A publication by the Federation of in Europe www.scenaristes.org

IRST Con erence

of EUROPEAN creenwriters

Thessaloniki, Greece 21/22 November 2006

© FSE 2010. The content is copyright but may be freely distributed provided the source is acknowledged.

Contents

Greetings 1

The Stories 5 Being a in Europe / The current situation (Part I) Local or universal ? Do our stories have a common European identity ? Is classic story structure help or hindrance ? Lecturer : Mogens Rukov

The Money 11 Being a Screenwriter in Europe / The current situation(Part II) What kinds of screenplay development funding are available in Europe ? How much is invested in screenplay development ? Lecturer : Lenny Crooks

The Schreiber Theory 19 First Thematic Cycle / The Stories (Part I) Lecturer : David Kipen

The Rights 30 Being a Screenwriter in Europe / The current situation (Part III) What is the role of the in European production and distribution ? What defines authorship in the different European countries ? Lecturers: Eva Inès Obergfell and Frédéric Young

Tell Me The Story – in the 21st Century 39 First Thematic Cycle / The Stories (Part II) Panel Discussion Speakers : Jurgen Wolff, Balasz Lovas, Graham Lester George, Marta Lamperova, Ruth Toma and Jaroslaw Sokol. Moderator : Thomas Bauermeister

You Have The Right To… 50 Second Thematic Cycle / The Rights (Part I) Panel Discussion on Moral Rights and Sharing credits. Speakers : Fred Breinersdorfer, Frédéric Young, Razvan Radulescu, Robert Löhr, Mogens Rukov. Moderator : Leni Ohngemach

Why write ? Confessions of a screenwriter’s dangerous mind 65 Second Thematic Cycle / The Rights (Part II) Lecturer : Uwe Wilhelm

Show Me The Money – Financial Implications of Screenwriting in Europe 70 Third Thematic Cycle / The Money Panel Discussion on Writers and subsidies, Writers and producers, Collecting Societies and Online Content. Speakers : Srdjan Koljevic, Katharine Way, Antoine Lacomblez, Géraldine Loulergue. Moderator : David Kavanagh

Visionary Closing Session 92 European Screenwriter’s Manifesto

PARTICIPANTS 95

Christina Kallas Alexander Kakavas Christina Kallas Mouzaki Despina Christina Kallas George PapaliosGeorge

our scripts and scriptwriters inthefuture. andscriptwriters our scripts Thank much. you very have a very productive conference. We will try to take [up] whatever points you will make to help to find something clever to say. I will just say thank you for being here, welcome hard be will it writers for you amongst that know producer,much I film so a be to used very I here. being you thank gentlemen, and ladies Culture, of Ministry the of Secretary General ofscreenwriting.and craft Papalios. art the for George efforts increased his Mr.of sign a GFC, as also conference this for the support his taking of are] [We President the introduce to like would I that pleasure great the is that and institution funding film important one has Greece pleased to have you here withus. Thank much. you very you all. And I hope that this conference will be the first of many to be held. Wethe are honouredof and behalf On gentlemen. and ladies you Thank founding members, the its of one Presidentof the introduceto like now would I 2001. in Athens in founded was it And The Thank you. point thantoday.starting effective more a or place meeting better a of think can’t I And manifestation. its and film a of has this goal : statethem. to become a meeting point to for the dream and its here realization, for the initial concept are the Because them. We on speculate to And problems. them. about tothese Tospeak solutions permanent find to here aren’t We narrate thesestories to us. The audiovisual scriptwriters,thesemodern storytellers. who people the of situation the about cinema. Todaydiscuss of we help the with history pean Euro multicultural time, same the at and common, Europe our shape comprise we which that with waystoday. people The of stories The cinema. through stories our narrate can we that ways the discuss people. Todaywill its we about essence. Today,discuss its will about we here, of literature or a draft that expires the day that shooting a film starts. Today, here, we will discuss it’s whether cinema, autonomous of work an t hear the European .at of is script The Today, our discussion revolves around scripts. Scripts as a raw material for dreams, for the dreams the It is with great joy that we welcome you to the First European Conference of Screenwriters which Ladies andGentlemen, Audiovisual Institute Honorable Presidents of the Academy, Film European the of Honorable MsPresident ofthe President Mr. Honorable Secretary, General Mr. Honorable eastern Europe andwhichthisyear iscelebrating edition. itsfourth the of frame the in days Fundtwo Balkan next the in us hosting is know, all you the as festival, of The Mouzaki. Director the introduce to like would I all, of First has madeitpossible. conference, the meeting this forof idea the wouldtoI introducelike support whose people toof you number a start we Before presence. their with us honour who colleagues screenwriter in Europe My name is Christina Kallas and I am a writer and the President of the Colleagues,Ladies andGentlemen, Thessaloniki Thessaloniki International Film Festival F.S.E. is a federation that now counts twenty-one guilds and 9,000 writers all over Europe.over all writers 9,000 and guilds twenty-one counts now that federation a is . It is in this capacity that I would like to welcome you all and especially the high-profile , the script development fund, which is here to support screenwriters from South- screenwritersfrom support to here is which fund,development script the , , Screenwriters ofGreece Guild Greek Film Centre Federation ofScreenwriters inEurope has organized in the framework of the Balkan Fund. , the Greek Scriptwriters Guild Screenwriters Guild of Greece of Guild Screenwriters , Mr. Alexander Kakavas. hsaoii im Festival Film Thessaloniki Greetings Thessaloniki Film Festival Film Thessaloniki Greek Film CentreFilm Greek Federation of Screenwriters , , and the ; and I hope you , I welcome I , . It is with is It . , Despina Despina , Hellenic also

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, - - - - - , the Author since its very its since of the Netherlands, European Audiovisual Audiovisual European LIRA to join us in this endea European European Film Academy European Film Academy Film European Auteur Auteur Theory European Film Academy Film European of , , whose support was very important to is making, since the ‘90s, to give the FFA , EFA Century. So I hope you have a great time, that that time, great a have you hope I So Century. st VG VG WORT European European Film Academy board gladly accepted our invitation, saying that they a is a member and also represents the the represents also and member a is a supported the participation of all the Eastern European collea German Federal German Board Federal ?” By ?” now, this is not so serious anymore, but still I feel we can all learn in Greece. Again, a very important partner for us, and I’m happy to introduce to European European Film Academy of France and Belgium. We were discussing a conference of European screenwriters SACD Robert Bosch Foundation Institute for Audiovisual Medi Audiovisual for Institute Thank Thank you so much for this valuable statement, Mr. Wenders And will who Zachopoulos, Christos Mr. now Ministrythe Secretaryof the Culture, General of you to duce I would like to intro become become a producer or a director or something else, or going to novels. A lot of them were not disappeared. had profession the of aura the maybe because screenwriters, remain to just happy We, the authors of European cinema in the ‘60s and ‘70s, had made it happy disappear. So I’m about very this conference and all screenwriter the back effort her place, to return the realisation of how necessary to it is to a have self-confidentstrong, and independent writer in this profession the confidence, thethe process. identity,I think things and have changed a lot since that painful realisation when we realised, “Where are the writers producer. the and writer the and writer, the director, the between are relations the precious how cinema European the of context the in is screenplay, the product, writer’s the precious how And 21 the for ready be and itself redefine to tries it as you learn a lot from each other and sometimes, maybe, hopefully, also from some directors or you. Thank producers. united there, still the writers are almost the smallest group in there. And we tried to reflect upon reflect to tried we And there. in group smallest the almost are writers the still there, united this and realise what was wrong with it. And I think you, you because have European one cinema of for the a culprits long in time front of was driven by The Principle. French sortthe of lived it in ‘60s, the the new German Cinema, of which I am a pro duct, in ‘70s the really refined that process in which the writer and the and author, sometimes were even one the person. producer, I grew up in cinema like that, doing all these jobs at once – in thinkinga way all you know As that was the make to only Principle movies. the way Author sort of crumbled in ‘80s the and fell apart and lost its strength. I myself, I had to principle myself unlearn and that learn how to work with writers and producers. And now there is nothing last two my On relationships. those than filmmakingwhole process the in me for pleasant more I finally realised my biggestdream. I hadCome my Knocking”, “Don’t “Land and ofPlenty” , produ a was there and – script the on day every working were we and set, the on me with writer industry neglected film had European the of lot a because re-discovery, big a like It was too. cer, the profession of the For screenwriter. a lot of screenwriters that I knew, writing was a way to and so what was more natural than asking the vour. The were aware of the fact that they were doing too little for European screenwriters and that this the of President the gentlemen, and Ladies very step. a first be would Wenders. Wim Mr. the in involved been I’ve Yes, you. of all to morning Good beginning nineteen years ago – next year it will be twenty years. And because I was involved with it from the beginning, I can also say that it started as joined cameramen, us, and we realised we had only. eventually but all the professionals, a club of directors and producers there were so precious few writers. All this has changed. By the now, has about 1,800 members all over Europe but still overall, if you look at all the professionals the one before last of the speakers of this rather dull part of your conference, I had better adopt better had I conference, part dull your of rather this of speakers the of last before one the a more austere, classic style of the Greek orator, Demosthenes. And limit myself to wishes for success for your conference in the hope that it will lead the to for money more find better to are we stories, if imperative is to which issue, rights the solving more by cooperation productive you. Thank call movies. product we cultural could come about not without have the help This conference of a variety of further supporters. The gues. I thank Frank Albert of the foundation for would I countries. his European different the from efforts writers of supported delegations bodies funding and his support. Several national especially like to thank the us, as Germany will have the European Presidency in the next half year, which will be vital for our issues as well as the collecting societies The The Observatory Rodolphos Moronis. Mr. its President, you Good The morning. greatest blemish of the screenwriter is, without doubt, The verbalism. only unique and brilliant, I might add, exception to this I’m since and rule Eric not Rohmer, I’m Since followers. is many find talkingneverthelesscinema didn’t Eric Rohmer, whose theories for a Christina Kallas Wim Wenders Wim Christina Kallas Rodolphos Moronis Rodolphos Christina Kallas Christina

Greetings 2 Christina Kallas Christos Zachopoulos it, they are the exceptions which confirm the rule. If this daily degradation were essential to essential were degradation daily this If rule. the confirm which exceptions the are they it, course,greatcreativethereareOf partnerships long-standing and collaborations from the premiere, the publicity and any success the film may enjoy. the rights they receive. And when the film is made, it is a commonplacement humiliation costs byto loweringbe excluded the amount that they pay to the writer and to increasetheirprofessionalismofmark producersa tois think that ittoseemreduceaswho to develop the much as possible a director who up to this point has only made a short at film school. Development funds are given scripts sometimes re-written without our consent and seeing our film suddenly calledthescript, the the of workpagetitle of removedthe from name ourhavinggrownaccustomed have towe Yet we know that this fact is not reflected in our everyday lives. – Ignoredproducers, else distributors,once everybody thedirectors come andscriptlater.– Everything is world. We areinitialthedelivered, creators theaudiovisualtheof captivate work. that stories the nothing of out conjure and sheetblank the face who ones sophisticatedthe programme,computerareawriters with 21 the for up the tiny screens of mobile phones, actors strut their wonderful stuff telling the old stories dressed So what are we here for Thank you, Secretary General. tiative to make this conference possible and wish you a very constructive and fruitful discussion. the representatives of the word to the festival. I would like to commend those who took the ini This reminds me of what the Holy Bible says “In the beginning was the word.” I’d like to welcome – to put trainingtogether a infilmmaking comprehensive oncinema. policy for request the to answer an as comes which Art, of Academy Greek the of department visual ment of filmmaking in Greece, we have attempted – develop with the the help of for the incentives Filmmaking providing and Audio of field the in activities and initiatives these all Through Dadaist movement alsoproduced musicandfilms. to cite Da Vinci. Salvador Dali, for instance, made a wonderful film“The Andalucian Dog” and the the 20 of half first the of decades creative the during Europe in that course, of know, film. You a or painting a be also can It poetry. about just not instance,is for Romanticism, arts. the workspresent these way the and trends artistic with associated are or authors important of graphies theatre.programmesand cinema or for history and cinema Wescreen bio with documentaries In other words, we screen classical films, which are somehow related to the curriculum. We have cinema. of lot a incorporatesprogramme, culturewhich and education Wean introducedhave the or television of Wildinfluence theatres.By film Westof “Wild the West”, there. screened films the under of origin I’m the to referring only been have far training, so who and children education young are of there terms In modernisation. for companies production to support or co-productions either Development : for Ministry the with schemes two discussing Wealso are developments inthe field. Com European with up keep to next them for as so professionals the film for symposiums includes programmethat munity it to sees Culture of Ministry Greek The speech. the the is discourse, message the cinema in that argue would I message, the is medium the that statement McLuhan’s Marshall Challenging viewers. the audience, the with communication is cinema, as massive as and democratic as is which art, this of fromform a lesson for concern a foremost and learn first a to because have We girl. young a to course philosophy of sort a gives terms, The Norwegian writer, Jostein Gaarder, in “Sophie’s World”, in the form of letters and in very plain plainterms. very in things important saying of capable also is it and history, longer its of because sophisticated counter a attack. westrongto conduct because feelis enough it that Youknow, Europe moreis attack, counter a with proceed to order in support of need in is cinema European that believe Directors Guild, the Association of Greek Screenwriters and the Greek Film Archives. We strongly the through and The Ministry of Culture runs support schemes forthroughschemes Greekthe cinema Cultureof support runs TheMinistry ofits limits, withyou Culture. Iwillbesharing theofficialviews Ministry ofthe Greek has vanity Since me. about screenplay good a write wouldyou eventually that hope the in you to things kind things, nice say to havewished would I layman, a averageperson, an been I Had will soundGreek to you. say lan to about am I all other that hope I why from is languages. This other to words words lent having and guages incorporated having – language international an being in you Greek address Greek, will I hometown. my and country my to Welcome everybody. morning Good address you inGreek. to asked has Zachopoulos Mr.diversity, cultural of spirit the In conference. our open formally th Century, many or artists authors did more or less everything. They were Hominis Universalis st Century, telling the stories that we write. With a pencil and a piece of paper or paper of piece a and pencil a write.With we thatstories the Century,telling Thessaloniki Film FestivalFilm Thessaloniki

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------? Hence this ? Hence ? Is it because ? Is cinema a direc ? Or because it is so is it because Or ? ? Do we need more, less, less, more, need we Do ? ? Intensive writing and revisions ? Do we share an understanding of ? People don’t turn ? on don’t People their computers ? And how can it enable effective and ? Why do films often have more than one ?” They won’t knownless, of course, a screenwri a course, of knownless, won’t They ?” ? ? Is this the reason professional screenwriters turn? Is their screenwriters this the professional reason ? ? Oh, we don’t know the answer respond to how most important,? And agree can we ? And how can the European industries get them back them get industries European the can how And ? ; but mostly one one director, one , play play and the writers who craft them. We have to be more assertive. We have to work out what we What need. European screenwriting and through it the European cinema needs, and try to credit. the deserve we and important profoundly something do we important, are We it. achieve you. Thank press press and the public while ignore screenwriters idolising stars and directors tor’s medium or a writer’s and director’s medium writer mastered be to brain one than more needs it that difficult so is screenwriting easy that everybody can do it and crippling moments of self-doubt… No. Screenwriting is not an easy craft. Screenwriting is the DNA of the the are film.contemporary they Screenwriters get storytellers. the So don’t why of storytellers reverence of earlier times cinema to backs or different state fundingfor screenplay development the screen storytelling for relevant These are only some of the questions we will address and time is short. get So on let’s with the work. One last thing, though. While this is about the issues that concern us – rights, and the the money – stories, it is the foremost about honouring the ingenuity and allure of the screen Well, Well, firstwe can meet and talk. Dowe share experiences and why is going wrong what meeting. One hundred and twenty writers from more than twenty European countries collec ted in one place to talk. Last week the twenty-five Ministers ofCulture for theEuropean Union met, and on their agenda was a report commissioned by The Economy European of Commission Culture on in the Europe. The culture and creative employ 5.8 million industries, people. More than the agree. food and The beverage industry, develop mind you. according We to content. the of the attractiveness the report, on depends says, report the technology, new of ment And, we would add, the attractiveness of the Walk around. Stop anyone you want – content a film critic, amember depends of the audience, a film on colleague saw just you us. film the We wrote “Who are them : ask in and – a festival. screenplay. her own directed ter Screenwriting is filmmaking onWithout paper. a screenplay, thereis nothing. So whydo the the success of the sophis more European ever of film development the and and money television state of industries,investment consistent thenthe despite But maybewe could tolerate it. ticated and generous tax-based investment schemes, the volume of audiences for we as – European environment non-linear the the comes or Internet Now falling. or stagnant remain films learnto call to it – on have which the again basis seems that the be is to technology predicated for sale, but the contents should be free. Don’t they know that the computer screen is just the empty wall of the illuminated cave by a burning branch to admire the technological or marketing brilliance of it. They look through the screen to find do Sothe story can we what – our story.

Greetings 4 Christina Kallas Mogens RukovMogens way of existing, which is animalistic. Almost all characters, main characters, in European films European in characters, main characters, all Almost animalistic. is which existing, of way their by but jobs by defined not are people cinema, European and do Danish In you you. defines That do What jobs. their by defined are films American in characters Because job. a have Ameri that realise doesn’t who doesn’ta character have never will probably you film, American an he In civilized. deeply are but films can – know never will he we maybe so or now realise, left doesn’the’s – he realises But West. Wild the about talking was secretary general this Okay, do our stories have a common European identity dishness. You are laughing. It’s nofun. childish childish. it is Whyis think I conflict a with from, am I where is which countries, Nordic some from films seen I’ve local. are you’ll still cross it only when it’s green. is local.I think anyof story Even kind the thematic things , East Berlin, green.In is lightalways it.cross the they red until waitis couldlightThey the when thatrealise London,you in areyou red.If is light the when it crossyou Sometimes home. how things.local the you know I knowing crossof thereforestreeta fact back very the use can I feelwill they wasit if dayas the punctual before. myin But place, we punctually, always start so Israel,youwould really understand. you“Oh,Israel’,are in you know are actually they if because town we used to be punctual. Here I always hear, “Oh, you know you are in Greece.” If you were in But the local things I know. I know how you enter a room. Locally. For example, I know that in my universal or Okay,local funded. we Because needhelp a help or a hindrance have a common European identity lucky. Okay, to the questions. The stories : local or universal not. Youwasare he But stupid. are Ministries of Secretaries General Normally, surprise. a really youCulture. are of Where Ministry development, script for funding because more I need more need funding we that think I course, Of concrete. be to want I hindrance a or help a structure story classic questions, “Is the address will who professor screenwriting a “Festen” of “Mifune” and and writer Rukov, Mogens to floor the pass to like would I now, And Lecturer : identity universal or local stories, The squares because we want to feel developed. But it’s very, very interesting that these people these that [in] cities interesting [that] are full very of diversity arevery, also it’s writing scenes full of But diversities. developed. There is feel a tendency to want we because squares Europe in skating we are Where American. That’s area. up built most the in city a of midst the in winter the winter.in the Youskating in are ting Exceptfor, it left. call they do the what to house the or right the to house the with identical never almost is house one see you’llcentre, the in house one see you’llYork), New know, I part the that’s but States, United not is YorkNew York (maybe New to go you If trait. European a not is Diversity way. another in Also we have aEuropean identity. way,this in but Sorry,trees. the from fruits the of living are they that means It culture.paradise about, dream we that culture the have They culture. developed very this in jobs no are there around and, by the way, he has a job. Maybe. If you see adult films, they never havedo jobs.we do Because what Europe, In this. if out comes story the And that. tellinghe’s he’s or cowboyor start a godfather youtaxi-driver, is a but a he or criminal a is American cinema, you will have a person who is defined by his job. Either he is a detective or he stiff. That’s funny, not either.know.know, I But, you it’s stupidity. not in alwaysthat will find You know, you always dick, the with around running entities Sexual and foremost,animals. are,first Being aScreenwriterBeing inEurope / The current situation (Part I) ? Is classic story structure ahelporhindrance structure ? Isclassicstory ?” and we“Do have acommon European inourstories identity Mogens RukovMogens ? Help. Definitely. Help. And here might be a reason that we are not better ? You know, what do I know in this world this in know ? YouI do know,what ! And by the way, we heard here the General Secretary of the Greek (“Festen” and“Mifune”) ! ? Did you leave you Did ? ? Because it’scountry. NordicBecause a ? from Wechil developingare ? This Lincoln Centre or this other centre,ska ? other areyouwhere this Centre Lincolnor This ? Yes. And I’ll come back to that. And is classic structure story D or tre hv a omn European common a have stories our Do ? ? Yes, he left. But he is not stupid. And that’sAnd stupid. not is he But ? Yes, left. he I prs Nw er satn t sae in skate to starting we’re Now parks. In ? ? That’s an interesting question, because The Stories ? Local. Full stop. Local. Do our stories ? There we have this animal running animal this have we ? There ? I only know the local things. local the know only I ? ? ?” in in ? - - -

