württemberg, and Mitteldeutsche Medien- förderung – one shouldn’t ignore the other players in this Such aberrations, though, have become more of the exception complex funding landscape, whose support programs comple- since the heads of the ”Big Six“ have taken various moves to ment and supplement those of the ”Big Six“ to provide financing harmonize their guidelines and funding application forms as well for domestic features and international co-productions. halting the spread of artificial road movies by coming to so-called ”bartering agreements“ in which the demand for proof of an The Berlin-based German Federal Film Board (Film- ”economic effect“ in each region can be waived if there is förderungsanstalt/FFA), for example, is particularly popular reciprocity between the funds. with producers since its production support is not tied to any regional ”effect“. With an annual budget of around Euro 61 The ”Big Six“ have also shown that cooperation makes sense million, the FFA also awards retroactive ”reference“ funding through their joint presence at the Berlin and Cannes Film to producers whose films reach certain thresholds on their Festivals with FOCUS Germany providing a central meeting theatrical release. point for foreign producers wanting to meet their German 6 Kino 1/2002 THE ”BIG SIX“ counterparts as well as a promotional platform for the funds and geared to raising the professional level of the producers in the the production location of Germany. region. At the same time, thanks to the Internet, the Berlin- Brandenburg Film Commission runs a data system HELP Similarly, the "Big Six" have stumped up Euro 255,000 each year to via www.bbfc.de which provides information about locations support the activities of the Export-Union of German in the region as well as a comprehensive address system. Local Cinema, in particular, the staging of Festivals of German Cinema industry events such as the European Film Awards, the Babelsberg around the globe in such cities as Buenos Aires, London, Los international film and television conferences, ScriptForum and Angeles, Madrid, Mexico City, New York, Paris and Rome.
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