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Filmby Århus Hammerich Ifølge Piil Tju-Bang

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Filmby Århus Hammerich Ifølge Piil Tju-Bang TJU-BANG HAMMERICH IFØLGE PIIL FILMBY ÅRHUS Hidtil har Nordisk Film og Zentropa domineret det danske Morten Piil forbereder en ny bog om danske filminstruk- Der er grøde i det århusianske filmmiljø. Hidtil har Nils filmmiljø; men nu begynder kameraerne at rulle hos en tører, der udkommer til efteråret på Gyldendal. FILM Malmros og Aage Rais-Nordentoft været ene om at lave tredje spiller. SF Film har købt sig ind i Tju-Bang Film, holder sneak premiere på et kapitel fra bogen i anled- spillefilm på århusiansk; men nu melder flere af byens og målet er at blive en vigtig spiller med både kunst- ning af Rumle Hammerichs tilbagevenden til instruk- øvrige filmselskaber og filmskabere sig som spillefilm- neriske og kommercielle film. tørstolen med Unge Andersen. producenter og instruktører. SIDE 3 SIDE 6 SIDE 12 l1l FILM UDGIVES OG DISTRIBUERES AF#42 DET DANSKE FILMINSTITUT / MARTS-APRIL 2005 SIDE 2 / FILM#42 TJU-BANG HAMMERICH IFØLGE PIIL FILMBY ÅRHUS Hidtil har Nordisk Film og Zentropa domineret det danske Morten Piil forbereder en ny bog om danske filminstruk- Der er grøde i det århusianske filmmiljø. Hidtil har Nils filmmiljø; men nu begynder kameraerne at rulle hos en tører, der udkommer til efteråret på Gyldendal. FILM Malmros og Aage Rais-Nordentoft været ene om at lave tredje spiller. SF Film har købt sig ind i Tju-Bang Film, holder sneak premiere på et kapitel fra bogen i anled- spillefilm på århusiansk; men nu melder flere af byens og målet er at blive en vigtig spiller med både kunst- ning af Rumle Hammerichs tilbagevenden til instruk- øvrige filmselskaber og filmskabere sig som spillefilm- neriske og kommercielle film. tørstolen med Unge Andersen. producenter og instruktører. SIDE 3 SIDE 6 SIDE 12 l1l FILM UDGIVES OG DISTRIBUERES AF#42 DET DANSKE FILMINSTITUT / MARTS-APRIL 2005 INDHOLD TJU-BANG FILM Med SF Films køb af Tju-Bang Film får de øvrige danske producenter en ny, tung konkurrent. Målet er at blive en vigtig spiller på det danske filmmarked. Side 3-5 Foto: Per Morten Abrahamsen RUMLE HAMMERICH Dansk films flittigste beskriver og kritiker, Morten Piil, forbereder en ny bog om danske filminstruktører, der udkommer til efteråret på Gyldendal. FILM bringer en sneak premiere på et kapitel fra bogen i anledning af Rumle Hammerichs tilbagevenden til instruktørstolen FILM#42 / med Unge Andersen. Side 6-9 MARTS-APRIL 2005 6. ÅRGANG PORTRÆTINTERVIEW med den nye områdedirektør for Produktion og Udvikling i Det Danske Filminstitut, Jørgen Ramskov. Side 10-11 Foto: Erik Aavatsmark FILMBY ÅRHUS Ikke siden stumfilmens æra i 1910’erne har der været planer om så mange spillefilm i Århus, som der er nu. Hidtil har Nils Malmros og Aage Rais-Nordentoft været ene om at lave spillefilm på århusiansk; men nu melder flere af byens øvrige filmselskaber og filmskabere sig som spille- filmproducenter og instruktører. Side 12-15 DEAR EUROPE ”Vi rakker rundt som sigøjnere i Europa og slår os ned, hvor finansieringsmulighederne og de bedste locations findes”, siger Peter Garde fra Zentropa. 