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you see the sign : WC. So weWC. Today we wouldare put amaking sign of filmsa man pissingfor so peoplethey would knowwho Andthat we know in are it’s our heada what isman’s toilet. going literate, to come. who canread revolutionised, so we came into a room, and there were no chairs.do That he wasdid thewhat andwhole came,lecturer point.the Then something.say to her or him forwaiting and standingthere were you So creative. beshould you theto go Whenyou ‘70s. creative.boringbeItsobecausewastheto indidn’t, have he And you toilet, do you have a story in your mind, a story of your actual, present life verypersonsfew thegototoilet without having storya intheir head,logical a chain ofevents. Classic structure, if you like. For example, you open the door, take close down the your door, trousers lock veryor butstories thethree whatever or doortwo youmaybe head, yourhave instory on, a have sit downYou something.and….do youYou knowtimeevery what. Exactly, constantly We actualize live.stories, we wayprototypesBecause themore. few that’s stories,of a chain of events we have in our heads. Then we can For example, washingmake your handssome afterwards,small or notvariations washing your handson them. inwhich youwash them. Andyousee that isexactly whatwriting doIwhen I’m filma in film.a It is all about the small, but only the small diversities because in the opening of this scene I need to know that if I’m making or remaking it must be “Godfather”. I would introduce Godfatherintroduce would site, I but I “Godfather”. know that be what mustI needit remakingas ora makingwriter I’m is help. if So that I knowneed to to needknow Iclassic story structure. stu because I’m that’s But feel like so. and doing so and maybe so I You know, firstthe inscene. pid.But still, haveintroduceIto maina character very,very ifearly.Probably,youare not more talented than I am, in the first scene. Only ifyou are a genius, do something else. But thenyou must be a genius, or you fail. I know when I’m starting a scene I have to inform the audience. And the General I’m whenknowtelling Secretarysomebody I something. areAnd We here. are we why is ofThat are. you And confused. theare Otherwise,you about. is Greek this what audience Ministryan as you inform saidmust I scene thata starting you are informing audiences. And we don’t want to be confused. knowI littlea aboutYes, howyoulive, because knowI when you,forexample, arecoming into this room you have certain kinds of expectations, don’t you You would be very surprised if there were no chairs. That was the‘70s. Everything had to be studying Then I came to the film school, It’s being becausea teacher. that’sI my love being real a profession.teacher. II said“Remember, towhen him, I It diesaid I will“Festen”, not think tothat isI have written,Thomas or co-written,Vinterberg, being with awhom I professor. wrote but I’ll 'Festen', thinkSo shethat came I’ve beento where a teacher.” I got my first job, and she “Thissaid, is about film, but I know now that Muntz studied literature. So couldyou fire him Enough about my mother. But some stories, I see, could’ve been written by my mother dead.now. been She’s She’s dead for ten years, but she could, even then, have written them.Why Because they don’t have a relationship to the classical story structure. The classic story structure is, to me, the fountain of our stories. I don’t think there is any other structurethan the classic story structure. It could be that you are so much of agenius that you oppositetheclassiccouldthejustdoof story otherstructure, possibilitynoleastthereis at but thethandoclassicto structure exactlyor theknowopposite. anythingdon’t I about theoppo because they all have the same lips and the same eyes. BecauseherewilllookareTheyallGreekwhen you director thatthe pickshethem,know. So loves. you that’s the lips and the eyes but please, make one of them not Greek. Make the centralother things one that Danish.lend EuropeanI filmsthink athese certain are kindtwo of identity. Byeveryone, the you know, to follow way, the example I of Americanwould films adviseand to give the characters a job. Don’t forget when you are writing,And I think this is the reason behind tothe success of American movies. It’s so start simple. But I think by giving itisthis, because everybody the tries toconnect with other people gettingby characterstoknow their name a name and and their a job. So when job. we see an American film,we are, so to speak,a European at film,home. Whenwe we are see not at home, becausewe are not adjusted to this ideahas no namethat and noa job, as personwe keep suggesting in European films. So give them a job, but let themremain animals. Because areweanimals. motherEvenmy was ananimal. reallyI tell you, she was. She was hiding a lot. Animals are always hiding themselves. When I graduated from university, she asked me “Muntz European film – it’s a bad tendency – it is that you stay and make continuity. You stay and repeat and stay You continuity. make and stay you that is it tendency – bad a it’s – film European and repeat the character traits of the –person. it’s aboutWe have“Festen” indiversity – three notactors, aretheyas Even other. eachlikereallynot are They fact.in brotherssisters.Four, and likeeach In other. Europe, youknow, it was difficult to accept the idea that we could have cha choosewouldyou Europe, Normally,inalike.look not domother samewho theracters byborn three persons who look alike, because they are from the same family. But we got this inspira tion fromThere“Godfather”. are also four sisters and brothers, and they don’t look other. That’s like diversity. each And, of course, for our purpose it in “Festen”, was good youget don’t becausethe characters mixed Butup. thenin many “Isfilms thisyou Annaget, or is it Sophia

The Stories / Lecture / Mogens Rukov 6 Christina Kallas Mogens RukovMogens Uwe Wilhelm RukovMogens Uwe Wilhelm Morgerns Rokov Uwe Wilhelm RukovMogens Uwe Wilhelm my life that Ithinkmostofthefilms I’ve beeninvolved inare better thanthescripts. directors those important, so are they doesn’t that It mean it. direct to is hard,job hardthe But head.your in structure classical story and story a with yourself for easy it make should you and writing, sitting are you because Yes, It’s behindafterwards fairthat thewriter isleft persisted. Anotherto thingis, behonest, isthat it’s Ithink, fair. It’s fair. has it maybe And director’smedium. a really was it maybe So life. easy very a had writers time that at think I on. so and dialogue the and lines the all make area. Youto havedidn’tmutual a was It scenes. the to directions and headlines of once. sort Youeasy gave just very was writing because history, the is One answers. two have I answer,actually, an you give should I if think I done heisthelastthing… is film the when film, the processwriter. of the of beginning the at first the is writer the Though the about rarely but actors the or director the about be will press the and success the means It What doyou mean behind” “left the filmisdone, behind left usually, after is films, feature in or in TV writer,whether the world, the in country every Why,in happened it why know we do this, to solution a find to try Beforewebehind. left always is ter wri the wherever– or in Germany France, Even that. see all we think I process, and filmmaking speech. the the in of behind beginningthe You left usually overareEurope,writers all thatthe said in Kallas, Christina but – sorry you not – something Germany.Yousaid from writer a am I reason, you shouldalsoalways say your name. that Forconversation. the recording also are we because room, small it’sa if even microphone a need Youhand. your raise just so microphones with around are People Mogens. you Thank Thank you. I thinkmy ten minutes have runout. trousers my off say,taken I’ve and “Now out call will you then and toilet the lock will you toilet, the to go will you Because hospital. the to you take would we life, daily your in hindrance or them again and lost it. Then you understood that this man is…nuts. Is classic story structure help unpleasant for washim. it very Thenranhe to toilet,the washed hands,his washed them, dried very hygienic, or whatever you call it, and when he shook hands with anyone, you could see that havedreamtI about.”scene the is was very, who very, man a with film Italian an sawonce I And I saw this Scorsese film about the aviator. He was washing his handstwice, and I said, “Oh hands, washing about talking of years ten after that’swashing,interesting.And hand double a when be can It hands.have washing not or youhands washing be can It story it. know way.I this which in scene the start know I I much. very invent to have don’t I there sitting I’m when So classic structure,story it is a help. And it’s not only a help, but it is also a provocation because cry in the scene, and I will understand that this is a very sad story. Or she can laugh, and I will I and laugh, can she Or story. sad very a is this that understand will I and scene, the in cry can She beautiful. yesterday.She’sso her saw just I face. Chinese a with hair, black thirty-one, her.she’ssee Oh, She’scan beautiful. you so actress, beautiful actress, the and scene sad very a them to give them meaning. And if they obey what I’ve written, it will be this meaning. can It be do will the and directorsomething and give the scene meaning.the All my scenes, to sorry thatsay, are meaningful. I expecting don’t need sitting not are you Because bad. very go cannot very, things way, this in write you when And goal. the solving by ending and scene the of goal clear very a with up starting means easy that And act. making to easy by be should mean they that is I scenes What also. structure, story classical a with do to something has That Yes. Yes. But I think there’s one reason for it, and that I could give as an advice. Make easy scenes. (Laughter) You are lucky. ? I would remind you that if you don’t have a classic story structure in your head, your in structure story classic a havedon’t you if that you remind would I ? ?

? ; but it’s a hard job. To be honest I’ve also had this luck in luck it’sjob.hardthis but a had ; To I’vealso honest be ? ! What now What ! ! There ?” ? -

7 The Stories / Lecture / Mogens Rukov

- - ? It’s a

?Who is out

!’, then you !’, might ? ? And how many will say a man

? You ?You see. And what do you expect

?” ?” And he says, “Yes, Andyes.” she sits down doing

! Better than the films which are here ?” And ?” And she he says, “Yes.” says,“I’m very hungry.”

? ! Excellent ? Oh, I think it’s very misty Okay, it’s out a there.” piece of dialogue, but ? How many will say a woman

? Or questions ?

! An excellent film ! It’s useless if you are here to promote your own ambitions. No ambitions, please, but excel please, No ambitions, ambitions. own your promote to here useless are if you ! It’s in bed naked, and she says to him,“Now you can do Andwhatever he says,“Whatever you want I wantfor the next hour.” whatto do. But all these conventional scenes I’m very good at. He came to a hotel room and began to unpack. This unpractical, stupid and very,begins very toclever unpack.man – heAnd is thena geniushe in realisesI.T., who is alreadythat unpacked he’s andin has usedanother the bed and soperson’s on. Androom. he begins toAnother pack,[Knocking confused. man, sound] You know what it means side the door Who says a woman woman. The most beautiful, sweetest actress).actress Yes, you I couldtried imagine.to Mariatalk evening. (theto And her,name she butsays,of “Can shean I comewas insomethingbusy and withshe says,“Maybe Ia could getfriend. my money immediately.” AndThat he says,“Yes, yes, becauseyes’, was it’s a very unpractical.very badAnd she says,“Normally areit isin 1,000such ButaEuros.” conditionI think thatyou it will have toenough, be 1,200I Euros” broughtSo he somesays “yes, money’, yes,and yes.he Luckilytakes 1,200 Euros and gives it to her. Then she is like. You should like to touch them. Even if they are men andAnd you youare notshould attracted like to men.to smell them. You shouldrelationship. like You to aresit withnot them.writing That’s onea thingthing,script. the is You are – sitting never with discuss. another“Yes,but you That’sunderstand person.in the a mind Thesince goodclassical other Greek advice,time, you know, with the never Christian discuss.interference, Doit has notbeen so sitand so the down andmiddle the ages andwomen and ofso say, thison andstature so onand and already soNever, on.” neverwithin suggestions. argue andSuggest discuss.athing. “Nowhe is going Cometo Don’tthe “No,upanswer,nottoilet.” he’s going to the toilet, because he doesn’t need to womanpee obsessed He’s and sonow. on.” withAnd this he’s woman,very you canobsessed think so, butwith don’t saythis it. One of thebest scenes I made in a film, which has been shot but never released, so I’m very wassorry, a it man… I’ll tell you the other story because that’sbut good.very, A very,fat andvery very clever, confused is comingman, to Stockholm, goodarriving at atscenes a hotel.arriving By the at way, aI’m veryhotel. I’m very, very bad in family home scenes. I don’t know Remember in films people are never talking to and other. giving each They’re false interviewing answers. Every each other kind of dialogue is interviewing an whom. And interview. then you You have to have decide which to kind of answers decide this person will who give. is you “Are happy today it’s not a talk. talk You at home and you interview in films.The other onewas… I’ve forgotten it. ItI forgot. was verysome very, good But advice. the sometimes best you forget sorry. advice, Other remarks with the director work and relationship describe your you would How That’s a good question.That’s a very good question. I wouldas describegood. it,And first that’s and aforemost, necessary answer because I think you should write with people you (Laughter) it then. confirms That It is useless. No lence. Be excellent in your writingwriting. “I’m But a think don’t script. writing I’m a good film.” And that sitting is really and something saying, else. Ifyou’re writing a “I’m good film.” think No, “I’m writing you’ll a probably notgood succeed.film’, But if sitting “I’myou’re writing saying, a good film succeed. But it is not I who is writing. That goes for another thing I would say… Sorry, it’s not an answer to your question but, you see, that’s the way we talk normally. Especially in films. understand understand that it is verya very, Sosad story. sad that she needs to laugh, because I it gave the you… to good answer not a it was Sorry, meaning. It not. was (Laughter) the money and run. take Let’s But I think it will not change.

1 speaking, in which case we use use we case which in speaking, “Participant”. term general the list a find will you end the At their with Participants the of profiles. short asked for the names of the the of names the for asked some intervening, colleagues saying neglected have them of not do we so name their those of names the all have 1 – Unfortunately, and and Unfortunately, – 1 repeatedly have we although Mogens Rukov Participant Mogens Rukov Participant Mogens Rukov Uwe Wilhelm Uwe

The Stories / Lecture / Mogens Rukov 8 Uwe Wilhelm Katharine Way RukovMogens Uwe Wilhelm RukovMogens The firsttime I was invited to theset, Icrept in.ButInever creep innow. I God.come as say,and shooting stop haveto you in come you“Hello, I’mwhen writer. And know the you As before it announce I set, the to go I If set. around.the to go never YouI going,hatefeeling. I this know shooting the to go never say, “Don’t change anything this and this about think you do us, “What ask they when and big be to pretend should we Maybe big. be to pretend I room a into come I when But rything. I have problems with my stomach, with my wife, with my dog. I don’t even have a dog. With eve the I am stealing thinking I’m “who and and room, the outside room standing I’mauthority. a into coming is professor or teacher a Being authority. demand And shouldn’t ourselves.moreproudof be to begin weshould but them, with things wesuch creditsand discuss think I mostly. teacher, a being from experience an That’sauthority. protect Toauthority. protect to is It this. protect to is do can we think I thing best The idea. an Youhave you thinkyou are you God have abigproblem, Itell you. God are you think reallywhoever.so, you Paul or Petros, Do areare you you And one. just is there times most But Christ. Jesus be to tries he then and actor,strong very a have Andthere’s scene.atthe Christ Jesus one only Youdon’t have youAndsometimes them. of two know you Christ, Jesus of work the It’s teamwork. says, it’s sometimes everybody teamwork. And is, as film a not make toproblem, because the is that think I do.And to that’slike and I home,I’m whatat times sitting most But someone. meet to or food some get to out step I just out, writing. stepping not the usually doing I’m and office I’mplacebest be.the can is I atthis sitting and home I’m safethis in sitting place myatin home stand in front of the camera, not used to standing in front of photographers and telling my story. to I’mused people. not these all and actors and people light and photographers of pack a lead to used is who guy strong this not I’m because impact, little very make I And audience. the to “And what can you tell [us] about your film asks somebody “You’veand film there the ting written director the graphs, photo most the gets –who actors the between a fight It’s fight. a was always It fight. a be to was done, and the premiere happened film the that point the to came we And suggestions. making just – discussing arguing,without about or thirty forty movies TV and feature films.Most times we were working together without question, tothe wanttocomeback I behind always is writer left the “Why (Laughter) going to thetoilet it, mean reallyyou “Youstupid’,are suggestion. better a with up don’t“No,Comehe’s it. say not I. and Wesaid, I’veoften idea stupid everheard.”most the is “This Thenit’s dangerous,not if but VinterbergThomas like way different say,a Never stupid.” You“Listen.in are it say can Yes, you argue. Never suggestions. with up come writing, person another with sitting are you when So bates. Ilove thissort. That was why Itold you… mastur and toiletmoment.” the a to just goes he and toilet, the thereforewith was it then And then menu, the readyou this.”and sitting.something this wantis “Don’tyou he And Cut to a café. They are sitting together, and she is reading the menu and she says, “I want this and in Dublin, chaired by Michael Apted Michael by chaired Dublin, in threeAbouta meeting years ago, held work. Guilds Affiliationthe Directors International of the This is just really about the conflict between the director and the writer as to who is the author of (Laughter) “God canlive withoutsalary’, andhecan’t ifit’s me. Will you take my money professor at your university you are who and God am I people, “Hello the authors should become professors and should train. Stand in front of a big audience and say, rehearse, maybe, day at every university. the best would So be if, and maybe that’s the point, all you what is that professor,actor.and a You brilliant are a are you and us, of front in sitting are actor.You an actor.areYou an being rehearse could you means that and professor, a areYou ; and I expect the director to roll out the red carpet and to say hello to me immediately.me to hello say to and carpet red the out roll to director the expect I and ; ; he’s goingto theairport.” I’m scenes… alsogoodat airport ; who tells the best stories and has the best lines and suddenly it’s me sit me it’s suddenly and lines best the has and stories best the tells who ; ? Are you a burglar ?” “Yes.”says,course.he there, of suddenly sitting Then is she “Oh,And ; because they will realise that you are nothing. You are only walking walking nothing.only You are you that realise will they because ; ? ! Don’t talk with me ; and they issued a declaration that said, at the very end, very the at said, that declaration a issued they and ; ; and lot of press people were around. And then it started ? YouChrist Jesus just are ?” And I can only tell the of story what I wanted to tell ? You see, if you come they will fire me. They will say, ! Don’t call me ? We have the director, and he’s Christ. director,and Jesus the haveWe ? ?” – and I said, I ?”film.”and “Yes,the – written I’ve ?” she asks him. ?”asks “Yes.”she shouldn’t“But !” Never go to the set, by the way, ?” Then sometimes it’s better to better it’s ?”sometimes Then ? Oh what a pity.”a what Oh ? a be I Can ?” I’m a little man. I know know I man. little ?”a I’m ?” I’ve think, I written, ? I think when think I ? !” - - - - ;

9 The Stories / Lecture / Mogens Rukov

; - - ? ? Otherwise? ? Making? stylethe ? It is certainly not Shakespeare. Even if there is some inspiration from ? It from is some if inspiration there is certainlyEven not Shakespeare. ; and I have to assemble all the forces to make them work in harmony together and so on.” on. We’ve heard on. We’ve that story That before. was in my head. It head. wasn’t in Thomas Vinterberg’s the the heard name it Hamlet. But gives of course, I think he Hamlet. Maybe has read he’s never possibility for a certain style. It has density in the writing, which commands a certain style. But you there And film. Dogma a it’s because before, style the about deciding or discussing were we a have handheld camera, and a you have rule that the camera is The actionwhere the action is. this in Thomas through influence any have didn’t I rule. good a That’s is. camera the where not is but I knowstyle, kind what he is. of director possi some them give Soyou middle-intelligentsome persons. to possibilities giving is Writing more something was there But… influence. an have you way this In job. good a doing of bilities it wouldn’t end, the be would that maybe Yes, anymore. young not I’m see, you but, you. Thank time. transcend I think we’ll Beethoven’s.” And I think that’s my point. Without the writer there is no film. The director cannot director The film. no is there writer the Without point. my that’s think I And Beethoven’s.” direct a blank sheet of and paper, so I think, although it is a collaborative process, the writer is often overlooked, as our very first questioner said.And I think important it’s to remember that it. That’s and nobody else. its conception from of the work is the creator the writer Inwork determines the director’s some films filmmaking is the “Festen” story In itself. a film like the film, I think.The story has avery classical structure. Itwas aa part have that in you Did filmmaking. the was original film the made what beautifully written story, but Which a very classical structure. it’s a part say, have you As in that. always the writers, I think we, kind of classical structure Shakespeare – Hamlet. You realise that there is something with a boy and his father and so that the director is the primary author of the audiovisual work. Now, as a writer, and as the Chair Chair the as and writer, a as Now, work. audiovisual the of primary author the is director the that Guild Writers of of the Great Britain, I felt quite And angry. about three weeks later it happened that I was in , and I went to a reception of the Directors Guild of America with my colleagues. And Michael Apted was the host, because he was also President of the American Directors. And I managed to findhim in acorner at a particular moment, and I challenged him course of “Well, said, he then and bit, little a dissemble to tried kindof he And statement. this on conduc the am I and orchestra, an conducting like is film a making that understand to have you tor but when “Yes, you And go I to said, a concert It’s Fifth you see Symphony. don’t Simon Rattle’s Mogens Rukov Participant

The Stories / Lecture / Mogens Rukov 10 Christina Kallas Lenny Crooks or a writer makes an application, and that application goes into the producer a because comes Sterling.Twomillion million four that of half approximately is ding maybetodayfun thatwe’ll think project single funding,concentrateand project just single on I But drama. maybe time next horror, be might it time next the comedy, romantic be might it time the one genre.So certain through a within pitch to or opportunity the givenare they agentsand – Guild Writers their via in called are people when year a times three happens which Less”,or Wordscalled “25 scheme a through projects short-pitch of and projects of slates of – aren’t who you of those for this developmentprojects single of supports of moment.It a toin thatI’llcomeback but fromUK, the middle the in hope of bit little a is there And businesses. growto companies film British help to seeks it and screenplaysof UK, fromthe quality the raise to is aim Its annum. per Euros million Sterling.That’ssix million four is fund development This well. as Ireland and in Media primarily mention that’sI’ll money but UK, about the talk to going I’m money. about talk to going I’m money. So when thesethingshappen. mortals mere we’rejust directors, and producers as Mogens, with agree I and, back stand just we happen things these when And story. the in totally was he because second, a like felt it but minutes, fifteen lasted it think I And screenwriter). Romanian Radulescu, (Razvan room this in posed to last for three minutes. And then we got a pitch fromfrom Razvan Romania, who is also I’ve been working with the daysthree or two magic. last of Thepiece that’sa just storytelling diately,it’s in and something imme local a become and room any into walk can guy This School). Film Danish the at Rukov Mogens by taught was Jensen Thomas Anders screenwriter (Danish genius a by taught been Glasgow in perfectly worked actually that humour of sense a had he come how Scotland to came he alwayswonderedwhen I Andersand Jensen, Thomas of friend good very a I’m me. for exceptional quite morning’sbeen this because observations of couple a money.Just about it’sall and boring, deeply is entertaining. This be to going not is Mogens by think, I entertained, thoroughly Morning.You’ve been Good all geable inthisarea. CouncilFilm UK the the of head the is Lenny it. behind philosophy the and funding lopment deveintroducemoretoabout would bit nowlike I Lennylittle a us telltoCrooks, going is who Lecturer : Europe in available are funding How muchmoneyisinvested inscreenplay development development screenplay of kinds What nately that’s impossible, becauseat themoment there film. isnodefinition ofaBritish that up. And also the film must ultimately be capable of qualifying as a British film. And unfortu make would you you’re writers, if So, industry. film UK the to advantage measurable a provide the UK is you would have to demonstrate that the funding for this piece of development would think weren’tyouovercome weif tohave in would you thatit. hurdleyou’re with said,awayThe run to going Mogens as But, money. of kind that with bet better a be to considered they’re because Pounds, thousand forty to up for apply can ProducersPounds. 10,000 than more any with writers don’ttrust obviously,they that, is that of fact less. The or Pounds 10,000 for is that writer,a but individual.means Thatan as apply also can area economic the or Union European area can make an application. Or an individual who is a national resident of another state in the fact that a company which is registered in another state of the European Union or the economic The limited foropportunity those of us who aren’t UK residents or citizens comes in through the isJennyculprit Borgas. You canfind heronthe the money.of don’tthis havename I me.The toDon’t fund.come development the with do to say at this – because there are big numbers being bandied around – I don’t have anything bureaucratic, it’s all very transparent, and it’s all very democratic. And that’s the purpose. I should Being aScreenwriterBeing inEurope / The current situation (Part II) Lenny Crooks . He also used to be a producer for a very long time, so he’sknowled so time,very long very a for producer a be to used also He . Balkan Balkan Fund (HeadoftheNewCinemaFund oftheUKFilm Council) , and we’ve been receiving pitches and everything’s sup UK Film Council UK Film Council Film UK ? And I realise now it’she’snow realisebecause I And ? The Money website. UK Film Council has a development fund. development a has ? New Cinema Fund of FundCinema New ; and I’m afraid this afraid I’m and ; . It’s all very ? ------

11

; ------; and ; ; and ; ; and it !), script editors, ; the purpose of this is ; the location of the story the of location the ; ; and got you’ve a UK direc ’s sole discretion.” So no explanation. So no explanation. sole discretion.” ’s ? Seed funding ; and he would’ve been able to talk about UK Film Council UK Film website to have a look to investigate the possibilities there. the possibilities there. investigate a look to have to website ; the kind of people that are going to make the film ; actually where the work was originated and what it’s about. It will will It about. it’s what and originated was work the where actually ;

goes, with its four million Pounds development, we’ll move on move we’ll development, Pounds million four its with goes, director the of residency or nationality the ; UK Film Council UK Film ? And there’s thirty-two points. When you get sixteen, you’re pretty strong. ; but you can’t quite get into preproduction, because no there’s money. That ; because, again, when a it’s creative team as opposed to some very organised UK Film Council Film UK Primarily Primarily this is aimed at producer/director/screenwriting teams, and you definitely will have to have an Irish producer attached to the say verymore so good than They’re at the open co-production.UK.and project. used to I’d the process. But Irish producers are traditionally very not such SoThe development loans a that’s are huge up hurdle. to a maximum of 35,000 Euros there’s competition now starting to come from other regions, one being Wales. Wales. one being starting other regions, now from competition come to there’s very it’s and It opened, just has Wales. Agency– Film Welsh the just not – opened just has Wales expan an has It Euros. 300,000 so money, development of Pounds 200,000 got has It interesting. that think I writers. English just not that’s So Wales. of outside from people with work to plan sive for European writers here who have a project that they think is strong, the Welsh Film Agency might be very useful. From what I can gather – because it’s brand new – it’s not so structured in terms of it has to be a producer coming forward. I think maybe marketplace. it’s But just it worth could be testing very that interesting, and they also will consider 100% of the funding of development not goingtoraise money any outside of the budget from you’re financial productioncompany, 100% public support. need that going to You’re party third sources. My good friend, Simon Perry, was going to be here the Irish Film Board, but I’ll do it for him. This year they have a budget of 1.2 million Euros. if it’s based on an underlying work, then they would need to see the underlying work with notes notes with work underlying the see to need would they then work, underlying an on based it’s if regarding the adaptation. For partnered funding only, you’re they if applying, would require you’re when details And applicable. of if the producer, and chief writer the be would that creators applying as a team, it’s useful to have the show reel of the director are possibilities The and even depth. more the any in show on go reel shouldn’t of we that say would I team. the from work the through there as far as So quite it’s because UK the in exists development regional other what at look little a have just we’ll substantial. Inan organisation Scotland called there’s Scottish They’re also Screen. on the web, and the details are there. For 2006 their budget is, in Sterling, 150,000. So it’s quite small, and eligibilitycri have do They project. individual per Pounds 50,000 of funding maximum a there’s people for reasonable more bit a be to Itused Scottish. more bit little a it make which now, teria outside to get involved. Scotland’s traditionally been very strong in development, but I think executive /mentor and the creation of a also package. funding. There’s the then of 100% partner get can develop you one, initial that for So there. progression slight a is which ment, that At party. third a from money the of 25% bring to supposed you’re development, partner For stage, that could probably be towards second draft, third draft. The of preparation supportthe added to also money be activitieswould – progressing is project – the of development as the casting. and director the from work script fee, development schedule, a budget, production the Then at the third level, you could get support for pre-preproduction. That stage where things are nearly there would require an element of partnership funding of 50% approximately of the pre-preproduc polish, a for fees writer’s the as such activities additional some cover could that And budget. tion scheduling and budgeting. casting and more more survey, a location here apply, to want you’ll where stage that to get you if and, system support comprehensive a So are the things that will be in addition to the standard bureaucratic application form. At the top treatment a or script feature-length a either synopsis, a be will there form application the of So it’s kind of going to be easier than it used to be before. kind be before. used to be easier than it of going to So it’s going to I change. Soto work get for basically, development, and deve think I anything’s don’t particularnationalityor the – four tests of out two pass to have to going you’re money lopment writer the of residency the and the nationality of the key characters. And of those, one at least the would writer from or So, Bulgariaif a director. you’re and writer have you’re to be either a There possibility. is there’s tor, a catch. And I’ll read at the bottom, “Theit says. decision as to the will be at whether a project is eligible So what could you possibly apply for in single projects to shape development projects in order to make them more attractive in the marketplace. So overhead the fees, research fees, and a first this be draft.could a thetreatment writer’s covers It legal reasonable producer’s again, fees producer payment, option possible producer, the of cost costs, (and where I come from no there’s such thing as reasonable legal costs There is There an definitionattempted of a Britishfilm, which is inthe middle of Brussels somewhere. British the and film, British a define we do how is problem the And station. bus the at still think I come up with this one and the European Union “Well, are we saying, don’t like that too much, because it favours a little So bit.” now they’re having a little tely there will fight.be a Butdefinition of a ultima British film which will happenprobably for Christmas. And it content cultural the will include include the cultural practitioners post- do to going you Are infrastructure. basically It’s hubs. cultural called what’s include also will production there

The Money / Lecture / Lenny Crooks 12 Christina Kallas Lenny Crooks LacomblezAntoine nally has been in the thrall of the and virtually every process, from the process of processprocess, the from every virtually and StatesUnited the of thrall the in been has nally traditio UK the to think I writers.for believes opportunities new to respect he with Ireland in situation the what be you tell can Kavanagh David maybe think I then and know I what say I’ll France. It’s happening. wedocumentaries,haveso nowin and this intocartoons television,goes Euros. three million It about is that for envelope whole the think I and money, of lot it’sa So Euros. 30,000 or 20,000 getting were writers regular projects the of some On money. good some giving them, of five twenty- or twenty financed they think I And projects. 160 about ideas’,received new they and and projects new with said, apply they to So writers for fund createfiction. a to “Okay, need we of matterTV the on Innovation, of Fund the called we what year last have Welevel. another on interesting it’scourse. of So areselected,producersFrance. the in Franceonly in younot money also the Andis if – writer a as directly you to given be will money the and programmes, television for or directly to the writers, whether in or in TV movies. You can apply as a writer there for feature film I am a French writer. Can I add something thisornot. rethinking should start cersrather manyyouso towhether than and writers–that thinkafter years thatof practice, we produ to money development give actually to – tactics right the is it whether and philosophy be honest, I’ll push the film to be made as as possible.” quickly I wonder whether this is theright tellyou, ducersthey’ll don’t“I have resourcesand time developmentin tobe for toolong.to So made.” be will film the thatsure pro independent with talk you when hand, other the on Then, always,is directly,answer writers the than rather make money developmentgivenhaveto “We be should producers why ask we money.When the with trustworthy too not are writers think Lenny,they it, put you Asapply. producers. cannot Writers from applications for open only are also a question to Aviva. is It seems it that it, most of subsidies on think a I European that level,now but with some – Lennyexceptions, you, to question a it’sbasically and – wonder I so. do to So perhaps we can also have a discussion with her or address questions to her, if anybody wishes Lenny.much, youThankvery Wehavealso Aviva Silver, Programme, Media the of us.head with but hopefullynotfull. table.the that’sthink I thatwasn’thope it.I about tooboring. deadly It’s numbers with big bit a Media development money you are required to bring 50% of the development budget towards mum of 20,000 Euros and a maximum of 50,000 Euros. It really is towards producers, because for where that know money goes,don’t but I I think we annum. should ask. And per for Eurosdrama they can million give awards200 of about a mini out come then would which development, to goes that of 20% that says It annum. per Euros billion one at out that work I Euros. So billion seven Programmehas Media the years seven the overapparently and some did I moment. the at Media in wasn’tI seven development the is over budget next years, the what but exactly out tofind able have we what at look little a having and read a worth it’s Probably directly collaborate with thosedelegate awards. producers whowinthoseparticular That’sto ofnew. kind probably required be would you then So development. slate towards work to companies production get and try to is which scheme, development multiple-project a is Ireland in new And that. for Euros 12,000 of maximum a giving they’re money.So the with you’rethat areEnglish, thinking the like Irish, the again, And project. totoothe trustworthy not producer a attached haven’tyet you if loan, development writer-only a is Thereproject. single Eurosgrant75,000 in awardsas have youmuch totalcan for as in a and application, single fora same connection in the UK and probably not in Ireland either. I think maybe a re-evaluation of re-evaluation a maybe think either.I Ireland in not probably and UK the in connection same done and the great work that’s coming has out of School there,Film and Danish I made the a connection. what And I at work.”don’tcreativelook see great I the need we all of “Firstthink, and to make strong producers.” I think that maybe we need to look at the other end of the spectrum thinking, they’re try that“We’ll do to and industry sustainable a create and try to looking been has think, I government, the And for. is money the what decides government the also think I intogold. turn hopefully focus.the been Thathas Thereareeconomicreasons for that,because the producer, the Writers Guild andthewriter’s agents whichtheycan astheyseekoutprojects between is then, relationship, the decentralized.That becomes decision-making the that view Euro ofslate fundinggoingto approximately ofproducers ten anddistributors consortia witha million three Sterling, million two annum, per with, process development adventurous very a with embarked has Jenny years, three or two last the recently,over think I to betested quite soon. that’scommunity.However,going think Anglo-Saxon I the in strong very probably is producer way traditional very way,it’sa a just It’s high. it’sthat and if style I with do mya co-production Danish friends, that’s illegal documentation. the UK, In the of terms in it on imprint American an got has finance, production to throughdevelopment ; because the CNC was realising that the networks were not innovative in terms of terms innovativein not were networks the that realising was CNC the because ; ? In France,? In for the first time now, being given it starts ; and I think the role and authority of the of authority and role the think I and ; UK Film Council Film UK on - - - -

13 The Money / Lecture / Lenny Crooks

------? That or regional fun UK Film Council ? That more there’s of them ? ; because the Media Programme, as far as I unders I as far as Mediathe because ; Programme, a few years ago. Writers could pitch three or four times a ; because it is an opportunity for more direct interface between direct more opportunity an is for it because ; ? That they’re better distributed ? Not really, ? so Not it really, seems that there is a flaw somewhere in this agenda ; a Luxembourg company that works a lot with a Belgian company. a lot with a Belgian works that company ; a Luxembourg ? UK Film Council ; and those in the UK, maybe with respect to I am from the Belgian Writer’s Guild. I had a project selected, within the slate funding, from a company Luxembourg any any of the externalities of the market. And reinforcing and creating better stories production is and only part better of the picture when you look at what is happening at the other end of you. Thank cinema. digital in particular, of distributionthe chain in terms and, using use it you’re when you with I the assume Mediathat with that. Programme, agree I would it in association with local programmes that you have in your own territory. That would seem it at look to way sensible the certainly, be, to some business capa 50% is of Sotand, always the funding. that makes it important that there’s city underneath the applicant that can find and support that balance of money.What I might think be interesting at this stage is to find out just from the audience how many people have applied or have had projects initiated by themselves that have been successful applications to the Media fund out there What’s ding. the money and the creative talent. From what I understand, Jenny is looking at three regional regional a Being London. of outside possibly activity, of amount the increase tryand to schemes the in are stories best the probably And everywhere. are stories great the that think I myself, guy question directly. your answer a big supporter So I can’t of that. So I’m smallest places. I just wanted to correct the figures. Iwould loveto have seven billionEuros over seven years, but we have 755 million Euros over seven years and approximately fifteento eighteen million a year goes to development and that is wholly for producers. On the other hand, we also have the training arm of the programme of which a significant percentage hasto do with scriptwri ting and developing scripts and that may be re-affected under developmentto give a clearer picture of doing. Just what a we’re small point on development of the European film industry : the control don’t we marketwhere a in conclusions drawing about careful be to have we think I say can’t that You doing what marketplace. have doesn’t we’re an affect whenwe control can’t introduced introduced by the year specificallyfor a particular genre, likecomedy as oryou horror, said.And theywould have pro That idea. an and script of pages ten think I and outline, less or words twenty-five a pitch to ject has been going for a few and years now, I wondered how many of those projects, of those being produced been made or are have scripts, The answer is, I don’t know. My estimation is very few but, again, like I’d maybe to go back on something David said there. But I’ll leave that for another moment. I think in the UK it’s consi dered acceptable to develop 100 projects to find one production. notI’m quite sure if that will continue to be the paradigm, but it seems like that. Less” or And Words people “25 I opportunitiesfor the think But undervalued. believe it’s that of because that and cheap, develop is ment going is there that, of out come have films many how of regardless think I increasing. are think I activity that in increase an be to responsibility of supporting the talent, not supporting the producers. And we are now trying now to are we And supportingnot supporting producers. of the talent, responsibility the push an agenda in Ireland, exactly as Lenny says, that yes, twenty years ago there was a logic saying, “If we are to develop the European industry, let’s make strong It’s twenty producers.” money A years has lot later. been of spent. taxpayers” Can we honestly say that the films being made in Europe are better the audiences are bigger of emphasizing the as producer the of core the of development the And industry. I think Lenny is completely right to say that that flaw is that not enough emphasis is put on creative talent. have We to find away I think,to start pushing the national fundstowards promoting and trus and takingting talent off producers. the emphasis project, Less” or Words “25 the mentioned you Britain.Lenny, Great of Guild Writers the from I'm scheme a was It explain. I’ll it, with familiar not are who people For writer-centred. quite is which that, about where the great source material might be, and how we might encourage it will come come will it encourage might we how and be, might material source great the where about that, opinion. an be part have just decision-making. I’ll of that But I certainlyalong. won’t The new Irish fund is quite a small fund, but the Writers Guild has portingbeen enthusiastically this sup fund. It’s called a “First Draft and Loan” the idea is from not with the or first with draft.an outline, prohibited treatment specificallythat In fact,you are the writer goes with the enthusias are we And draft. first the writing for Euros 12,000 get you and draft, first the bringing strong and goes in the think right it’s direction We tic and about emphasises this the approach. Catherine Montondo Catherine Lenny Crooks Lenny Aviva Silver Aviva Lenny Crooks Lenny Catherine Way Catherine David Kavanagh

The Money / Lecture / Lenny Crooks 14 Aviva Silver Lenny Crooks Catherine Montondo Lenny Crooks Participant Aviva Silver Christina Kallas as I said earlier, that under the new Media Programme the training will be up supporting to 75% 50%, to up it’ssupport working.We way the about concerns haveWemechanism. distribution the TV at again looking are weCommittee, Management Media the In Media. in countries ting representativesthe intowith states,participa member wethe mes,the arewhich of looking of sche the of certain on reflection of beginning the is it But site. our on December in published be will that of results the and scriptwriting, to development, to linked closely very training.is Training on particularly concentrated is this And programme. whole the of evaluation the of report final draft the received just we’ve moment, the at is programme the where of terms In what happened. rights were not correctly assigned to the applicants, we look at the file. And we and try work out receive complaints, we take them up. We are obliged to do. So if we’re told, for example, that the paid. webeen When has writer the contract individual each in if know and processreceive and we applications of hundreds the with detail the to down contracts.can’t Wego the by go only parties. the betweenWe contract the on can projects individual the Weof assessment our base do that, andhave you beenableto checkwhat happenedto that moneyinthepastyears which are elaboratevery applications made by producers, goes actually to the writers applications, the in budgeted been has which money the whether checking of way a or nism differently.done development the funding,considering is : do have question you mecha The a it may also need some in rethinking terms of what works, what doesn’t work and what could be Europe,in funds other the all with as development.But, to money givessome programmethat Media Programme started, we all definitely support it as it’s the only international and European the after years fifteen Some last years. the in European of policy terms in all at effect no thereis haveI forquestion remarka a and Aviva. beforewhatwassaid think The I remark– is that not is translated be into shortly. callsfor proposals starting that’ll and that, fix to committee management our with meeting a had just we’ve And lie. should priorities our where that’sat And look we’reprojects.whyto cutting we’llbe and trying tough, be will year next So [million]. 90 and 85 havebetween wouldwe normally whereasyear year. next squeezebudget the on enormous We’llyear downtoEurosgo million next 75 for the an have we as training, of side creative the we’re that’swhyre-assessing And development. to to projects forty that are funded. So that’s something new hoping to lead through from training twenty-five another are there project winning the behind but project, winning the for Cannes a for tofact, comes year each team whole in scriptwriter,the director.of hope [and] producerweteam And is, that and deadline, We’re year.tight a this has It year. year the third of end the the before for publish to open hoping now It’s courses. training Media the of one through gone have who applicants to open is which fund, talent new a fund, special a have Yes,do we the applicant have beenthrough training. Media Isthat correct Could I also ask my colleague from Media soIdon’trything, where know that isrightnow. Well,evemyand producersproductions experiencewasthatthe other problemsthe had with For slate Media funding really isfor writers like you andlikeme, becausesometimes Iwrite, too. Thank you. development script what discuss to have we guess I script. shooting a wants director the And time the have don’tdon’t. They they must be money, but who’s developing with the writer developmentwriter. therefor anew. the begins the is only was draft therefirst So the when But ties with their authors. The fund you mentioned there in Ireland was for the first draft, the money consultant, and I often sit together with authors script of developmentwriters,complicated.is,evenquiteforthe I’m editor. script question a script I’m so-called a the think I before. paid be to has which stuff that all and scouting location and packaging for mostly It’s development. script for not often is development for producers different be development that can things.wehavefigure out think to I to goes that money The the UK, Germany, France, Spain and Italy. So there is some flexibility asfrom to how muchapart we support. programme the under come that countries the Countries.”all that’sProduction So for the new member states and up to 60% for countries that don’t come into the category “High ? What was your experience ; they don’t have the skills. Their job is to get the money. the get to is job Their skills. the have don’t they ; ? I think you have a special fund for projects, whereby ; mostly with producers who have some difficul ? ? Mostly, the producers say they do it ? ? Can you ? ; but - - - - -

15 The Money / Lecture / Lenny Crooks

; ; - - -

, is exceptional. ; I don’t think that that that that think don’t I ; UK Film Council John the Woodward, Chief Execu ; takes his responsibility to government government to responsibility his takes ; UK Film Council ; and we should all endorse it. And you can’t ask the ? Innovation is never easy. Besides, as Lenny mentioned ! ; it should be tackled at the national and local level. Not at the level of the Media the of level the at Not level. local and national the at tackled be should it ; ! I agree that there have been certain misrepresentations over the period of these over been certain have misrepresentations there that ! I agree ; and you can ask Simon Perry of the Irish fund, and you can ask your own local people So I guess that’s a whole different discussion for you guys. While I sympathise with the youfor fact discussiona guys. whole So different that I guess that’s production into goes little very and on, going development this all there’s get made. will eventually work I think great deliberate. way bottleneck is in any Which Which means that which system, perhaps was to so make the brave Step French A, should now make Step B – whatever that may be thinking stop production. everything should really that perhaps go into we has to before, I would have to say I’m a great believer in the production. notion But then that again, if if we were only a making great scriptsgreat then script we would make exists, maybe it will find making a And ten lot a we’re more year. than that. And if we were only making then ten a year, really no one would be here. Because we couldn’t affordto travel. So there is a dilemmaeveryone and knows the dilemma. I know in Copenhagen recently there was a summit to try and making we’re course, of And, film industry. look the at of infrastructuralthe European problems too much product. And, of course, the market doesn’t want it. Well, maybe it does. It just shores. can’t our beyond from multinationals by controlled are exhibition of means the because it, see I would just like to add something about the French experience. Obviously, giving the money to to money the giving Obviously, experience. French the about something add to like just would I place in been has France in which Film, Innovation the However, perversity. its has producer the has money twentybeen projectsgiving to ator writers. directed twenty-five two years, for now And great because it’s the writer has a as cheque, of however, today none of the projects have to directly money the give you if So them. buying been has network no because produced been give to easy that not It’s problem. a also it’s produced not is project the if but good, it’s writer the money directly to because the the writer, writer goes in his office and works and has projecta himself. for money the take can producer the obviously, sometimes, And it. buying nobody’s but But he can also help to drive the project, so that there is either a in buyer, movies or television. And in TV it’s only TV Innovation France, so far. None of the projects are being bought – by them reading been the they’ve because are, there projects what exactlyknow they And networks. been bought. And so far none of them have first of everybody actually. else, So I look forward to a new European standard being created in Ireland and working its way across across way its working and Ireland in created being standard European new a to forward look I So the continent development funds. I can only say [that] in seriously very transparency takes who] someone [is tive, very aware of seriously. He’s the fact that at any moment the government can take away all of this funding and therefore the [due] diligence, at least within quite But remarkableI do that that we do agree it’s fund the of legal one-halfrepresentation of work the which upon basis the is half other the as Especially half. other the not and contract the importancethe about discussion creative a have to here not we’re Obviously, created. be might the is writer the that see would being human sentient any development in think I But writing. of most important element. ments going on. There’s the development of the project, and the development of the script. And And script. the of development the and project, the of development the There’s on. going ments not exactlythey’re the same Inthing. most of in, the combine operate you the we systems two. The combination of the two and the channelling of the money through the producer is what causes the difficulty money pay many, like you, that out pointed people fund you of many example : one you give To legal is the for you back to they come that costs One of the legal legal costs. for the producer to cost of writing the contract with the writer. So you are funding the producer to have a lawyer This is This whose is not job not a is logical. sensible to fuck system. If the we writer. stand here, between us we could make a list of 125 other problems like that. There are tackled problems be can Itwith it. Programme, which does a fantastic job to down delve into the Media detail of Programme the script, but you can and ask Jenny Lenny Borgas directly. can challenge them more and you I can’t I delve can’t into individual contracts, but a it’s completely different situation ifyou lookat the where projects, of number smaller a it’s where – funds national the even or regional the or local produc the of detail into go indeed can people responsible the where and system legal one it’s tion budgets if they choose to. And I could talk for an hour and a half, as any one of you here could, about the ways in which producers can and do abuse the system control of – the funds in ways that where work against the writer and they against the quality of are the project. in it to tackle to begin do have We of producers. experience to be all know this our day-to-day We and one of the things is exactly what you said, which is that there are two kinds of develop Lenny Crooks Lenny Christina Kallas Participant Lenny Crooks Lenny David Kavanagh