250 europæiske film realiseres hvert år som koproduk- tioner, hvilket er ca. 40 % af alle de film, der produceres i de europæiske lan- de. Med udgangspunkt i Thomas Vinterbergs nye film Dear Wendy, ser vi på aktuelle erfaringer med danske film på udenlandsk. Side 16-19 DIRECT CINEMA, CINÉMA VÉRITÉ, Free Cinema, Candid Eye – kært barn UDGIVET AF Det Danske Filminstitut har mange navne og i dette tilfælde flere fædre. De mødtes i Amsterdam i REDAKTØRER Agnete Dorph Stjernfelt, Susanna Neimann REDAKTION Lars Fiil-Jensen, november til et todages-seminar i forbindelse med dokumentarfilmfestivalen Vicki Synnott DESIGN Koch & Täckman AD IDFA. Robert Drew, Albert Maysles, Richard Leacock, Joan Churchill, Nick Anne Hemp, Pernille Volder Lund TYPOGRAFI Broomfield og Frederick Wiseman talte ikke alene om deres livslange erfaringer Cendia (e©), Millton (e©), Underton (e©) PAPIR Munken Lynx 100 gr. TRYK Holmen Center Tryk med dokumentargenren og de mange titler, de har bag sig, (hvoraf en del er A/S OPLAG 6.000 ISSN 1399-2813 FORSIDE blevet klassikere,) men også om deres helt nye produktioner. Dola Bonfils og Unge Andersen Foto: Erik Aavatsmark Tue Steen Müller rapporterer. Side 20-23 Artiklerne er, hvis ikke andet fremgår, skrevet af freelance filmkritikere og journalister. VIBE MOGENSEN har lavet en personlig dokumentarfilm om sin far, der er psykisk syg. Filmen går tæt på instruktøren og hendes familie; men hun håber, ABONNEMENT [email protected] at den taler til mange. Interview med Vibe Mogensen. Side 24-25 FILM NYT Nye film i DFI-distribution, nye bøger i boghandelen, nyheder og BRUG BLADET FILM modtager gerne indlæg og idéer til kommende numre. Skriv til lister. Side 26-35 [email protected] eller [email protected]. RESULTATER OG STILLINGER Hvem har fået støtte til hvad? Hvilke film DET DANSKE FILMINSTITUT har solgt flest billetter? Hvilke filmselskaber har fået mest støtte? Hvem har Gothersgade 55 lavet flest film? Se støttestatistikken 2000-2005. Side 32-34 1123 København K tlf 3374 3400 FILM #43, der udkommer i maj, bliver på engelsk i anledning af Cannes Filmfestivalen og distribueres som sædvanlig til alle abonnenter. PRODUCENTPROFIL / FILM#42 / SIDE 3 DETNYE PAR I DANSK FILM: SF FILM & TJU-BANG Foto: Per Morten Abrahamsen SIDE 4 / FILM#42 / PRODUCENTPROFIL Med SF Films køb af Tju-Bang Film får de øvrige kan man spotte nye talenter og erfarne folk kan prøve kræfter danske producenter en ny, tung konkurrent. Målet er af. Samtidig er fiktion og dokumentarfilm vigtige for hinanden. at blive en vigtig spiller på det danske filmmarked. I dokumentargenren lærer man f.eks. at lave grundig research og få detaljer og fakta helt på plads,” siger Sigrid Dyekjær. AF DORTHE NIELSEN OPKØB SKAL SIKRE DISTRIBUTION For SF Film handler opkøbet om at få bidt sig endnu bedre fast Hvor Danmark tidligere har været præget af to store spillere i på det danske filmmarked. Selskabet gjorde sin entré på det filmmiljøet – Nordisk Film og Zentropa – begynder kameraerne danske marked med deres distributionsforretning i 1999. Alle- nu at rulle hos en tredje. Pr. 1. januar købte det svensk-ejede rede tre år efter stod firmaet med en markedsandel på over 30 %. SF Film sig nemlig ind i Tju-Bang Film, og målet er en kombi- Samme niveau blev holdt i 2003; men sidste år dykkede tallet nation af film med høj kunstnerisk kvalitet og kommerciel