The Money / Lecture / Lenny Crooks 16 Kit Hopkins Peter Henning David KavanaghDavid Lenny Crooks Participant Participant is a very high-level ambitious programme. They also have a for you and do lots do and you for editor script a have also They programme. ambitious high-level very a is immediately. So I think it’s a very good success rate. Last year I got some money from BKM, which We were ten people, and three of those screenplays, after one year, have been realised and sold money.the get youthat exposé that.an from like decided something just treatmentTheyor or script a with apply to have evendidn’t you and this, on live to able were reallydays. We those in money of lot a wasyear, which a for Marks too.20,000 live, Wegot to possibility the authors to give wheretried thing they Drehbuchwerkstatt. first the wasfromBerliner money the got I It I have also some interesting experience with this. I was very lucky when I just finished film school having abalance. meansthat thingscanstart part production the as seriously as process the of part this taking and process this in you collaboration A seriously. takes nobody if a script produce to difficult it’stalk.” we’llBut then out, comes script the so,and out. comes Whenpart it’sscript writing because the “Okay,wild,the until waitwe’ll just for paying the writer for having a calendar and setting everything clear. I felt like I was out in the Pro Media the gramme, I think with that what our problem is,And is this transparency between the writing.producer and writer,about time, have we when and then, work And about money. think making to then difficult very it’s And work. to have we time in moments two those see…”between we’ll but and script good a with me to come like,“Okay, it’s film And the granted. of for part as script the take People saying.you’re what to something add to want just I going to end upinRio. Justputthemoneywhere ourmouthsare People should give money straight to the bloody writers. We’re not going to run away. We’re not guy I had in my head, read it. Within 48 hours he had optioned the rights. worked.It can It work. pushing you into producing it. We finished a good script when the producer, who really was the happen that does often how And of.. proud want our script because it was of sort a thorny topic, but we ended up finishing a script we were neck my down breathing producer didn’ta haveI Once. developed. properly was that script a write to able werewe co-author my editor, script/story wasn’tgaveit they and us, okay tolive,reallymoney enough for and but me year one had Weonce. happened it But again. myoncein life,happened it it’sAnd and beforeneverhappened it. do to money enough got weAnd it. got wewantedwe and what them tellcouldwe but this ther German fund. Now you’re all going to rush there and ask them for money, so I shouldn’t say ano FFF,is by which funded was that script a writing while year last dream a lived I and there, been living in Germany for thirty years now. Christina mentioned one of the funding possibilities I’mGerman the haveWriter’sfromhere. I also negativethings we’ve of think lot I Guild.a heard of conditions stories. good Youthis.”for guilty are asks,need really you nobody do whatBut “So Germany it’s really like this. We are forced to bring good stories. Everybody says, “You don’t write need authors do “What asks, really nobody nearly but scripts, good need we say always Producers who is getting funding or same something with like everybody this. They always ask producers. nearly nobody asks me when I write a script, “What do you need for writing a script good, be which very conditions she needs, I consider it my job to ask her that. And I realise now work. the of sides both know to needs she what her ask have,I actress.I for example,an if is I about thought I funnything The so writer/director, a I’m Guild. Writer’s German the from I’m have told me to say is that I’m never too busy to talk about a contract. So any writer that comesanythat I’m writer that have So saytois contract. me a told about talk tonever busy too Yes, this is a possibility your members. Isthat apossibility for orderprovidetoservices in legal money yourtrenchown of youget thatcould possible it Is might be an issue for the Writers Guild of Great Britain and David, obviously, and his association. producers and writers between contract legal the about earlier mentionedDavid that point a up bring CouldI real badfor And thescript. Icould have doneitbetter myself. These are justtwo experiences. is competent not is that company production a on rights. dependence the This up fucked they have a good script. I have lots of people who say they would like toI do it, but they can’tSo rights.because the with up fucked they and novel, a from was It market. the to script this bring to didn’tdidn’tthey money.I mybecause the fault,hownot restwasof me the it even ask get But so up, fucked really they And movie. a as made be would it that approval had I when got just I company production a to connected However,more.was I ?” So they say they accept that we need something to eat, maybe need some money ? ofhelpdoyouWhat needfor kind thiswork ? I don’t know where that starts, but I think it’s an issue. And I think in the UK it UK the in think I And issue. it’san think I but starts, that where know don’t I ? ; and we to try do that, too. Besides, in the Irish Guild the phrase that they ? ; we had a letter of intent from somebody who didn’treally who somebody from intent of letter a had we ; ? Usually you finish something, and somebody’s and something, finish you Usually ? ; we had research money, we had money for a for money had we money, research had we ; ?” This isstrange. ; and the second part of the money the of part second the and ; ; and maybe it’ll neverhappen maybeit’ll and ; ! ?” And it’s the ? Which kind ? kind Which ; but in - -

17 The Money / Lecture / Lenny Crooks

------? {It’s} because the produ the because {It’s} ? ? ! We are going to have more time for that issue later. ; because they have quite a quite ; good because fund of they knowledge. have So the ; and if it comes to a Writers Guild dispute, the will defend the writer ? This This ? example Kit told is have very a You special. who co-author, is also a drama ; and then you’ve got an dramaturge that is not in Bavaria. She is in Berlin. So it’s such it’s So Berlin. in is She Bavaria. in not is that dramaturge extra an got you’ve then and ; Yes, Yes, this is a great development on go indeed we’ll then and talent”, the “Trust phrase, the and “transparency” word the keep we’ll think I lecture. the excellent for very you much, Lenny, Thank discussing this later. be getting as As a a writer. final line ofwe defence, do have an arrangement with lawyers,with a specialist firm of lawyers This and has pay happened for There the was in a lawyer. recent years. famous case over a play where Pocket the director was called Your tryingStones in to claim part authorship of the play. have do Sowe won. we and Guild Writers Highthe Courtsupport the to with the of went it And quite a strong mechanism rights for defending and writers” for getting good contracts for wri you. Thank ters. I just wanted to say in my closing remark that I expect didn’t to have such a lively conversation horizon. the on hope is there that say also to wanted I But writers. of group a with money about I’ve observed“A Thatthat film Shakes by Wind in all the the “The the Barley” film publicity says, development. which is a great Laverty”, and Paul Ken Loach it’s it’s more powerful on the side of the writer – because we “We declare, do not write the story. We consult you, we give you tips, and we try I to don’t help know you.” about the situation in or France the situation in England, but that the writer is always on his own is also a question to he looking friends or helpers for isn’t Why the writer. Can I just interject because here, I am the former Chair of Writers guild the of Great Britain, and one and writers, our for defence three-stage of kind a have We this. about something you tell can is that our members can contact the General Secretary or the Assistant General Secretary and them some by will advice be given Writers Guild have this sort of three-lineThe Secretary defence. General or the Assistant Secre tary General have quite a good fund of knowledge of the contracts, and what of port is first fair the for is writers this maybe and – have also We years. the over negotiated we’ve What basically. shouldn’t or should you what on price a gives and contracts sample out sets that website a – call Maybe I can share an example from Germany. For authors there is a new powerful funding body funding powerful new a is there authors For Germany. from example an share can I Maybe will develop They spend the 2007 money 1st for from of January, called Nordrhein-Westphalia. get it. but didn’t script development funding for triedget Brandenburg to We new. That’s ment. know why you And Dusseldorf. and Cologne in this do they However, situation, our in development a was this If development. script for money get to them asked cers not developer, The up be has the it show to good to funding. would because the now producer only has the to writer, show now how organised it’s to develop the script from the first draftto the shooting draft So or this whatever. is a good development, but what do we have – we, the script editors turge example. a good because it’s it when the film is done, should mention We a special example. sit are, there script the developing about discussion the in that is situation normal the However, the And writer TV. the and writer sometimes ting the at editor the the from the table, producer, is on his own. the We, script editors, are the companions. So if there are four at the table, then in with a contract automatically gets advice. It’s at the top of our list and of priorities. power, But the more it’s have producers that It’s cheat. producers that not it’s And that. than complicated they misuse some the Yes, producers power. are There incompetent. are some producers who cheat but most producers are just in a situation where they do what is entirely legally correct. It’s just bad for the writer and bad for the project. So it’s not so simple, then. writer. the not It’s a question producer, the of of side the on is relationship power the and relationship, power the changed so easily. be can’t that And

Christina Kallas Lenny Crooks Lenny Graham Lester George Lester Graham Participant

The Money / Lecture / Lenny Crooks 18 David Kipen David Christina Kallas

and these sorts of cheesy movies with great big explosions that America thinks are going to going are thinks America that explosions big great with movies cheesy of sorts these and Rock” and Harbour”“The made “Pearl who fellow filmmaking. The American of titans great the of one mind my toBay, not Michael example, for there, there’s in that is entry spot an blind His years. of couple every edition new in out comes that doorstop real a to this like thing a of slip Francisco San in now, he’sand It’s history. great film on figures in entries got a little grown from lives [who] England in born He’sfellow scholarship. a film of work funny very opinionated, ful, David know Thomson’syou Maybe book Film”,of “A Dictionary Biographical wonder a is which ofscreenwriters.is abiographical dictionary which write,to – hope day some might I thinking encouragementin some got actually I where because the last half of the book is a fifty page IOU for what I hope – and now fresh from London is Zaillian Yes,who exactly know – the people screenwriter of Do title. “Schindler’s the List”.half that’s And So there’sHouston. John an entry byboth on directed Agee and Hepburn, Zaillian, Catherine and Bogart Queen”Humphrey African with wrote “The He Laughton. Charles direcby ted Mitchum, Robert with Hunter” the of Night wrote“The also He form. art an as America in up hold to Agee James really only had criticism intelligentfilm along, really came first Kael Pauline the Until people. of One book. wonderful a cri is volumes film different collected of His couple a believe. Nation”,in I “The ticism for 1940 the in wrote He time. all of critics film medium the of titan a certainly but – you mind one prolific a not history – film American in screenwriters greatest the of one was Agee James Theory,”because This for me is as good proof as there could ever be of the necessity for the idea of the “Schreiber bell a ring here, this “Agee,ask does should I book. the for point selling great a be to going not was this that knew of kind I when that’swere, Zaillian or Agee Zaillian.”to Ageefrom FilmHistory American who didn’tof publisher know myeven when And now.is it than longer was with Re-Write started I Radical Schreiberthat A Thetitle Theory : “The about world cinema when I’m not. The title was, and it may be hard for you to believe,on once even back in entries capsule little Carrière Agenoreand Jean-Claude Incrocci, don’tI but want to pretend with that I’m knowledgeable cinema, world of direction the in nod least at book the make Ameri to tried know. I’ve to did, tend you what – is I history film as British little a , with – in history film can up grow you when But history. apologizefilm American I expresses and History”,it Film that American of Re-Write Radical A : Theory Schreiber is “The book called the Anyway, do. to want you’ll thing last the that’s hour an after Maybe out. me hear to “Amazon.com”, you until that don’ta copy. do Certainly buy to difficult that wouldn’tall it be it went you if is Certainly inclined…. Thisso is anybody book. if though yet, not the least at Europe, about in published more bit a you tell just me Let I’ll probably have rotten fruitthrown at me, butIthinkit’s trying. worth them. to talk to happy be I’ll this about talk to me invite to wants Guild Directors the time any the idea in it, which I think you’ll probably like. It’s fair to say I’m preaching to the choir here, but capacity as Director of Literature at the NEA. I’m here to talk about, well I suppose, my book my in screenwritermyself,hereI’m I’ma not this.and really not don’tunderstand I fully agents. agent. an of idea Maybe the agents are the example, American equivalents of forsubsidies in Europe. mention, Youanybody havehear subsidies not and by go to hours two for of unheard of. You would come to a conference like this for screenwriters, and it would be unheard is thing a such America in because screenwriting,for subsidies about talk people hearing here that this has ever been driven home to me as much as it was just in the last hour and a half sitting federal funding for the arts in America has always been kind of an afterthought. And I don’t think because America, in arts it’sthe fororganizationthat Well,biggest much doesn’tthe it very say inAmerica the arts now is he And time. organizationforbiggest the is believe long I which Arts, forEndowmentthe National the at long, Director a for critic film a be to used He here. us meet to Washington from way the all came who Kipen, David you to introduce to able be to pleasure my now is It Lec turer : David Kipen David Endowment of the Arts, USA) Endowment oftheArts, American Film History ? (authorof The SchreiberTheory First Thematic Cycle / The Stories (Part I) ” ofLiterature andDirector attheNational “ The Schreiber Theory,The Schreiber ARadical Rewrite of ti i wa i los ie I’ not It’s like. looks it what is this ; ?” Not universally. Interesting.universally. ?” Not ; and also one of the great the of one also and ; ; we have ; and ? - - - -

19

; - - - - - ; and Écrivain Theory Écrivain ; he’s most famous for – now there’s something there’s now – ?” which was a little galling. ?” ?” ?” Auteur Theory Auteur ?”, and it turns out to be “Schreiber.” And I was talking to and it turns “Schreiber.” out to be ?”, ; who wrote – well, actually, sadly y to lean up against and kick in the The shins. idea is that

? I don’t think so. think so. ? I don’t ; English was a second language to them. And it’s also quite . This . This is the idea that came up about fiftyyears agoby a lot of film Auteur Auteur Theor in America did. But then I thought, “No, that’s wrong. That’s consorting That’s in America wrong. did. But that’s “No, then I thought, Auteur Auteur Theory Auteur Auteur Theory back from the dead and direct my movie. In the same way, I’ll give you an analogy. If a you’re writer, as I am, you want be a a good You’d fool editor. not to, but should his name be on the of yours of the book instead cover to to you in the same way it would be for me say the to names of hear movies. I went about two hours this publishing morning without contracts hearing any, so – forgive me if it’s nice to I cite a few get Howard “His Girl Friday”– You with all that wonderful banter back and forth among the reportersWes – the Hawks' in.” interested is Hawks Howard filmswhat that’s “Well, think, people And like, “OnlyBravo”. “Rio like terns Angels Wings”, Have like between have you like characters female and male between sortrelationships sparringthese of newsroom the in Jean Arthur and Cary And they Grant “Well “Only in Angels said, this Wings”. Have is a quintes sential Well, Hawks onefilm.” way that it gotto be a quintessential Hawks film of. heard who nobody’s Jules Furthman a guy called by written is are two-thirds of these movies that half to would you Furthman, Jules like somebody of career the at look to were you if that maintain I But see every bit as much, and in fact than coherence you can more, see looking Hawks' at Howard get me Don’t Ifwrong. I career. had choice between writing the screenplay and having it direc ted by Hawks Howard and anybody else, believe me I would love to Hawks Howard have come screenwriters screenwriters are the authors of their movies. The first half of the book spins at out greater length. thatAnd the last theory half of the book is an attempt to look at case studies, to look at screenwriters' careers organically, to look at them as a whole, to look at them in the way that all been we’ve more or less look brainwashed to at think someone of You like directors careers. Howard Hawks and people talk about themes that recur in his movies. People talk about male so good It’s – after two Wings”. camaraderie in Angels “Only the Have workplace, like you see in hours of listening to about a filmconversation which funding, I know is interesting desperately I bet I can see a whole lot of hands, probably a whole lot recognize the of fists in the air, if I askyou ifyou critics who, not coincidentally, were about themselves to become directors. The idea that the director is author of his movie., that his movies sort of that everybody spring else – full-blown the actors, from the his and especially brow, the and screenwriters – are just basically accessories. So I thought one way to make the point – which to me seems fairly obvious and probably to you too – that movies, far from being the head-birth of the director, are, if anybody has the right to claim authorship of One the the way movie, it’s to screenwriter. the it called have could I counter-theory. cockeyed a with up come to is this show play play well abroad – though it doesn’t always work out that thank way, heaven. there’ll Anyway, be an entry on Michael Bay, but no entry on Dalton Trumbo – another of the great American screenwriters who wrote “Spartacus” being blacklisted for ten years during the Red Scare in the 1950s. A terrific writer and novelist is probably his most Got famous and Hisnovel, he Gun” wrote some wonderful“Johnny letters, talking I’m see can I But fun. great are which Dialogue”, “Additional tile the under collected which Theory” “Schreiber general theoryyou any given to as what the whenin now Ispecifics, haven’t is all about. the take to attempt an basically is Theory” “Schreiber The rica – maybe it is here too I don’t know – that the on icing the you’re grateful that’s for gravy, just talkingthat’s about, to you’re what understand they if get And magazine. a few inches in a cake. They asked me these very respectable questions about screenwriters and directors but what does it “Yes, to have do with then Lee they Schreiber said, But anyway…. this I evolved which theory, have is sort know of I if a don’t it counter-theory. could stand on its own if it have didn’t the many many of them, in their best designed movies, fact, in great is, screenwriters, that too. theory a Anyway, it describe to just locution seemed French a for take to me me a for co-optation of form Yiddish “What about So I thought, theory. overturnto a French Yiddish was the native tongue of the firstAmericangreat All generation of these screenwriters. over came who Europe from refugees them of many Furthman, Jules and Hecht Ben like people to America, a lot of them Jewish, and wrote the great studio movies of ‘30s ‘20s, the ‘40s. and They grew up speaking Yiddish dish. a broke mother everymy time Yiddish hearing up grew I and Jewish I’m funny. intrinsically Yiddish for writer “What’s So I thought, a few people from Germany in the break. It actually plays better in German, or to people with a working knowledge of German, than it does to people who are stuck only knowing English. I gave an interview to a sortin Ame glossy get any such a crush to of media coverage very and it’s respectful, They’re American Weekly”. magazine about the media called “ or something like that, borrowed a French locution which Andrew Sarasin, of course, in popula in course, of Sarasin, Andrew which locution French a borrowed that, like something or rising the way pervertedthe has mind, my to which, theory this us given have French The enemy”. the with we think about movies for fiftyyears. And I don’t meanto be nationalisticabout that. It’s only a few certain director-critics andself-interested Truffaut greatGodard, filmmakerslike all – and

The Schreiber Theory / Lecture / David Kipen 20 you want. Because you have something like that, because it’s up to you now what movie you movie what now you to up it’s because that, like something have you Because want. you as long as want.you them DVDs keep the have and all You can you out time a at three take can month a Dollars it’sfifteen America pay, in you where mail by services have subscription youthese Basically, properly. it of think to going even not I’m something. was is he there and that – saying now publisher British a getting of chance a stand actually I why is which and – British film a critic the other day, David met Gritten, who wrote a nice piece I about me in the equivalent. “Daily there’s an Telegraph”Probably here. that like something to access have you if we’re because this, living in an of age when we have all such websites as about “Netflicks.com”,talking be to in Americaanyway. time I don’t propitious know especially an is think I now And movies. our stop mis-shelving maybewe finally can the than merely tenable, even if we’re merely viable, even if we’re no more but no less considering worth wins.”we’re Theory' 'Schreiber if even the But win, writers the course, of saying,right, I’m by “If up finish I then So woman. or man indispensable one the is he movie, a of course the over ted perver are ideas his shamelessly how say, first”, of comes them regardless writer “Yes,and, the tum and unless you’re maybe you’rehopeless ego-maniacs to even get tiredstarting of hearing as someone was saying this morning, and as people I’m sure have heard other folks say ad infini You can’t ignore his contributions, just as you can’t ignore the director’s contributions. But really, sense.”say,would doesn’tmake I that “No,one. this like screenwriters of full room a in just Not them group you when than together by better writer or by director. together What wouldtheory hang that be movies these of all maybe “Well say, And that like deck the reshuffle to were you and people, other for and Scorsese Martin for DP’ed that about what theory, Theory look at anybody’s filmographyand see thematic patterns. Thereby,it wouldshow up the few months. Just as effective,though, another wouldbe if it bygiveproving we’llthat an inventive maybe enough But critic can yet. happening this of evidence any see don’t I and February, the topple and tifully In other words, this manifesto can work in either of two ways. One, it might hang together beau posterous to say that Howard Hawks is the author of prethat movie less any it is think, “Well, they’ll moment, a for think they’ll if that saying after maybe, but HaveWings' Angels 'Only of author the is man Furth Jules that say you can themselves,How that’sto ridiculous. “Well,say people when And theory rather than counter- a theory, a but part of It’s the fun of idea. it has this been to make about of it contrariana parody of very bottom, at something, is there that recognise I And,degrees occasionally, intentionality, of varying towith excesses.parody its of place the take to not supplant, to not is point the No, is. is, film “Yes yes’,dear oh it there but otherwise, be art. matters to collaborative a wish might We story.” a tells yes.novel dear The this. Wellsays he when There’s him about regretful something says, “Yes, he oh where Novel” – the Forster’s book “Aspectsof M. E. novelist British the phrase replace to not is already, is an attempt to put the disarranged library of American filmback in order. Theaim here the parroted uncritically have film-buffs and journalists scholars, long too For pictures. damn the wrote only who hacks obscure poor, those of expense the at All filmography. director’s given a to common motives and themes the on concentrate to us conditioned it’sfor “author”, and the to According ago. halfa film criticism century exactly exactly the way we’ve been encouraged to think about movies ever since the advent of is this course, of and, editors book for directors and case, this in novelistsscreenwritersfor tute library the in shelf this doing for centuries been – if somebody scattered the writer’shave books all over hell and gone.critics They’rebiographical on way the develop, and appear themes watching – author an of works the evaluate and read to supposed reader a How’sscrewy. is this Well,unreadable. but all become have library this in books the wrote actually who people the of names the rest, the and Gottlieb Bob and heading.Perkins Max identifying say,labels all Anyway,we’reby,weover spine shall taped which in direction the that’s least at or – doomed it’s that say would some weekend, opening its in performing not movie a like week, first its in doesn’t perform book a if thinking Hollywood of lot a by polluted been isn’t.fact, New there in York has, publishing publishing fact Yorkin and – moreany Perkins New Maxwell more no is therehow about foreverareon world going the in editors self-hating though Perkins, Maxwell latter-day a of sort is a who Gottlieb, Bob or – Fitzgerald’seditor and Hemmingway’s was he – Perkins Maxwell Yous”to “Thank obligatory the all out searching books the of beginnings the at dedications the rian has wilfully ignored all the authors' names. Instead, he scoured the acknowledgements and of starts like this : imagine sort a library of novels it alphabetised by Library”,the and editor’s Mis-Shelved name. Some lunatic called,libra “The It’s lines. same those along out spins of sort it Because book. my from introduction the of bit a it, of taste a have can you so you, read just I’ll Auteurist as no more intrinsically sound than a writer-based theory. Or a cinematographer-based a Or theory. writer-based a than sound intrinsically more no as Auteur Theory Auteur party line.party The book I hold in my hand, and which you’re about to buy if you haven’t Auteurism Auteurists Auteur theory Auteur ; and on that shelf in the library, everything’slibrary,haywire. We’llthe gone substi in shelf that on and ; – then then –

? What if you were to look at all of the movies that Michael Chapman Chapman Michael that movies the of all at look to were you if What ? , the director deserves all the glory. It comes from the French wordFrench the from comes It glory. the all deserves director the , with an equally unthinking writer-centred theory of film. To para film. To of theory writer-centred unthinking equally an with Auteurism overnight. That would certainly be nice. It’s been out since out been It’snice. be certainly would overnight. That collapses just the same the just collapses

? What a preposterous thing to say.”to thing preposterous is, a it What ? Maybe

? ? I’m not too sure what you’d call it Auteurism

?” So it works as a parody as well.

; and once that happens, then then happens, that once and ;

; but rather to debunk it. debunk to rather but ; Auteurism Auteurist Auteur

; and and ; ; and ;

? ? ------.

21 The Schreiber Theory / Lecture / David Kipen

------?

Auteur Auteur ; and you’ve you’ve and ;

” Well, what if Well, there had ” ; “Double Indemnity” is adap is Indemnity” “Double ;

auteur. Century Fox. There’s not a whole whole a not There’s Fox. Century ? Well in see fact, you would a Well ? lot

th ? You ? know You who wrote, or at least co-

, , is Wilder an Billy auteur ; ; at the British which Library, I just and visited yesterday

? Raymond Chandler. So what if you saw those movies side by side by side movies those saw you if what So Chandler. Raymond ?

more credence than probably it deserves. If you saw growing up Auteur Auteur Theory ; ; to make an equation and between imagination one the person’s finishedproduct.

has perverted even the minds of its heretics. Yes. “Strangers on a train’, which is adapted on “Strangers a train’, has perverted even the minds Yes. of its heretics. back and look at what surviving drafts there are and figure out who wrote what. To go to archives archives to go To what. wrote who out figure and are there drafts surviving what at look and back – a lot of papers screenwriters' have been archived at UCLA and USC in Los Angeles, some in Madison at the of University Wisconsin the 1930s, they’ve been only too happy to take money over credit and glory – and there’s a case to to case a there’s and – glory and credit over money take to happy too only been they’ve 1930s, the formed that people the newspapermen, as out started them of many Certainly, this. for made be novelists as out started they or playwrights as out started So they 1930s. the in Guild Writers the much would they So professions. under-compensated other of number any in out started they or rather have health insurance than to be thought of as Being genius’s. thought of as a is nice, genius but the bias over the years has been for for remuneration, cash over I reputation. it. for think suffered have movies but writers only not it, for suffered have movies the of dilution the and credit multiple to addition in Theory”, “Schreiber the to drawback other The with to Back in lying us. are is the fact credits often those that credits, racetrack multiple through voice the writer’s to went who of basis the on much as assigned be might credit writer’s a ‘30s the Samuel Goldwin that weekend as who was in These wonderful room. the rooms where writer’s 20 or MGM Columbia, at together brought were writers terrific lot of go truth to in over crediting have the years and basically one of the things I argue You’d for in my book is intensive. a labour kind of massively be would It project. reapportionment credit Frank Miller. This isn’t a coincidence. The directors aren’t dumb. They realise that it’s easier to make make to easier it’s that realise They dumb. aren’t directors The coincidence. a isn’t This Miller. Frank director. one only there’s if director its and movie a between equation the I was a book critic for I’ve the sat I “Box in for Office “San reviewed movies that magazine”. for “Hollywood chair Reporter”, the Francisco Chronicle” for seven years. For years of before a filmcritic.I’ve been bysuch surrounded that, film people whojournalists, There’s do interviews. Billy about talking to Train”, on a “Strangers Hitchcock’s about talking to shorthand an irresistible movie the made who describing space less up take You Indemnity”. “Double Wilder’s what about mouth own your off shoot to inches column more and lineage, more space, more got nove call might you what in movie a of think to equation irresistible an It’s movie. the in see you listic terms share directors their let won’t they and this, recognise They smart. very is Guild Directors the Well, sneaky. very It’s Guild. the in membership up giving without writer a with credit in its inception Since in at least America. organisation, is Guild kind of a Writers problematic The both about murders that place – or at least are contracted, are undertaken – on trains. And there there And trains. on – undertaken are contracted, are least at or – place that murders about both whereabouts. for their accounting are people where offices in lawyers' scenes very are awkward very something about both Chandler-esque of these which movies, is there’s comple Basically, picture. Wilder Billy a as or picture Hitchcock a as them of think you if obscured tely writ were now, more slightly then, movies very few is that this against argument one Of course, by out one been a person written never time when movies there’s Well, ten by just one person. numbered movies written by two or more people. And so the Whereas voice becomes diluted. direc many has picture a that fact, in argue, would I picture. the on one always there’s director, a where ago years of couple a case a was there fact In title. the gets who person one got just It’s tors City” “Sin Miller, Frank by drawn books comic from Rodriguez Robert by directed was movie some of Miller the contributions to acknowledge wanted very graciously Rodriguez And I it was. think let didn’t Guild Directors the Well, him. alongside picture the conceive to much so done had who him. In fact, he had to resign from the Directors Guild, because he wanted to share credit with double-bills, as I did, like “Vertigo” and “Rear Window”, week in and week out, if double- in saw out, you and week week Window”, “Rear and “Vertigo” as I like did, double-bills, would you naturally only again, over and over Indemnity” “Double and It Like Hot” “Some of bills start to notice certain things that these movies might have in common. And you would “Well is of Hitchcock an course, to start think, been a different kindof movie theatre when we were growingup that would show a different “The but also Indemnity” “Double What if kind it of show a would double-bill. of double-bill say, which we Big think Sleep”, of as a Howard Hawks movie movies those of both wrote, The them watch you when audible Sleep”. voices Big other “The are there certainly And not sorry, Train”, a on “Strangers and Cain, M. James by novel a from ted Theory from a novel by Highsmith, Patricia and as directed, we know, by What . if you side by side Train” on a “Strangers and Indemnity” “Double put they’re it, about literal-minded really be To similarity. certain a with constructed are that scenes of want want to see next, because you’re not at the mercy of the theatre I around used the to manage corner by the – way, I which used to run a movie theatre. Didn’t do my own programming, unfortunately, but I was the Maybe why manager. I’ve that’s been the programme out there as NEA, the at office an manage do I manager. a as myself of thought haven’t I because manager, a from. it comes where that’s so maybe double- great a for wait to like was it what remember I and theatre, movie a manage to used I So movies two taking of double-bill a was it not, than often More corner. the around up show to bill by directed the same And person. in all the I over been years that think conditioned way, we’ve to give the

The Schreiber Theory / Lecture / David Kipen 22 and almost killed the studio that made it. But also But it. made that studio the killed almost and Rider”.“Easy Rider”“Easy interesdamned a is system. Well, there’s really two movies that get that credit : “Cleopatra”, because it was studio a American debacle the killed – case the make could you – that movie a atexample, for Look, one. a great make they could movie without think to movies. started terrific they these toAnd make them enabled had scripts the that forgot of sort they that was happened what unfortunately, of ration power intelligentin very ways. And, in one this fact, of the most intelligent ways that the using new gene directors had you 1970s, and 1960s the In while. little a for better got movies Then fact in that directors gotmore power.it for case strong a such made they and power,were more critics get Theseto power. directors more for arguinggot directors that – world the around American, the in then press, French the in first – traction such gained currency, such gained theory have.The should we Probably have. should that.”we to Maybe attention pay should we maybe And common. in things have them of some maybe and movies, these on is director The here. on going else the Then Powell B. Wallace, the guy who produced Thalberg “Casablanca”. Irving name was a It producer-centred of film. theory the knew people Selznick, O. David knew name People the medium. producer’s a as of thought was it anything, If medium. writer’s a as of way,bythe don’tI director’sa as wasthoughtof time thatatthe think wasn’tmedium, thought which film-making, of half-century first the at back looked and 1950s the in along came critics don’tjust worldaroundMyths us it.the describe just If you think about it, the andthat’s was thefirstbattle cry shot. It what Ihopethe “Schreiber Theory” manages to do. authorship was the opening salvo. It was not the theory, and its evidence entire. It was a warning that wayTruffaut’s same of the politics toward in It’spromise. essay it’spotentialIOU.It’s a – an quality its all for admit to have I – this which history, film of theory,screenwriter-based theory, to Comes “Everybody play original Rick’s”. underlying morecoherenta with up cometo necessary spadework of it’skind So the do to possible the from survived parts which re-wrote, and in came then Koch Howard parts which brothers, Epstein the by of “Casablanca”written were parts which out found and drafts the sifted haveFilmhistorians weremade. movies those how Wind”the about with and “Goneabout “Casablanca”. much writtentoo know Weeverything. been know Wehave that books books the atthe Look love.at we Look that moviesthings. about these written been of have lot that a of authorship real the discover archives. could in we life think my I of yearsBut several next the spend to worthwhile it make would that me for advance publishing a take would it grants,and of lot a take would It time. of lot a take would It does share credit on ontheRiverKwai”,“Bridge Ithinkyou So probably could [doit]. now and credit, shared have to ought Wilson Mike that Holiday”.movie know “Roman Wethe example, for became, which story, original the Dalton wrote that Trumbo fact the reflect DVDs movies these of lot a of authorship the truct his own name anymore. It took a lot of work, but eventually the Writers Guild was able to recons on them. Because he couldn’t get a credit. The McCarthyism prevented him from working under names their put then would who his of friends to money little a giving and week a as fast as in had a boiler room, basically, at his of ranchLos north Angeles where he was writing screenplays 1950s,weremanythe which fronts.moviesof of behind the written Dalton tore-credit Trumbo attempt an undertook ago years fifteen about credit, its to Guild, Writersthe because novelist, and screenwriter blacklisted great Trumbo,the Dalton up brought I that worthwhile probably it’sprecedent respect a therethis is but forin And it. tremendous undertaking, a would be it So include – though not a whole lot of people would join me in this – screenwriting. can’t get it out of my mind – it’s such a wonderful cathedral to literature. And in literature I would novelist named Terryand who Southern, also write journalist “Dr. American Strangelove”,talented very a who also wroteby Cincinnatistory “The a was material underlying the but – way the along up thought ideas and improvisation of lot a with written, primarily that Rider”was “Easy the actor and director, thought, “Hey whateverOr on. equivalentHopper,was.Dollars what1968 thatmoney of the Dennis then, But later bring back a movie that would make more money than something they’d spent fifty million months six country,[and] the across out go could guys long-haired of couple a sudden, a of all least the ending of it at does, common,with in “Easy Rider”.has it Of much course, how “Easy see Rider”to terrified the started studios Gatsby”,I Great read “The just having Anyway, I’mme afterwards, curious. very called Levy Andreaby Island”.book “Small a with now it’stellyou’ll toMaybehave on, catching idea interesting It’san about. he’stalk and you’veto then something toohave read Gatsby” Greatyou and “The somebody with bus a on you’re riding If citizenship. of community, of idea whole the gorating reinvi of also but literature reinvigorating of just not way a becomes it and it about talks book and same the reads town in everybody where programmes, book one city, one these do to ting movie and, in fact – because in my day job I’m to trying get cities and towns across America Auteurist Auteurist ; started in Seattle, moved to , and I gather they’re doing it in England in it doing they’re gather I and Chicago, to moved Seattle, in started ; directors used that power was to get the very best scripts they could.Then, they scripts best very the get to was power that used directors critics came along, and they said to themselves, there’stono, “Wellsaid something they and along, came critics Auteur Theory ! Maybe I am an is a myth that came true ; and now we know. And now the credits on the on credits the now And know. we now and ; Auteur ; they make the worldaroundus.the make they ; , maybe I am a genius”, and he forgot ; and the movies are suffering for ; people knew the name the knew people ; ; because Auteurist - - - - ;

23 The Schreiber Theory / Lecture / David Kipen

- - ? Century th is a myth that ? It’s about the United ! But maybe you won’t. won’t. you maybe But ! Auteur Auteur Theory ; or not some exhibiter quite so much. ! That’s a good movie. Terry Southern wrote Terry a good movie. That’s ! Century belonged to producers. You can even even can You producers. to belonged Century th ! I think it was made with a lot of peyote, but not but peyote, of lot a with made was it think I ! ? Are we going to revert to the producer-based ? I grew up on movies like “Mr. Smith goes to Washington”, directed ? I grew up Smith “Mr. on goes Washington”, movies to like , but got we’ve to the point where now you have people like Michael ; movies directed by an Austrian-American and written – more often , and I hope this isn’t just wish fulfilment on my part, is playing itself out. out. itself playing part, is my on fulfilment wish just isn’t this hope I and , ? It’s a lot harder nowadays, so think what that does to us. Poor America, Auteur ; and I would be more hopeful still if it were easier for you to get your work onto Auteur Theory Auteur ? Look at a movie like “Pearl Harbour”, which is produced by this guy , who Bruckheimer, Jerry guy this by produced is which Harbour”, “Pearl like movie a at Look ? ? What else did he write”, and then go find “Easy Rider”. You an have opportunity to explore “Easy Rider”. and then go find What else did he ? write”, damn about baseball who wants to pity America by a Sicilian-American, Capra. HisFrank whole isfilmography basically ahymn to theAmerican Idea. Billy Wilder movies I don’t know noticed this, at I if least don’t you’ve in America. Meeting all of you makes me hopeful for European film Cultu book. my in detail greater slightly into go I parenthetical, just is this and Because, screens. ral imperialism is a terrible thing, and the fact that you can’t get enough screens in your own countries, in “Pearl is Europe, Harbour” because hogging them all, is terrible for European film. get and write can You too. film, American terriblefor it’s that is recognise don’t people what But audience, European a for movie European a audience, French a for movie French a think, I made, money be more to made everybodybe to for American have whereas movies – because there’s nice, was It extra. was It gravy. was money overseas the days, old the In overseas. now them from but success the didn’t hinge movie’s on it. Nowadays, overseas money amounts to more of an revenue. than domestic revenue American movie’s So could you make a film“Mr. like Smith anymore goesWashington” to States Senate. Could you make a baseball movie anymore, when only really Americans give a and type in an actor’s name, and up will pop half of his type You movies. in a director’s name, and up will pop half know of what You his happens movies. if you type in Raymond Chandler actor American the Chandler Jeff for listing a get you Sweet”, My “Murder like books his even Not movie a to go and IMDB to go you if even and yet, fight fair a not So it’s “Geronimo”. played who above or it below mind don’t I and – it Below top. the at is name director’s the immediately page, it as long as on you’re the page it’d be okay then And – but it “More”. lists one says, screenwriter that link additional and, an click to if have you person, the one than more movie by written is you get to findout who the additional writers are. It’s unjust. It keeps us from the actors, the and directors the of photography evaluatingthe screenwriter, contributions of the director, the editors in a fair fashion. It keeps us from making up our own minds. It makes us work harder to make up our own minds. So has like Theory” for a to these “Schreiber think reasons, I’d that the think like to but I’d like this one, in a room chance It than average has a better chance. probably that eventually it might gradually start to out percolate into a wider world because the movies getting better. aren’t never never to use again, the playing field is a little bit more level. A screenwriter-based theory can theory. director-based against a against a fair fight, feet two stand on its own Or of course a star-based theory, which is screenwriters are, as and a basis for more what movie to Strangelove”, see “Dr. next. see People don’t powerful the world over than “I want to see They even ano didn’t say, directors “I want then to say see Southern Terry another or movie”. ther Kubrick they movie”, said “I want to see another Peter That’s Sellers a movie. think to like funny.” He’s I’d movies. to writers of contribution the obscures that stranglehold different whole self-evident so seems me to which mine, like theory a And crossroads. of sort a at we’re now that and maybe to you as well – but not to everybody at the rest worldwide. filmgoers of this filmfestival, let aloneto like at to I’d think a we’re time of reappraisal and that if it were possible, for example, to search movie next the what about decision the make to able be would you screenwriters, for “Netflicks” you want to see is on the basis of who wrote it. Unfortunately, you go You can’t. “Netflicks” to was was the era of the that in a Harbour” “Pearl way brings Bay who us make to a movies like turning point. I think the the of era It’s reaching exhaustion, but what comes next idea is a plausible idea. think this might [and] you director, in Hollywood than any power has more I think because we’ve got something like “Netflicks” because it’s see next up and now, not some to revival theatre programme you what you movie And because we have IMDB, the Internet movie database, which “My God enables and say, us Strangelove” to “Dr. to go movie, see go and see a that crock a it’s think you’ll maybe and Theory”, “Schreiber for possibilities the of vow a take probably should I that metaphor sports overused an pardon to least, At Kid,” whose filmography, ifyou saw it onwhose afilmography, double-bill youGod or saw willing, a if, retrospective Kid,” then Hopper Dennis Anyway, itself. prove would Theory” “Schreiber the – week this can you as – went off into theAndes and made a movie without a script,script a without a movie a like movieexactly looks called it “TheAnd Last Movie”. really with any underlying And screenplay. it shows. So I think the returns. of diminishing came a point there a while – but eventually for and worked came true 20 the of years fifty first the that argue would I So supervised and studios owned who people Sennett, Mack like People Era. Silent the into back go 20 the of half second The nonetheless. factories but factories creative factories, as them

The Schreiber Theory / Lecture / David Kipen 24 David Kipen David Participant say that it’s visual storytelling, but there’s sort of a false dichotomy that we start thinking a lot a thinking start we that dichotomy false a of there’s but sort storytelling, it’svisual that say aspects. movieoverstorytelling a the of Theywould aspect visual the emphasise who directors In our minds yes, but a lot of the people that the but alsowriters, Billy Wilder was alsoawriter. Fellinicreatorslike biggest were the said,youIt’swriters.As for storytelling. against not important. I think us writers take it a little more personally. It’s not against us, it’s for creativity. It’s they wanted people to know that the is story more Andimportant. the creator behind it is more People went to films for its stars or for its producer.In France, they invented because this theory this believe I I would to bethrilled openitupto questionsandseewhat notionsfolks outthere might have. direction. new a in them brainwash and world the of rest the re-programme to have might it potential what And this. of you”,than think “thank other all what, might see you to curious dly we don’t too, wheredirector, I was going a with this, but as now might not him be a bad of time for some as think questions. I’mWehim Fellini.unabashe Federicoof think is we other as The director. much a as not certainly writer, a as of think don’t we who Huston, John nominations OSCAR most the for tied are history Hollywood in writers two this. Which know you if Let’sself-defence.see in directors and say almost would you first directors. Writers as well as directors.Terrific writers Writerton. the that directors great two the at Look Billy Wilder –yes hewas agreat writer director and, for that reason, denigrated by toabout fromtelllike people mes movieI to developingmoviesthings and the themes. of One not soberly, humourlessly – but not take them – on their seriously own terms as as creative them bodies of take work with and consistent the careers screenwriters' at look to people for nity opportu an be would This screenwriters. of dictionary biographical a on Faber & Faber from alone change the way the entire planet thinks about the movies, but I’velet just had run a little interestprint my out sold I if lucky I’dbe book. little a with do can you much there’sso only So upon atime. it’sand run, long the in oncedamage tobe used they as again moviesgood fromkept as being the think I movie. a there’sabout television, something movies at a young age. And however much we maythe like with television, lovehowever in much fell we you, may of enjoy lot a like suspect I and me like them, of Some to. themselves bring can’tthem of some But movies. American for writing could ever they than television American theycanmakemore money thankstomake justasmuchmoney–infact residuals for –writing can they But made. scripts their get can’t they realise writers talented because better, gotten has television worse.have American gottenmovies American as that is secrets dirty the of One today. made get Or maybe they’d getmadeontelevision. never would that movies are these and language witty glorious much so it, face Russell’s Rosalind or Grant Cary see and up look to chance movie the in say,wouldwas he who then “But And hell. like laugh might Friday”,to Girl hours subtitles “His two the readin would person A that. read to viewer You” [or] “His Girl Friday” meet. Can you imagine captioning “Double Indemnity” ends make to college of out got first I when hearing-impaired the for movies caption to used I of kind certain a fast-talking, style. American Idon’tcynical, defined thinkyou could dothat anymore. that movies are These Austrian-American. same that by – not than hear why.hear is, part first The parts. direct.” not will “I three career the at look is example perfect the me And for has it and vow of sort a drafted I wonder if I the screenwriters in this room night,would take it. Probably you last won’t, but I’dplane be curious to the on here coming was I As I don’t thinkhe’s interesting theonlyoneoutthere doingvery things. screenwriterone toatleast see becomebrandname. a flowers thousand starting a May bloom. and history film in moment fraught very this at we’renow that Malkovich”,interesting it’s but but it’s not as good as a Charlie movie.Kaufmann It’s not as good as “Adaptation” or cast supporting “Being John decent a Ferrell,and Willit, in star big a got It’smovie. Kaufmann Charlie a of Europein called Fiction”,“Strangerthan movie. It’s Kaufmann rip-offCharlie ersatza an is which movieKaufmann is, and they want to see one. As a matter of fact, there’s a movie about to open the of advent the Kaufmann movies, and he’s Charlie example, of not a director – thinking and prominentdoesn’t people particularly want to see be. People very to know what a Charlie We’restarting term. one marketing a least as screenwriter at in though, see, to starting We’re thehair, to cutthedeckorpart people try inthat way, itdoesn’t work. dialogue write to just not is job Your visually.think to is job yourknow, screenwriters as you as fact in when, does director the what time.the of Wewords,of think screenwriterdialogue,the whatthe as does uer Theory Auteur

? I mean, for God’s sake, you can’t type that fast ae u, o aant writers against not out, came ; your job is to make a story work in visual terms. When terms. visual in work story a make to is job your ; ? I forget whether it’s six or eight. I’ve given you one. It’sone. you given I’ve eight. or it’ssix whether forget I ? Auteurists Auteurists tend to ignore, Billy Wilder and John Hous John and Wilder Billy ignore, to tend

? Can you imagine captioning “God Help Auteur Theory Auteur hold up in their pantheon tend to be bt gis wa yu described. you what against but ; ! There’s so much language in language much There’s! so has done an awful lot of lot awful an done has ! Imagine forcing a poor ?”wouldn’ta haveHe ; and the pictures as pictures the and ; Auteurists ? I forget I ? ; and he and ; auteurs . - - - - ;

25 The Schreiber Theory / Lecture / David Kipen

. ------?