værdi. ned omkring 21 %, da selskabets store indtjeningskilde, tri- “Det er ikke en målsætning i sig selv at blive blandt de tre logien om Ringenes Herre, begyndte at tørre ud. Derfor har SF største; men vi tager da gerne handsken op,” siger Michael Film i længere tid været på udkig efter et velegnet dansk pro- Fleischer, adm. direktør i såvel SF Film A/S som i det nydannede duktionsselskab til at løfte forretningen op igen. Med dansk Tju-Bang Film A/S. films usædvanligt store succes kræver det nemlig danske film i Også hos Tju-Bang Film er man klar til at tage kampen op. distribution, hvis man skal gøre sig gældende i Danmark. Filminstruktør Jacob Thuesen, der er aktuel med Anklaget, siger: “At vi kaster os over filmproduktion skyldes, at vi gerne vil “Det ville da være fantastisk, hvis vi kunne rykke lidt ved have kontrol over danske spillefilm og sikre dem til vores distri- filmlandskabet i Danmark. Jeg er dyb modstander af Arla og bution. Og vil man i dag have distribution af danske spillefilm, andre monopoler, så vi tager gerne konkurrencen op med kræver det, at man går meget tidligt ind,” konstaterer Michael Zentropa og Nordisk.” Fleischer og fortsætter: “Der eksisterer en tese om, at der er for Det er ikke hvem som helst, der nu går sammen om at pro- mange danske film; men det passer ikke. Flere film giver flere ducere spille-, dokumentar-, kort- og novellefilm samt tv-serier. tilskuere, og selvom alle gerne vil have, at samtlige danske film Tju-Bang Film blev dannet i 1997 af fire gode venner: film- bliver set af 350.000 publikummer, så baserer vi forretningen klipper Per K. Kirkegaard og filminstruktørerne Søren Fauli, på et gennemsnit. Vi går ikke kun efter mange billetter; men både Niels Gråbøl og Jacob Thuesen. Senere er ejerkredsen udvidet efter de rent kunstneriske film og de kommercielle succeser.” til syv med producer Sigrid Dyekjær, filmklipper Theis Schmidt At SF Film endte med at købe netop Tju-Bang Film skyldes, og dokumentaristen Mikala Krogh. at den ene af medejerne, Søren Fauli, i forvejen var kendt hos På den anden side står så Svensk Filmindustris danske afdeling selskabet. Samtidig nærer SF Film stor respekt for det arbejde, SF Film, der med et antal storsælgende film i bagagen har vist de syv til dato har præsteret. Største bekymring ved opkøbet udpræget næse for forretning i deres distribution. Samtidig har har hos SF Film været, hvordan man kunne sikre den selv- hovedselskabet i Sverige 85 års erfaring med at producere film. stændighed hos syv så kreative og meget forskellige mennesker, Selskabet er så småt begyndt at producere i Norge og Finland, når et stort pengestærkt selskab gik ind. Efter lange forhand- og nu følger så Danmark med en naturlig adgang til de øvrige linger mener parterne imidlertid nu at have fundet løsningen nordiske markeder via hovedselskabet. på den fortsatte kreative udvikling: “Ideerne skal komme fra de syv ejere, og bare de får ideerne, skal vi nok få dem solgt. Hvis SALG SIKRER FORTSAT KOLLEKTIV vi skulle være kolde og kyniske, skulle vi ikke lave andet end At Tju-Bang Film har valgt at lade sig opkøbe skyldes, at flere spillefilm, for det er dem, der genererer omsætning; men hvis af de syv var på vej over i at lave spillefilm.
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