Auteur ? I’m ? not I’m

?”, which is the automatic ques is the which automatic ?”,

! ! I think it would be interesting if more

? You have ? You to wonder sometimes, though, ? How can I act like Oscar Schindler in my life, in the chal in life, my ? can I How Schindler act Oscar like

; but you don’t have to have be ; a but of lover you don’t Raymond Chandler to ?

?” It’s a brilliant screenwriting solution to solution a that a problem had It’s screenwriting stumped brilliant ?”

? ? He New great tried Orleans to make an of adaptation Robert Warren’s Penn

? “I could have done more.” Here’s a guy that 1500 saved or it people, Here’s whatever “I could have done ? more.”

? No. I don’t think he is temperamentally suited to being a director. I to think suited he ? being a think he found I No. director. is don’t temperamentally

; ; but he was driven crazy and became an alcoholic, a sad figure,because of all the people ; ; the job director’s is Well maybe harder. it’s harder for us. Watch a director try and write a

ting originals with adaptations in the same way that Virginia Woolf alternated biographies with ting biographies with in originals alternated adaptations Woolf the same way Virginia that novels. I can see I’ve made my answer to the now firstquestions more maybe So question longer than my opening lecture. unless maybe I check with them first and make sure it’s okay. Because this is how a writer’s vision vision writer’s a how is this Because okay. it’s sure make and first them with check I maybe unless gets The diluted. director comes in and he “Well, I says, want my pet writer to give but it draft, second a great a to not draft polish.” first good a from goes movie a how is this often too all And to and a perverted unrecognisable completely draft. umpteenth and By unforgivable then, the made. getting actually movie’s the that speed sufficient with moving are wheels “I Finally, will not It’s do become [it’s] so adaptations only.” hard to do anything other than an adaptation in Hollywood. The ‘60s and People say ‘70s the that’s Golden Age of the were American filmthe Paxdirector, Romana of a the Golden Age In of fact, that was original the Golden screenwriting. Age of screenwriting and not just any screenwriting but scripts. And nowadays it’s so original important to have some sort of feature,some identifiable story – I the or “Alexander “Troy” whether Great”. suppose it’s since in we’re Thessaloniki, we might as well be local about it. It’s so important to have an idea or a title people can or that identify, some original scripts subject are matter just that orphans. It’s hard to fillout a category of five of them at the OSCARs So each year. I might think give some screenwriters thought to alterna It keeps them from saying, “What would I do in Schindler’s place I “What do would in Schindler’s saying, It from them keeps question, the ask you makes it And yourself. asking that like movie a of out come would you tion do in place my Schindler “What would lenges that my life poses seve last the do for Zaillian Steve did what But him. before screenwriters many how now I don’t ral years of his life in it. things decent some there’s and year last out It came just Men”. King’s the “All novel, political good really dozen a half written have could he which in time the took, it time the worth it was But screenplays his I metier. think he found exactly what good he’s at, but because of the structure of the film because industry, have directors so much he more power than was screenwriters, into forced a direct.” not will “I is, one article So him. suits really think don’t I which position, I will not I be work a will other writers' not script rewrite doctor. “I will not doctor.” Article two is, and tell fictional characters what to do. And they don’t even always listen to us. Are we tempera we Are us. to listen always even don’t they And do. to what characters fictional tell and to suited on mentally standing a whattoand film-set atelling technicians do hundred The fellow this convinced. morning said an thing. He interesting said the director should come first see You’ll screenplay what someday. hard really means direct. to not vow a took writers Look at who Steve Zaillian, missed narrowly being in the title of my book. He has written some terrificI screenplays. List”is “Schindler’s think a really smart way to deal with the subject mat tried to of the solve problem a man after heroic who screenwriter does a great Screenwriter ter. thing and then for thirty Schindler that speech the years speech, that does Remember words. nothing. six in In problem the solved dramatic Zaillian Steve terms, what do you do with that at gives the end was that he couldn’t save. That solution throws the question of the movie in the audience’s lap. whose word they’re taking for it. If I wrote into IMDB and said called me Some of in a panic “Thein know1974, because I he had didn’t Godfather”. to write this scene in screenwriters. uncredited dozen a half and screenwriters credited two or one have movies these like actually Anyway, I Robert directed. Towne he was movies the nominated like for don’t three people of OSCARs lot A in director. the a be space to wanted of he decided two years. Then he I the he movie thought made just a of ago, couple years “Pre”. I like But Sunrise”, movie. “Tequila them. terrific I like a was – Fante John by novel L.A. great another of adaptation an – Dust” the “Ask years two in masterpieces three say, almost could you writing, from went he was happened what years. next the twenty over movies three – another making to “Shampoo” was one -oh, third the ifIhe been had think of a cliff. fell just productivity his made, a get to movie so hard it’s Because do we than movies Towne Robert more lot a have would we screenwriter, great a stay to content once. of instead twice them on name his have that movies three got we’ve though even – now Wetosit howin aknow room wewriters. are I frankly, mean “I notwilldirect.” is, vow So the first of . Robert Towne wrote what Robert is Towne of held Robertup, rightly Towne. or as wrongly, the quintessential great American screenplay of the A 1970s, “Chinatown”. great movie. I don’t know who Raymond Chandler him more, or me likes And a of guy course who here’s was nominated for three “Chinatown”. OSCARs within love two though “Godfather”, the Not mind. my slips one other the and Detail” “Last “Chinatown”, for years he contributed to that without credit and that’s where our credit reapportionment campaign could come Though in one handy. of the great things about IMDB is they’re only too happy to make a little notation or a little have to asterisk.You click further to get to it, but they do reco gnise the contributions of uncredited screenwriters

The Schreiber Theory / Lecture / David Kipen 26 Thomas Bauermeister Christina Kallas Kipen David Participant Kipen David Participant Kipen David and thenit’s removed. Maybe thiswould beagoodmodelfor directors It’s interesting that the construction firm, the contractor, gets its name on it during construction ofwork yousame type know. the It’s buildings. on names their get do Architects architect’splans. to an tointeresting scripts be the compare would it doesn’t I think She And matter. scripts. of piece my difficult read a it’s doesn’t So anything. mother understand My public. the in someone for unreadable It’s business. the in not is who someone for read to material of piece difficult a is script a that ven pro It’s“Amazon.com”, on example. sold for and publishers by published not are scripts The awkward at first, butsoisany of form concrete poetry.So isasonnet. true be to a screenplay. this find reading than You painful there’s more how nothing read, to is it difficult how is, screenplay a from artefact just an ugly not how is themselves,and screenwriters from evenagain, but directors and again hear I thing One right. own its in literature of form a also but end an to means a as screenplay not the about point first loveyourthree. I points,all Good That was notthe himself. screenplay the write to had director – every that know thought and I point the as misunderstood – Germany in especially though, that, after generation The is. writer the of tance impor the what well very know they So writers. with write all they directors, French the now, the Train”, for example, or about the work of and Highsmith Chandler. So if you see the directors on on “Strangers Chandler of influence the about page one wrote they and course, of named, was Chandler read Hitchcockyou Cinema”,about If du “Cahierscredits.write they books the or writer or not. On the contrary, they knew very well movies. And that’smainstream why they called them these into vision personal their get to able were directors some system, into the business. And they found out that, when they looked to American movies, to the studio wasit a the of misunderstanding common it’sa think I Third, keep that inmindifwe talkaboutthis. to directors.haveWe the of freedom artistic the reduce to is producers, the for play’s function, Selznick of are lawsthe best main example. cheaper.The it “This is not make in the to screenplay.tool a Youget should to not forcedfilm were it.” producers the So So thecost. screen pected unex of a lot incurred had they and back came they and films, minute twenty or fifteen make to out directors the sent producers the where – history film of beginning the in true was especially That freedom. director’s the reduce to also is screenplay a of function the that is Second why screenwriters are notmentioned to intheway be. theydeserve job.our It’s impossible. Wetonovels whatever.or skip should that’sAnd pointsbasic the of one can’t do convinced, we not are we If thing. first screenplay.the the is not This own, its of status art an have can film the only why is that And filmed. be to produced, be to is function own Its own. its of status literary no has screenplay [the] that convinced all are we think I screenplay, misunderstandings. First, concerning the status literary of the screenplay or status the of art the I’mfrom Germany. wethink I have tothree with deal misunderstandings, three quite important – you canseehissignature in allofhisscreenplays. Arriaga Guillermo like writer a mean play.I good a or novel good a reading enjoy I as much as 21 the of form literary the be may screenplay before. The said Mogens as proud, and confident more bit little a be should we perhaps So generation. his of stars literary the as way same the in – critics film by only not and – moment the at of talked being is Kaufmann Charlie and Kaufmann, Charlie me. mentioned to You sense more makes that and opinion opposite the also is there But film. the is which art, of work fora blueprint a just but form, literary a not screenplayis the that nion before the 19 was It the same with theatre plays. Theatre plays weren’t published and read by wide audiences say released it’s good-bye to Steven Spielberg when andbackwithSteve Zaillian. What were you goingto say then and Spielberg, Steven by constructed being film Zaillian Steve A It’s ofdocument –ablueprintfor thesametype for anarchitect isascript afilm. PolitiqueAuteursdes ? No, I mean, you have to train your eyes. The margins are a little different. It’s a little It’s different. a little a are eyes.margins yourThe train to have you mean, I No, ? th st Century. They were only read by professionals. Actually, it is a quite common opi Century, for all that we know. I personally do enjoy reading a good screenplay good a reading enjoy do personally I know. we that all forCentury, Auteur Theory . Thatwaswayit a means for youngtothese time the get of people , notat all. Auteur , the only had reason.nothing to do It with who was the ; and they mentioned the writers and all their Auteur Theory Auteur . In fact, it was not a theory theory a not was it fact, In . ! ? - - - - -

27 The Schreiber Theory / Lecture / David Kipen

; - - ; Innaritu and then ? They They ? leave the auteurs ? At first, I was a little a was I first, At ? ? I know it happens a ; and I to pay each attention .” And they fell out on the floor laughing. .” ; how do you write a heroic cowboy movie movie cowboy heroic a write you do how ; auteur . William . – a screenwriter who wasn’t Auteurs ; “Well, think of the Beatles.” “Well, Most ; think of of the the great Beatles.” Beatles songs expression and movement came to be around. It was a group of ? One is on the Auteur ; and then I thought ! This is the stamp, this is the thumbprint, and this is the figure in the carpet.” If only If carpet.” the in figure the is this and thumbprint, the is this stamp, the is This ! ; and they got to the point, “We need some media exposure. We need some space in Great question. What do you do when a movie has half a dozen names on it on names dozen a half has movie a when do you do What question. Great stumped, too about two guys who, when the posse is after them, they just don’t leave town They country. leave the hemisphere. And who then Babe runs “Marathon there’s in from Man”, the Nazis to the doorstep of anybody who will let him in. Men”, the And President’s “All then in which he that wrote, there’s great scene where Bob Woodward is down in the parking garage meeting Deep Throat, and he hears footsteps behind him. And he runs like hell. These are the kinds of things that if these three movies had all been directed by the same guy we would be “Aha thinking you were to see all these three movies as a triple feature, maybe you would start to see these importantthings and more them. ones like How does your theory stand when films are writtenby five or ten writers lot in Hollywood. It goes back to what I was saying about adaptations – how we’ve always got this recycling of previous materials. Since you William mention Goldman, whose writing I like a lot and not just because he tends to agree with us. a He’s very frank, funny, candid, engaging writer. I have a little entry in the back, a very short one, movies, about William because Goldman’s it suggests Sundance The and Cassidy “Butch though even other the to one form consistency a is there that Kid” was directed by George Roy Hill and “Marathon was Man” directed by John There Schlesinger. is a signature. There is a stamp. So I’ve got I meanfine he“A ifa onceatrophied was novelist.” aterrific description novelist. Now heof hardly writes them William Goldman here as, frankest, any funniest more, and explainer they’re to “Screenwriting’s not the much good. Also, novel, own his from and, Kid” Sundance The and Cassidy “Butch include, credits His world’. wider partly are strange the about works, other his of some and pictures, Boththe of Man”. “Marathon nobility of Think about running Butch away. Cassidy and the Sundance Kid running away from quandarybig his was That Bolivia. to super-posse the really really stupid. Something like Hitchcock was the And then the idea took hold and “Thison grew its own and will really get us some media time.” memoirs. can check Goldman’s You it. retract they couldn’t The second remark refers to the age of the producers and then wishful the age of thinking about the decade every in think I but screenwriters, age of age the of sign first the maybe as Kaufmann of Charles screenwriters coming. I don’t think there is Inone well-known this Charles Hollywood decade Kaufmann,screenwriter. it’s the so. pre You mentioned vious decade was that guy because who wrote “Showgirls” and “Science”, “Basic of Age the is Instinct”, age this Joe and on going already is age third the Eszterhaz. think I one. always There’s been there’s a lot of money researching everything – psychology, market research, experts in everything. These people can measure only the things that have been are done today The before. films Hollywood more measure. can they more the done, been has thing the times more and it. of the similaritiesjust the recycling because they can predict it as they calculate images in your head not And when he’s the you only read saying one it.” that who’s and if you script Jensen Thomas Anders an read you if script, Kaufmann a read you if script, Arriaga an read when legitimate only not is drama theatrical way same the In literature. definitely that’s yes, then on it’s the stage but also when read. It’s a huge subject not and matter, going we’re to cover it least. it at addressed have good to But it’s here. Can I make two remarks mentioned here but is quite well known accounts of how – this has collected in his memoirs young French some journalists who were eyewitness thinking about getting into the movies. As they were sit ting there, according to Goldman and some eyewitnesses, they were sitting there in some café in Paris magazines. Everywhere, so that people start talking about us. Let’s come up with something It’s interesting that interesting a It’s lot of these partnerships seem to be breaking up at the moment have who Boys Cottrell. Frank and Winterbottom Michael Also out. fallen have who Arriaga, and a parting to come of the ways. have seem to years and years for together worked say, did Arriaga here. giving are you shot warning interesting an that’s so crossroads, a at are We me it is “For literature in a session at here this very last festival year, word, each image that emerges. For me, if it have doesn’t this quality then you have won’t the David Kipen Participant David Kipen Participant Christina Kallas David Kipen

The Schreiber Theory / Lecture / David Kipen 28 Christina Kallas thing to eat. We’re goingto continue thisconversation intheafternoon. Thank youany David getting not of danger the run we otherwise because now session this interrupt to have I fair degree ofauthority, belongto oneandnottheother. say,a can youwith that strands the out tease then signaturesand their learn to voices,starting and drafts, of looking at their movies that you do know are there. Looking at their novels, at their archives the all don’thave you if question, a just It’ssketch. Palin John Michael a a from sketch tell Cleese can you while a after fan, Python Monty a are you if But guys. six is which Python, Python Monty at Look other. the to which one and to singer belonged duet the of parts which out tease can Youvoices. particular those hear can screenplays other Bolt’s Robert know Arabia”youlike of “Lawrencemovieand a at look you if that token same that by maintain I So Lennon song. You’re goingto say that’s aPaul songthat Lennon helpedhimwith. McCartney that McCartney helped him with. If you listen to “Yesterday”, you’re not going to say that’s a John listen to “Revolution”. And you know that’s not a Paul McCartney song, that’s a John Lennon song McCartney and Lennon to creditedwere ; and you know ’s other screenplays, you screenplays, Wilson’sother Michael know you and ; ; but if you know anything about the Beatles, you can you Beatles, the about anything know you if but ; ; all those scripts are credited to Monty Monty to credited are scripts those all ; ! -

29 The Schreiber Theory / Lecture / David Kipen

------? droit droit states have Century by case Century th The system. ? system. A work capable droit droit d’auteur ; and Moral Rights on the other other the on Rights Moral and ; droit droit d’auteur

droit droit d’auteur system on the other, the author’s-rights system. system. the author’s-rights on the other, system system, you have the copyright system, which is is which system, copyright the have you system, ? ? The answer is that all

(Head of SACD Belgium) (Head of SACD droit d’auteur droit droit d’auteur droit (Film copyright law specialist) copyright (Film ; and also by juridical persons, such as corporations, which is which not pos such as corporations, ; persons, and also by juridical

system. The right to exploit an original work is attributed to the author’s author’s the to attributed is work original an exploit to right The system. éric Young Fréd and Eva Inès Obergfell Eva droit d’auteur droit system is based on the principle of the author, the creator. The creator is the author and author is the creator The creator. the author, of the principle on the is based system turers: turers: the right against false attribution of the work and the right to privacy of certain photographs and and photographs certain of privacy to right the and work copyright the of the attribution for false against foreign right the mostly are Rights Moral these that consider to have you but new It’s films. conceptions. two these between difference big a There’s system. They include the Right of Paternity – the right to be identified as the author of a work – the Right Right the – work a of author the as identified be to right the – Paternity of Right the include They a work how and when decide to right the dissemination, or divulgation of right – the Integrity of should be made public and the right to revoke the grant of right or to withdraw a work from commerce. Moral rights have their origin in the of the 19 in the middle developed was Law, continental French from coming doctrine Rights, Moral of author’s rights. The doctrine of law and legal But commentators. the nature of these Moral Rights remains unclear and uncer tain. They are considered a part of personality rights and explained as a result of Natural Law. Which have countries them in their legislation an article refer in the level, Berne Convention, on have the We international Rights. Moral these systems. copyright the for foreign mostly is Doctrine Rights Moral the but Rights Moral the to ring We have in the Design and Copyright Act Patents from 1998 of the UK – new it’s the and is expressly which director, or author as identified be to right the – Rights Moral of types for introduced of Integrity, Right the of work, the treatment derogatory to object to right the of Paternity, Right “The author is the creator of the work.” You have this copyright system in Italian law, in Spanish law, law, Spanish in law, Italian in system copyright this have You work.” the of creator the is author “The law. Slovenian in and law Austrian in law, Greek In the to work contrary the hand, other the On created not has who person that also allows but creator the of principle be the can on it based and not copy to right a just is copyright The right. property immaterial this of owner the be to persons by natural owned the in sible Doctrine. Made “Work for Hire” what is the sense, called or in superior the commercial employer copy the of – important that’s – owner original the be can film the of producer the Consequently, Luxembourg. in and Ireland in England, in are system copyright this for Examples film. the of right the protect rights Moral Rights. Moral of problems specific the about remarks some make me Let regarded is author the of work creative The work. his and author the between relationship specific non-waivable. are Rights Moral that is know to important And personality. his of expression an as right of dissemination, the right of making available to the public the to available making of right the dissemination, of right time. have we if on, later detail more in that into go will I Rights Moral the Concerning hand. My will presentation be in two main parts. First, I will show the differencebetween the copy on one and hand the system right Second, I will explain the legal situation of Young. in screenwriters Europe and, Mr. to if pass will I I then and have time Societies, enough, Collecting the about words few a with conclude will I the on have You categories. contrasting two into divided be can Europe in jurisdictions legal The one hand this so-called copyright system and on the other the d’auteur the author is the person who stands at the centre of the of being protected in copyright law has to be the result of a intellectual creative, human acti vity and, in this system, the main for condition is Examples protection are firstoriginality. of all French law, then German law. For example, in Paragraph 7, German Copyright Acts, I quote, What What is the role of countries European defines authorship in the different What the writer in European production and distribution Lec I would like to start by defining copyright. It’s a legal concept, and which protects which creative work, means that somebody owns an The immaterial property content right of on this his the reproduction, of immaterial right the like creative hand, one the on rights property or work. property, rights economic speaking, or property right/copyright, consists in, generally The Rights The III) (Part situation current The / in Europe Being a Screenwriter Eva Obergfell Eva

30 There are some critical voices as well. One is, for example, the doctrine of the Dual Characters. Dual the of doctrine the example, for is, One well. as voices critical some are There prevailing viewincase law andof legalcommentators. the itself. is This work film the in screenwriter the of co-authorship direct the deny both as law Austrian and German in situation special a have you Here good. that not it’sscreenwriters the main authorofthework. This isquite aprevailing opinion,butwhenwe lookto thesituation of with the consequence of co-authorship. Normally the director of the film is here considered the originality levelof cinematographicnecessary the reachthe toworkcontributions which and if the authorship or to the circle of co-authors. Germany,In you have to decide in each single case to not and rights of assignment the to only refer rulings creator.specific its Their to belonging Yes, but with respect to the authorship they don’t derive the general principle of the authorship tely open. These legislations determine specific rulings, referring to the cinematographic works. comple authorship law,film law,DutchGerman of and question lawAustrianleaveIn the they different law.German situation in quite another screenwriter.have Wethe of co-authorship direct typical the well, as recognise, Sweden, and Finland Denmark, in laws, These film. the of co-authors direct the of circle the in counts film the of director as especially undisputed, are lawsauthor. These its as work a of tor matographic works at all. These countries only know the general principle determining the crea specific cine of authorship the a for rule specific a of fix to renounceSweden and Finland absence Denmark, ruling. the by characterised is list, exhaustive an besides solution, second The group of persons, which typically are entitled to write of authorship in a cinematographic work. gian copyright law the screenwriter belongs, quite obviously by way of legal presumption, to the Bel andFrench UnderLaw. Belgian andFrench writer.”ofscenario part also conceptionis This rary work, the writer of musical or literary musical works created for the audiovisual work and the creatively contributed to its formation. In particular the director, thewhopersons scriptwriterthe audiovisualarework an adaptingsays,co-authors of It “The the69. Articlelitequote I law,and presumptions,cinematographicregulationsthesewithco-authorsPolishofworkand are work, as persons specific presume film the of author the iscreator the legislationsthatstating Other be thatdirector could anotherpersonbesidestheprinciple beaco-author. co-author of cinematographic work is, moreover, possible that other persons – for example, the screenwriter – could be regarded as work. audiovisual Under Greek Law,or for cinematographicexample, only the principle director is the the author of a filmof copyright list, exhaustive an list, precise a have you There director.” principle fourth, photography,and of directorwriter, third,screenplay second, tation, adap the of author first, considered : be shall act audiovisual an of co-authors co-author,“As quote, I and says, 105 Article Act, Copyright Slovenian – year this from dates and new very it’s Perhaps Imay cite Slovenian Law Act the of 87 Article Spain, in example, For work. cinematographic a of co-author possible the precisely fix which legislations, or rulings legal summarise can First,you significant differences exist. Regarding of countriesthe stateswrittenmember his work. or following the authorship the about talking not I’m work. film the of co-authorship talking direct I’mthe about co-authors. here cinematographic of circle the from here excluded is screenwriter the author. its as acknowledged also is Copyrightfilm of a Protection,of Consequently, director the Termthe Concerning Directive the and 1993 from Retransmission Cable and Broadcasting lite, Satel on Directive the 1992, from Rights Lending and Renting of Directive the requirementsof and only author of cinematographic work. According to European standards, especially main from the the was producer film the times, former in Luxembourg and Ireland England, in systems Okay, let me turn to my second issue : the legal situation of screenwriters in Europe. In copyright will tell you more about collecting societies because that’s his area. Thank you for your attention. money following a specific plan. distribution And now I will leave this platformMr. inthe distribute Young’sthey payments, care, who the all collected having After instance. central a as and general a as collectively payments sum lump or royalties the collect to is function Their users. vate copies. The collecting societies are installed as the third between party the authors and the pri of future the instance,in for practical, not is or possible not is author a the topayment direct because party, third a to paid be to has which royalty or sum lump the copyright. determines of law The uses specific for royalties of system or law copyright the and regime sum lump the by required is societies collecting of necessity The societies. collecting about remarks My the Federation canwork to inGermany. changethingsalittlebit, perhaps or just the author of his screenplay as a written work separate from the film work. I think perhaps the question of whether the screenwriter is a direct co-author of the cinematographic work itself Europe in screenwriters of situation legal the on remarks Tomy summarize of thecinematographic work itself, andat thesametimeauthorsoftheirwritten works. cinematographic work, the which means that the of authors of these works part created especially also for the film are are co-authors film for especially created works that says doctrine This ; because Greek law has this principle of the creator. It could ; or in Portugal or Italy. or Portugal in or ; droitd’auteur ; the trouble area is area trouble the ; system, ; but it ------

31 The Rights / Lecture / Eva Obergfell

- - ? ? ? ? ; and then I proclaim I am the co-author of the filmwork and ! I write commentaries and a lot about this. It’s a good ques ? ? And payments – is there a difference because of these kinds of laws a difference is there – payments ? And ; it’s ; not it’s the The only other way. way would be if we started talking about it at the now the laws far is this connected of the product. So to the designer how ; it’s It’s It’s one way of legislation of the development a motor Normally it’s level. European First, you need to have a case that it’s connected to. connected to. it’s a case that have need to you First, So I write a film, the film is made court. go to then we show to have would he that be would lawyer your for problem The time. long a takes it all of First would you Perhaps adopted. be to has opinion, prevailing the not is which opinion, another why not do this. So might a lawyer lose the case just because of this view. lobby So is to the only chance Do you have any idea how we in Germany can get the double standing of screenwriters being co-authorfilm and also author of the pre-existing of the work I, for my part, am working on it tion, because we are now busy with the second reform of our copyright act and this is not on the agenda. I don’t really know how, but if legal commentators like me insist upon it, perhaps the Federal Court of Germany will change its This mind. would be a great success for Then, us. better. are regulations the changing Court for the chances this opinion, adopted if the Federal court possibility go to to idea any with that Is there So this means sampling, also, because I’ve read new theoriesread that a author because future is I’ve going Sobe to this also, means sampling, the not it’s director, the not It’s process. whole the of control gets who designer a like somebody writer It’s the principle that in the cinematographic field all the rights that are necessaryfor the film are assumed to be assigned to the producer, because he And has everything which to is not known, organise for example, because all the Internet the was not known packaging. fifteen it. forbids which act copyright our articlein another have We assigned. be cannot this ago, years of rights assigned. pages and pages have the contracts So therefore the author of a novel. He’s not the only author someone of separated from a the He’s novel. development of the film.And maybe the consequence of the direct co-authorship of the screenwriter will be that his weight this is very And important, say. I would with the producer. in the negotiations will increase And how is this authorship in audiovisual media like the Internet, because we start to get pre for images, use who authors become start to Authors words. written just not are that sentations in these Internet-connectedexample, writing game works I can answer this for German Law, because I’m a German Inlawyer. the German Copyright Act we have a presumption that all the rights that are necessary for the film, orfor the exploitation of the film, are assigned. So the digital rights are not necessaryfor it. Or perhapsyou necessary, it’s canbecause the say usual exploitation, in our time, is also about Internet. But I have my like this. doubts about whether it’s Peter Peter Henning from Germany here. What makes the difference, then, in these countries makingcontracts in In the contractual fee there is no real difference, because if it is only thecopyright concerning the written work or if it is a copyright concerning the cinematographic work, in both cases all rights are normally Soassigned to in the this producer. point there is Ino would difference. say it is a todifference have a signal thatthe screenwriter is not only someone not apart. only He’s Eva Obergfell Eva Tobias Siebert Tobias Eva Obergfell Eva Tobias Siebert Tobias Eva Obergfell Eva Tobias Siebert Tobias Eva Obergfell Eva Tobias Siebert Tobias Eva Obergfell Eva Peter Henning Peter Eva Obergfell Eva Peter Henning Peter Eva Obergfell Eva Peter Henning Peter

The Rights / Lecture / Eva Obergfell 32 Eva Obergfell Christina Kallas Eva Obergfell Tobias Siebert Frédéric Young Participant Rights are very important to everybody, even in the countries where those Moral Rights are are Rights Moral those where countries the in even everybody, to programme TV important a very are building Rights or film a building of process the of origin the at success the of origin the at is Who work. the of creation the and talk paternity you the when about warm really are They cold. very people leave doesn’t creation that is that, like people and producers directors, screenwriters, with dealing of years twenty in experience my the it Is come. mother will baby the when decides who and come will baby the when to divulgation it designed we as exactly work the Is integrity. of matter a It’s is. child the of name the what mother and father the with maternity and paternity of It’s a matter general. very something is creation that think I and baby the had has she time this since And baby.a expecting was wife my because also happy was I And happy. in very was I first at Europe, screenwriters of Chris situation When the about policy. think to and cultural you to and speak and come rights to me asked scenarist tina rights, author’s on working been I’ve that foun the of one was the of ders which (ASA), l’Audiovisuel de Scénaristes des l’Association of founder the was I SACD. French the of branch Belgian the is which Belgium, in Dramatiques positeurs Com et Auteurs des Societe of Director General the I’mYoung. Frédéric I’m everybody, Hello producers,German for example, would liketo have thecopyright system. Just one sentence. I think there’s good proof that the droit d’auteur the for go would I So case. this in screenwriter the of favour in not are laws German sense. The this in laws best very the are screenwriters, mention which co-authors of list exhaustive an or presumptionlaws,have a PolishSpanish which French, and Belgian, so Italian, works.And their legal concept for the protection of screenwriters, because they acknowledge them as authors of your to And system. copyright the second adoptedquestion, “Which is which the better one system other no there’s know, I as far As Europe. in model a like are laws.WeFrench and German the on oriented is law Slovenian too. the of part areknow, they I as far as But on. so and commentary legal the law Estonianexample, revised,havefor I right. you’rearea, grey of kind a it’s So practise. the of law. experienceyou You haven’t case so anyhaven’t new very is which Law Slovenian example, for have, we question first your answer To screenwriters andwhy moment the at area grey Europe Eastern of rest the about what [but] nia, countries European Eastern the about what One, questions. two have I too that, to refer I Can pean developments. andonthenational Ithinkquite level, So [thisis]agoodway to also. try Euro director of requirements, European of principle result a is the This film. the of systems co-author the copyright as acknowledged the in have we example, for because, yes, Perhaps theEuropeanSo level would bebetter thanthenational when the film is finished, as the producer and director will decide together, that your moral moral your that together, decide will director and producer the as finished, is film the when It’s only written. was as bescenario the shot will film the you that guarantee can that provision legal no is there film, a making of producer. process the and in engaged are director and the screenwriter a by are you if adopted So is version final the when starts Integrity of Right the law Belgian in why That’s work. audiovisual an as film the of co-authors the of one is said, was it as screenwriter, the if Even screenwriter. the not and together producer the of and director matter the the is ready is baby the when right divulgation the law, Belgian audiovisual in why the That’s in field. Rights Moral manage to ways special with up come to necessary it makes a film in invested money of amount the that believe legislators the Because it’sreason. a good mainly separately, organised are Rights Moral those field audiovisual the to come you when Spanish, and Belgian as such French, laws, many in Ithink field. audiovisual the enter we when way same the developed usually not are access, public from or market the Integrity, from work Paternity, the withdraw of to right the is Rights countries some are in which Withdrawal, which and Divulgation principles Those everywhere. topic major screenwriter a is any director for and team production the the way by the discussed course, or of filmed be and, will countries screenplay copyright in important very are credits the course Of law. by recognised not

? ? father The Federation of Screenwriters in Europe in Screenwriters of Federation system.

? ? doctor The ? ? You described to us very well the two systems that prevail in Europe. in prevail that systems two the well very us to Youdescribed ? ? The second one is – which of the two systems is the better one for one better the is systems two the of which – is one second The ?

? Those characters of the Moral Rights are very important and and important very are Rights Moral the of ? characters Those ?’, I would say the ; but it’s very difficult for me in Germany to have to Germany in me for difficult it’s but very ; ? Which system does it connect to, or is this a this is or to, connect it does system Which ? , so I think it’s something like twenty years years twenty like something it’s think I so , droit d’auteur ? droit d’auteur

? It’s something like a right of of right a like something It’s ? system is better ? YouSlove mentioned system. This is the best droit d’auteurdroit

; and I don’t know if if know don’t I and ;

? So these Moral Moral these So ? ; because the

? Who is is Who ? system, - - - - -

33 The Rights / Lecture / Frédéric Young

------! ; those rights ; and the Germans added a lot to that ; copyright gives the rights to the company who invested the who invested the rights the to company gives ; copyright ? ; and they are the director, the screenwriters, and the composers if there is ? Yes, definitely. If we look to the courts, I can give you, very quickly, four cases where where cases four quickly, very you, give can I courts, the to look we If definitely. Yes, ? Century. At that time the author’s law model was opposed to the copyright model. th Resistance Resistance during the And war. he found a producer who took on the I screenplay. negotiated the contract, and I put in the contract that Luc was the of screenwriter the film butat the same time the artistic director of the And screenplay. that any change or any important decision on That’s the legal side and in reality do we have these Moral Rights acting and making a difference difference a making and acting Rights Moral these have we do reality in and side legal the That’s somewhere by the Moral courts.Rights enforced One about were fantastic the decision colourisa in France screenwriter a and him by written and Huston John by directed Jungle”, “Asphalt film the of tion who remember(Ben Maddow). I Socan’t SACD and the family of made the case in and France won the case. It was illegal to change the work Then in there this was another way. decision on the integrity of works which is interesting is “La (Channel Cinq” 5). SACD A who went to member court put “La because of a Cinq” logo on the TV broadcasting of his film.And he won the case because this logo was damaging the quality of the film as it was broadcasted. The result of that is that this poor guy will never be broadcasted by any television company in the world. all over and maybe more any France mem One War”. “Gaston’s over involved was I which in Belgium in case interesting an was There ber of ASA, Luc Janssen, was the author, the screenwriter, of a screenplay about the Flemish The copyright model was, in model The copyright fact,was, originally a of way the Queen of the England disse to control was It crown. the for revenue of source a was it And materials. printed in knowledge of mination the With monarchies. were there where Europe in same the It was course. of France, in same the came rights authors' of concept the life, economic of view independent more the and revolution of the monarchy. discussion as part the power of the absolute into of the breakdown things However, are not so simple. I’ve read a fantastic book I would really recommend called “Le Sacre de by l’Auteur” a French lawyer, Mr. Edelman, and you have to leads read to the it. conclusion that His the rise analysis of the authors' rights theory was not so much a result the of authors pressing for that, but because the rural monopoly the had publishers which publishers, in Parisian the with France and did monarchy the with not relationship great have such a on publishing works. So the publishers of MarseilleLyon, and so on pushed the authors to the front of the battle in order to liberate the works, so they could publish them and be rid of the monopoly of the Parisian publishers. quite It’s interesting to analyse this because it shows that of change in legislation. the engine situations, in many are, interests economic that that the legislator wants to protect the investment on films.They create a legal model where the rights of the and authors, screenwriters directors, others are assumed to be assigned to the producer in order to have a concentration of the rights in one place and to give more security to the investors. The Moral Rights are not linked to this Assumption of This excluded from Assumption it. of Assignment is Assignment, a big problem for all they of you because, in the are and more try will distributors and works the of operators users, producers, in, living are we world to more take rights your on the basis of this SoAssumption of Assignment. as it was those said, principles of Moral Rights that are principles in France, Germany, Spain and Eastern European where from come countries, author’s see can you when Revolution, French the was One periods. two from mainly derive They laws coming up in the sense of laws continental author’s even if their law is not perfect. They did a great job in in developing the the 19 author’s laws concept it As said was right before system. money in the movie. In the continental author’s rights system, the rights are the property of the author, of the co- authors of the film music in the movies. Those rights, in Belgium and in France, are inalienable. You can’t assign them for money. Some authors believe they can assign their Moral Rights for This money. is a wrong vision, I think, because first, it’s not legal and then it makesconfusion andcomes back negatively to them. for In authors several are there France if And those author. the of death Moral the after years 70 Rightsfor are they law Belgian are forever, there is no time limitation. the survivor among last the of death the after In it’s film, a for case the generally is which work, the longer very and it will go on, normally, with films young people, make your So please, authors. assi the of assumption this is laws, European many in and law, Belgian importantin also is What the same story : always due the to fact laws spoken of it’s in that many It’s of the rights. gnment right as co-author of the film will come intoforce, willthat,because bethere arewayswhich havewedeveloped effective.inthe SACD Belgium findto solution a And I will come back to for the screenwriters to this problem. When we speak about paternity, of course, we come to the paternity of the differentcontribu tors to the audiovisual works and, for example, it’s not such an easy question. In Belgium and France the photographer is not an an author such not it’s of maybe but film, the the of co-author a is who film, to as system as presumption this have is We the case in Germany or Slovenia. equitable system for all the professionals. In Belgium scenaristes are well treated are personal rights. That’s the main difference between author’s rights system and thecopy

The Rights / Lecture / Frédéric Young 34 This is one example. The other example is public lending rights. Maybe you know that in many in that you know Maybe rights. lending public is example example. other The one is This that. on information more you give surely can peers and so, say I that it’s important think I So European the at meeting a system. whole this of end the near we really are had and debated, was question this where they Council Thursday, week, Last lobbying. into put being of money lots with so do to hard working really are They system. the stop to commissioner, Irish the McCreevy, on especially Commission, European the on pressure of amount huge a is there So it’s a where the are margins market not so large. And they don’t like to share them with anyone. like The HP,big machine-makers Microsoft, Thomson and Mac want to stop this system because publishers. for and too, sometimes, maybe are you which books, of authors for money of lot a gives It producers. and artists authors, for altogether, money, of lot a brings it and system levy in Europe in countries there the is Union, Germany, a France in In fact and twenty-one Belgium. like countries In format. DivX new the with work audiovisual or films copy to used be now can iPods, as such machines, new of Thousands recorders. DVD with now or VHS with works your of copies make can public the of members or audience the where situation the is copy private copy. is private and The first system, inwe have aEurope levy inmany that countries know You of examples two you give fight. big will this I situation. and market audiovisual the in value more keep to order in fights big very see will chain audiovisual the of integration industrial vertical Google, like operators new and big very by Net, the on distribution free Digitalisation, framework. bal glo a of more a in it put to have we creativity, your of and profession your of future the think about to want we If situation. the of picture good a not is that this, with finish will I and Then, collaboration. the of start the from project the in everybody of role the be will what clearer make people help to tools new develop to Belgium ASA in thinking I’m more. there. do could professionals associations the screenwriters of the that more again, or once think, both I So for out way a find to people for work hard it’s that – without situation by difficult psychologically a going such – month passionate so It’s together. a work to continue not can is there that think I here. coming screenwriters and having a that dispute over who is say the main screenwriter. And to the way they have we and selves, them screenwriters between disputes many many, are there But examples. some you gave I There is not Ofand authors only between producers. fighting course, there are sometimes important. very very, is association, professional a society, authors' an of presence the and the fighting permanent It’s pay on. so and credits will the respect will producer and accounts, the the give will royalties, that negotiate to contract, the enforce to alone are they when So that. after exploitation the from far are they And film. the of beginning the and screenplay the of making the during needed are They beginning. the at weak are they because screenwriters, you for problem real a negotiation, is that think I first contract. the the apply to time is have it when power you this keep to have when negotiation of So power contract. the the have of to respect enough the not it’s contract, the of application the negotiate to need you Then after twenty years, one thing experience that is my very strange in is that the fieldprofessional, audiovisual is only the the firstof step. side the On Rights. Moral applied and law the followed the author. of It name was a the very clear to decision of reference the courts that any it was without illegal. painter, The judge and Belgian the courts really well-known the Magritte, René by pictures used which Lottery, National the is One Belgium. in decisions other two quickly Very the and excellentdecision was very for Luc. court hisrightsandgotalotofmoney. Hereally putforth to went we field of play where you have a mix of culture, philosophy and policy and your professional professional your and policy and stake. at much philosophy very are interests culture, of mix a have you where play of field or world GATT in like circles, countries commercial in predominantly that like discussed something rights authors' are Why Why taboo a here. rights from authors' away are kilometres thousand a there, today debated being question the that’s and discussion the into rights authors brought Culture of Ministry Brazilian The development. and culture discussing on, so and Australia Zealand, New Brazil, countries, European Canada, countries, of number large a have you where Brazil in today Or discussion. the in back author the Association is Rights IFFRO IFFRO. Reprographic of for head Federation the at team fantastic a have we that say to have I on. going discussion big big, a is there So collections. those sites, their on online, put to want also They collections. their digitalise to want Internet, the on available lot a is there they, as and libraries big are there Germany, especially countries,

? How can we create equitable access for everybody to culture to everybody for access equitable create we can How ?

? How can we use the authors' rights to stop bringing more disequilibrium in the the in disequilibrium more bringing stop to rights authors' the use we can How ?

? How can we use authors' rights to develop cultural industries in southern in southern industries cultural to ? develop rights How can we use authors'

? Why are authors' rights something that is important on its own its on important is that something rights authors' are Why ? s and they did a fantastic job to bring the the bring to job fantastic a did they and s

? This is really a concrete concrete a really is ? This International International

; ; and

? - -

35 The Rights / Lecture / Frédéric Young

; and we system which ; but of course, if you have droit droit d’auteur ? ? In this case where the writer won, did won, writer the where case this In ? ? system mean that the American “Fire and Hire” ? Did it mean that before the producer fired the writer writer the fired producer the before that mean it Did ? droit droit d’auteur ; and I can’t answer them. Maybe making a baby is only being prepared prepared being only is baby a making Maybe them. answer can’t I and ;

? Concerning the copyright law, you have the principle of the law of the of law the of principle the have you law, copyright the Concerning ? ? For me, it’s important that my daughters, for example, can see a good copy copy good a see can example, for daughters, my that important it’s me, For ?

? ; and he is in Germany, then the that’s country of protection and German law ; ; and I will send it to Christina. It can be sent to you. My conviction is that it’s

means that you have the Right of Integrity of your work which, for my not legally expert mind, means that if somebody takes my work and rewrites it without my permission then he actually are countries, European in practice the more and more are which rewrites, So rights. my violates the consequence… that’s simple mind, my For not possible. it have any consequences for further cases further for consequences any have it to take on another writer the to rewrite script without the permission of the original writer that twice because they had this precedent they thought Of course, it was a good precedent because it made the other Jenssen Then Luc got a good amount of money danger producers of letting the situation appear. more aware of the decided, speaking with him, to let the film go ahead with a special credit saying itwas not the film chosenby Luc. Itwas a difficult decision, but wasit somethingwould Francs protect to Belgian of Lucmillions againstif angry very the be could that administration public the of reaction your first question… I understood too sure not I’m the conflict. due to be wasted It’s basically that Moral Rights are something that belong to the It’s a small question, but you said that writers come to the SACD, which are in conflict the in about are which SACD, the to come writers that said you but question, small a It’s coming writers many month every have you that And example. for film, a on rights their of share average on conflictsare solved many the conflict. How solve to It takes time sometimes. yes. majority, The Many. you Frédéric, told us about this case of free rights where you applied the Moral Rights, went to court and the writer won. Do I understand this right that what saying you’re is that the Moral Rights that are included in the policy, which has been slowly adopted also by the European writer the system, of work the of is integrity the destroys actuallyit because not possible his written work will be applicable. The more powerful parties will choose the law applicable in the tribunal for the contract. If you want to make a contract under Korean law or Japanese law you can a German producer he will choose German law with a tribunal or “I a will put the contract with confronted Calemard will under law Calemard, with say, courtFrench the next to him. If he’s courts.” of the French compliance law Contractual law. contractual the and copyright the by applicable law the divide to have You can be chosen, the other not. finish with this anecdote. As I told you I have this baby now, and I’m really struck by the fact that fact that the by struck really I’m and now, baby this have I you told I As anecdote. this with finish it it like looks the father, me it tells like looks the baby mother, everybody see to my who comes grandfather the like looks very much. you Thank you. like looks that baby a wanting not baby, the by surprised be to What does it mean if a French author is writing for a German movie, for a German production, is this handled how author French the where contract this have can You depends. it so contract, of freedom have You is writing the screenplay for a German film. It’s all possible, andapplicable sois right which the additional problem is on copyright his claims screenwriter the when example, for that, means This country. protecting So I will distribute a presentation of the relationship between digitalisation, authors' new rights media and association, collective through It’s situation. your change can you action that collective through authors' societies, that you can have a better chance to change the German law or the Belgian law or the law European and are These to not interests preserve only your yours. own interests. When we speak or about the of interests integrity work do mainly the we defend screenwriters' interests public’s the of a filmI want to show to them and not a copy cut ten times by advertisement or cut in order That to for me make is it the shorter. main a issue. Find way I to be will more together. effective Christina Kallas Frédéric Young Frédéric Christina Kallas Frédéric Young Frédéric Participant Eva Obergfell Eva Frédéric Young Frédéric Eva Obergfell Eva Participant

The Rights / Lecture / Frédéric Young 36 Frédéric Young Participant Frédéric Young Participant Frédéric Young Participant we small are very audiovisualthatthe in music.think of I managementcollective the in societies older the of end the It’sCommission. European the of benediction the with Europe, in societies music the all of with music it’s already been done. The musical majors have become one third in the boardrooms the systemslevy in order to change the nature of the societies.collecting And I can tell you that now, because they know, first [of all], [that] they have to destroy the obligatory remuneration to attack the on going are others and BSA So exploitation. authors' the for money collect to order createdthey time. thatl’Associationat So forpapers thing the important Lettresde Gens in des reallyan wantedwaspeople which all.the toreadAndthem, them had countryside the in pers newspa the course,all Of lines.byreproduced.were waspaid day they And every piece little a guys.Why those and Hugo Victorand This model spread all over with the composers and the literary authors such as Alexandre Dumas tionship withthetheatres. rela power good a couldn’twork.”make they it alone that knew they because regrouped They works our of exploitation the authorise to have we that say to right the us law,said,that. givea Westophe have will and we“No,together friends his brings he So works. stolen by theatres. Beaumarchais was really angry, because la Comedie-Francais was stealing his was work the up.Because fed were really authors the because – world the in first the was mine analysis of the majors now, like Microsoft and so on. The authors' societies were built – like I said the is no.levies. YesThis areand there because is societies collecting of necessity the said you because intervention, yoursay.bynow,youtarget struck as reallymain was the I exactly is This European societies collecting the of work the extinguish will industry media the of work lobby the that danger any there Is somewhere. from this situation, a better one – not necessarily to the French model but something innovative So things are not so simple everywhere commissioner television, –asitisinBritish asfarIknow. completely integrated industry under the producer’sfilm interests. Or even more,a not the independent producer but the of making the years, and ten right in the of be, assumption could the situation against protectiondirectors' the of outside bit little a them puts which statute the Maybe screenwriters. German with it discuss to and that about think to time long a takes screenwriters German for statutes the change to you for issue major a it “Is table the on money the don’tput producers the for our system, so you have to put money on the table in order to make people Europe,In work. I know, in the copyright system people are quite well paid up front to It’s make their work. work as copyright.far the Because,as of price havetothe copyright is companieswithout the or tors to the copyright. What is clear is that in the big battle I spoke about, the dream of several opera to also And clearer. and develop several frameworks wheretransparent can everybody have more security.more I think that it’sthing not linked the make to Brussels in society my in about fessional problem for everybody screenplaythe of somebody else without even contact with on the original screenwriters. work This is a pro to ready are screenwriters many that say to sad It’s it. on work will screenwriters contract other that the project, the in of beginning the put at already producers accept, screenwriters many the where provisions that is situation The system. copyright the in that read I’mdon’telse.copyrightscreenplaysurerewriteI toallowssomebody the the not somebody of singers ortheinterpreters the or composer the to money give to able be not will Sacem years few a in that mean you Do ment was thegreater presence ofthemajors insidetheboard. The only way to escape was to find an agreement with the Commission, of and their part agree by attacked were rules. market European societies the breaking be music to said were they the because Commission, European All the details. the know don’t I not. next the or until Assembly wait General to have they physically if know don’t I made. been have agreements The youDo thinktheywillenter ortheyhave entered already Commission. There isanagreement. European the bycovered be will board the on presence this and board, the enter will they But ; andsotheyhave notimefor us, andit’s becauseofthat. ? ? ; and that’s why I spoke about new tools, which we are thinking ? Because their work was stolen by the newspapers, and newspapers, the by stolen was work their Because ? ; and I would be imaginativevery and creative to create, ; and I come back to something that was said, was that something to back come I and ; ? ?” It could be, but it but be, ?”could It ; and we will make will we and ; - - - - -

37 The Rights / Lecture / Frédéric Young

; - ?

; because it’s not working. But they But working. not it’s because ; ; because, of there course, is only one cookie to camp and the copyright camp. camp and the copyright ; you can’t really say the ; Moral you can’t Rights are stopping a droit d’auteur droit ? It’s one of the things I would like to say. say. like to one of the things I would ? It’s ; and, you know, there are many consultations these days by the European administration. administration. the by European these days consultations many are there know, you ; and, positions of the two camps, the camps, positions of the two interesting very are Commons Creative those because time, real deserves comment your think I and I’ve made my legal and professional remarks on it. But I think something it’s screenwriters very interesting. because it’s must speak about, copy And we address these consultations and try to answer them as much with has copy rate institutions been as Private that one are there. of them. Another one is content we can and coope something also online, you talked about, and the of digitalisation film on the And Internet. also digital libraries is one of the things keeping we’re an eye on, although we think, like you, that there are some institutions that are doing quite We well. only have to follow them up and see everything screenwriters. that is also going all right for One last question for you, Frédéric. Changes are coming on Creative Commons. the It’s Internet an and alternative offline which joins both on the systems. And solutions I to a think lot that of issues, people’s it because you can can practically give choose the rights, the which if that say to you wanted just I defined. being are rights those how and work, own your to attach intractable the from away take not does that alternative future valid very a it’s here, is Commons point to stress, as not are point there to so stress, opportunitiesmany to bring it to the of attention the people who are making legislation definitelyat a the But pointwelevel. European it’s need to address. another were talking point. I You about Then hear didn’t there’s Belgium, you. Germany and so we that here, information your for just add, to like would I Holland. about talk didn’t you but on, also have an assumption of rights on the producer side for filmworks, works. cinematographic The happy news is that the screenwriter is considered to be a co-author, just like the director. The composer is, too, by legislation. But the screenwriter doctrine – determines the that courts, I the should director say, get have to and fighting moment the at said are creators, the be to that considered yet not are who they cinematographers, are the authors of the film – the their rights, which might not be in our interests be divided. The last thing I would like to bring to your attention is that at a the few we F.S.E. do problems address that quite Frédéric was talking about particularly. You were talking about private I am from the Dutch guild and also a member of the I board of hope the mind. you don’t F.S.E.. I would like to add something to your answer to Christina on I the think part “Fire and of Hire”. the situation is so complex that on one hand you have the authors copyright and on the other to have divide that You the contract rights. we What that. like work not does It something. or project a kickingoff somebody from producer do find in Holland as a problem is that sometimes thewant producer doesn’t to continue with either continue to want really doesn’t writer the and writer a This is the arises, and where problem sometimes the alsoover a conflicthave about the credits. is who writer this by accomplished been has what for paid get one should much How payment. the project leaving I quite also right, Eva, think by you’re saying that co-authorship is one of the focusing points of difficult rather a It’s lobbying. our in can, we wherever in, this put to trying been we’ve And F.S.E.. I think that the 50-50 deal could change in the future, because Sacem and so on were machines machines were on so and Sacem because future, the in change could deal 50-50 the that think I the authors. the 50-50 deal for protect to designed system same the it’s because then, writers for societies collecting for happen can thing same The deep impression. is my This that. believe I do facing our time. are We Frédéric Young Frédéric Participant Frédéric Young Frédéric Seligmann Willemiek Participant Frédéric Young Frédéric

The Rights / Lecture / Frédéric Young 38

Marta Lamperova Marta Thomas Bauermeister Christina Kallas last fifteen years or, let’s say more precisely, in the last seventeen years I suggest we start with the third question here. How have the stories or the sujets changed in the the way we tell thestories. and themes broader.stories, bit means little which sujets,Wea have are Frenchthat wordsthe don’thave studios, we don’t have stars. Whatwe have are stories. Perhaps it’s bettertoproduce duction meeting in Munich 21 the in Screenwriting Story : The discussion, Me “Telltable round our in questions several have we So others. the all of average the plus hours two [for] continuity means that – screenwriting European to European screenwriting concerning continuity and diversity between in American opposition screenwriting. the We about stick talking was Rukov Mogens morning This Christina. you Thank Sokol, Jaroslaw least, not but last screenwriter from Poland. And Britain. Great of Guild Writers the of Chair former the he’salso and England, from screenwriter multi a is a George preparing Lester now Graham project. is pitching he cultural but – afraid I’m Hungary, just – Hungary from screenwriter a is agent, as she’s Slovakian, she lives in Germany and sells our films all over the world. Balasz Lovas screenwriter.He’s multi-cultural American, writes for a Germany but lives in is England. LamperovaWolff, Marta is a Jurgen multicultural sales panel. the of rest the introduce to like I’d room. whole the includes which discussion long a have to want we then because short, it keep to try Thomas Bauermeister, screenwriter, German is going to moderate the conversation. And please in theroom. they’re going to have a conversation which will work as general inspiration for the conversation but here, down do we than better it know there up people the that not is it and stories the for panel the It’s tomorrow. more two have cycle. We thematic first the and panel first the is This and S that isspecific to screenplays relative to otherwriting times earlier of storytellers of years reverence the get not storytellers contemporary fifteen the as screenwriters do Why last the in Europe changed in processes production and development stories the our for audiences bigger get we Can they are goingthrough, abouttheirexperiences. what about countries. what’s Bosnia. their tell reflect to or in Theywant happening They Serbia that the stories are always reflecting the situation in the country, especially Balkan countries like see can I sales, of terms in countries Balkan and EuropeanEastern with dealing arewe because mostly time.country.Andto the areall changingStories from Well, country varies it that think I that stories have changed Ms. Lamperova, because you’re dealing with stories. You’re buying stories in a way. Do you think whatever or stories German Slovenian, Portuguese, Finnish, together work we can how means which future, role technology aspect. this in has Thenthirdthe for perspective perhaps the on issue main the what and changed has production or development whether about question other the to back get we Then discussion. the open we then and view, of point personal your from it about talk the experience of Wall.havepersonal youfall Do the with Europeemerged of kind p ea Jaro kers : Screenwriting inthe21 st Century.” One weekend ago, I had the pleasure to be at the French/German co-pro French/German the at be to pleasure the had Century.”I ago, weekend One slaw Sokol

Jurgen Wolff, Balasz Lovas, Graham Lester George, Marta Lamperova /Moderator : ? What are European themodern stories ; and all the producers were saying, anonymously, that in Europe we First thematic Cycle / The Stories (Part II) storytelling changing technology Is ? Tell M Thomas Bauermeister storytelling changing technology Is ? ? Are there European stories or are there just there are or stories European there Are ? e TheStory ? How are stories affected by affected stories are How ? ? So I would like to start with you, with start to like would I So ? ? ? st ? That means, since a new Hw ae stories have How ? Century ? What is it ? is What ? Weshould ? - -

39

------? ? ; but the ; and what what and ; ? ? % Toof tell Hungarian the truth,film most money. of the members ? One of the major differences is therespect for thevery art of storytelling, with confronted here whichsince this morning – since Ithe speech As of a Rukov. professor screenwri have been ter, I’m often approached by directors who call me to do a screenplay, of course Okay, we’ll come back to that later. Jaroslaw Sokol, you have brought experience, winning twice winning experience, brought have you Sokol, Jaroslaw later. that to back come we’ll Okay, change viewpoint your Did screenplays. of lot a writing and Poland in award screenplay best the in the last few years on Western European storytelling, and do you think an there’s exchange, on in Poland going this kind between of storytelling and what’s in a way, I can’t really say how the art of storytelling has changed I’ve been doing over this job for the only six There is years. a last change, in obviously, the material fifteen that the years, because screenwriters in Poland tend to pick over the years. But I believe the change is in accordance with the general to change Talking you in over wine West. the here and speaking to you in the I quicklylobby, found out that the basics of being a in screenwriter Eastern and Europe, maybe countries. your in experience you what from not very are much different particularly in Poland, tion provides more than 40 of the advisory board of this huge institution are incompetent people who lack proper profes and script a read can’t They storytelling. film about anything know don’t They knowledge. sional way. judge it in a professional On the other hand, maybe this is a good test your for stories that people you have who are just verylike Sofindthe normal out you who audience go the to movies. early the of what taste the majority is. advisorythe also on sitting board are who people Becausethese so. think don’t I Unfortunately, we see some work in the financing so at kind of nepotism the Hungarian film scene, from come of the Hungarian movies. None of the other genres is being produced in Hungary. So I think a that’s kind of problem for moderate gain can which comedies these Even diversity. of lack the movies, Hungarianpopular success at the box office lackproper professional knowledge, which would cros make problem, big a definitely is That them borders. our exportbeyond them work would which and better sing our borders. authors the by developed are stories of type what to as tendency sortof a see you Do are the filters, which these stories haveto go through before they get produced and shown or TV on screened Unfortunately the The filters Hungarian lack the filmexpertise. industry is based on theHunga rian Motion Picture Foundation, which is the biggest state fund for filmThis financing. institu more international or perhaps the stories are more universal for the broader public than Eastern Eastern than public broader the for universal more are stories the perhaps or international more Hungary from Europe, Eastern from ask someone coming me or Balkan Let European stories. From Hungary, yes. Coming from there, I can give you a proper sketch of the Hungarian situa tion. After some big changes occurred in the storytelling of our country – because we are also Hungarian– filmmakingvery which, cinema in authorship with dealing also is director-centred, goes historically, back The ‘60s. to world the has widened for the Hungarian audience, the film viewers. On the other hand, a new young generation appeared on the Hungarian professional scene, a young generation with academic demands on professional filmmaking and storytel ling and with a big resistance audience against the on the concentrated are older which appeared, generation. have movies And sense that In which movies. arthouse are making so-called these of choice the but movies, genre so-called the appeared also there scene Hungarian the On genres are really In narrow. the Hungarian movie theatres only the comedies can gain success. And do you see a difference between Western stories, Western European storytelling, and those and storytelling, European Western stories, Western between difference a see you do And conflicts such great experienced just have which countries and Eastern in people that is difference the think, I Especially, difference. big a is there course, Of Balkan countries are really trying to tell the stories of their And country. another perhaps that’s problem as well, and that’s why we don’t see that many filmscoming from thesecountries in the cinemas. Sometimes their stories are too local. So yes, Western European cinema is much Jaroslaw Sokol Thomas Bauermeister Balasz Lovas Thomas Bauermeister Balasz Lovas Thomas Bauermeister Balasz Lovas Marta Lamperova Thomas Bauermeister Thomas

Tell Me The Story / Panel Discussion 40 Graham Lester George Thomas Bauermeister Graham Lester George Thomas Bauermeister screenwriting in the 21 we’reabout going when talking here introduce to element was important it’san Jurgen think I and maybe – mention to which in, interested am I that thing One way. same to the want don’tfilms I write But way. the by much very like I which compatriots, your of one example, for I have seen films from Eastern Europe, both fairly recently and in the past. Films byMiklos Jancso, I’ll be a BAFTA screener, so that I can watch it and perhaps vote for it “Grbavica”,haveI tosay, hasn’t haveIt I seen. not still to shownme.locally been I’m thathoping what comes out personally,business,mean, movie I areyouyourselfinterestedwhat’s Balkan in the in on going foundations to what you do. by always influenced are we But influenced do. others. be Wecan’tnot they what copy or replicate and try shouldn’t you And movie earlier on today. Kaufmann-esque Well, a I think doing that written is a mistake, because had each author is an someone individual. that and Kaufmann Charlie about talking was body thing other some or style other toemulatesome sion deci a make you unless know, I would how hand, other the on But influenced. directly being zeitgeist of work the and writers of kind of the it’s just maybe or favourites, our work perhaps by we’reinfluenced And too.all directors, the between cross-pollination a is there obviously, think, I house, –what theothersdo movie the to going or channels the via see, can everyone where cinema European open new, a with – now still is do, people other what way.”watching Lester this own exchange,Graham this my think it you do do George, will I but did, guy this what do will “I like, artistically, that to responded they how films their in contact. Yousee direct can having without did they what was obvious the great directors, the great writers, Eisenstein or whoever learned from each other Thank you. This gives me the opportunity to go back eighty years into the 20 and we are stilldeepinthat, inmy opinion. 20 the of tradition spiritual the on tradition. thriving Weare spiritual same the using really. So we are now in the year 2006. We are at the beginning of the 21 Firstthe with Worldbegan really that, It after War1901. or around begin really not did it, call to is going to mean to be a 21 ‘70s – also spiritually belongs to the 20 the in born proudly was he because about boast to that’snothing but – I than younger is who cative question is, “Are we really 21 We liketo thinkwe are in the 21 this way affected, rather negatively, themovie. another.that’sin one technologySo to how emails writing and computer the of front in sitting people watch to anyone wanted hardly out, turned it as because, flop total a was it movie a As Net”, the in “Lonelinessmovie. a into called turned was it novelcourse of And copies. 300,000 successful about bestseller,selling a was highly it and a of example this have we Poland In the more tedious itbecomes at theend. thing, reality virtual a into gets it more the and storytelling classic have you beginning, tacular movieever made, “Matrix”,doesn’t technology.new the reallyof use make spec this of Outside Take the email for instance. What do you do with the email and Internet I believe. isthat mostofthenewtechnology is, cinematically. forempty thelargest part, problem. the of themselves.Part communicatebetween to people the for possibilities wereno there and phones cell no were there when situations certain with deal to screenwriter the for damn invention of the cell phone. must It have been more mysterious and, in many ways, the easier with example, for deal, you how panellists, fellow my you, from and guests, the you, from how the technology has affected the of art storytelling.It would be inspiringvery for me to hear question the by actually puzzled was I and programme, the technology,I’mreading the for As concern ofthedirector,mary thework isnotgoingto work well. for inspiration”.looking I’m an anecdote. pri the for not is storytelling the if thatyears over the I’ve learned decline,because I normally And looking not I’m “Look, are, say they words first but you have acompletely different setofrules. stories, writing of way another is this And games. computer for writing in involved more and more becoming are writers younger But writers. of generation my not maybe writers, for area of what’s being made at a particular time. I’m not sure if I’m conscious of my writing writing my of conscious I’m if sure not I’m time. particular a at made being what’s of ? Like the winner of the last Berlin Film? LikethewinneroflastBerlin Festival st Century – and that is computer games. Computer games are a growing st Century writer. I’d like to remind you that the 20 ? Do you? Do think we dothat st Century, andwe are 21 st ; because nothing comes from nothing, so you have to have to haveyou so nothing, from comes nothing because ; Century screenwriters th Century, really. We don’t actually know what it means or ? But, obviously,But, ? influenced.Some is one ? Isitchanging ourwork st Century screenwriters. Century Butmy provo ?” I was born in 1960. My friend Balasz, ? ! I haven’t seen that film st Century, but we are still ? The most pro-Internet th th Century, as we like Century – where it ? th Century ; but - - - - - ;

41 Tell Me The Story / Panel Discussion

; - - - ? ?

? What ? What do you think has ; spaces that have no identity. This is ? ? ? If you were to read a script with no names or places that you can

; you have stories of people who are drifters in a way, who have ? Apart from the question of whether there was a European multicultural influence or ; but that the producers say this made money, so let’s have more of the same. of the same. more have so let’s money, this made say the producers ; but that or whatever UK or Germany not from who’s To come back. Jurgen, how would you describe Eastern storytelling in comparison West to in the comparison storytelling Eastern you how describe come would back. Jurgen, To script Eastern an Is is there any now this difference if say to able be you would background, cultural or country a with identify the of realism, the of storytelling, intimate the of characteristics the of some think I know. don’t I engage to with a willingness wider of range emotions as ending the opposed we that to happy Those some are of the characteristicsreveal that might to dodo more. find pressured ourselves that think I but is, everything how that’s say you if stereotypical becomes It story. Eastern an as it I look for. some of the elements those are somebody by written be must this you tell that immediately find would you that Characteristics You You have a micro cosmos lost their , their hold on reality. Not that reality became fantastic, in a way, maybe surreal. But many films are taking place in so-called non-places one observation, and the other is [that] in TV you have, let’s say the Degato Films – that is out-sourced an production company of the ARD, the most important German channel. The head of Degato once told us – the screenwriters we had an assembly with him in “ThisCologne – is productionimportant most the maybe now are we and programme, primetime night Friday the company that gives out the things to write and direct. You can do whatever it you must take want, place [but] in can You Germany. tell [about] conflicts in the society, but itvery fits That well with the must have“The New is a Germany beautiful”. is our This basic line : ending. happy there’s now And friendly. and nice beautiful, as itself founded Germany where Cup, World soccer a documentary out about this Deutschland :championship, Ein Sommer-Märchen, in reference Intale. a there’s way Germany and a summer’s So it’s now Winter-Märchen. to Deutschland : ein impression. my That’s Germany. again around Wall a kind of very sweet in the cinemas, because if you go to the multiplex six out of “Lord of the the eight are showing or Rings” whatever it is at the moment. probably them And of A lot there is either. shockingly released, get little never films opportunity, British of world-class lot A films. foreign see to capital, So migration see. that never some do that we that there’s sure deserve be to seen, but I’m don’t to television, and as was alluded means to that earlier, writers who perhaps used to look down express opportunity an to of more have may they actually that now see television for writing on do in cinema. than they on television serious stories, personal stories, Just to add a bit about the German situation. I see point, though this is two just speculation. I a have feeling that with Germanthe fall pro Wall, of tendencies the that get together at one duction or German storytelling in a way became movies. more the at and on more going national. what’s In about a talk way Let’s it storytelling. became other from separated more and more For example, we have this Berliner Schule, so the stories become more and more intimate. Well, I Well, was going to say [something] about the British scene. After Guy Ritchie “Lock, did Stock be must films British all that said which passed law secret a was there SmokingBarrels”, Two and about gangsters for about 5 years, apparently. Enough of them have failed now that we seem it a was And maybe lot be out so of a to coming of was that people that, destructivewat thing. ching his movie and the success of it and emulating him. A lot of times the decision to what’s emulated is a commercial one. It’s not necessarily that we writers choose these themes indivi dually One general change I’ve seen, both in the States and Europe, is that that you used smaller, to serious see in dramas the cinema – not necessarily the multiplexes but the smaller arthouse cinemas – have much more of a home in television these days. In the States, HBO for instance – people who, usually at a higher socio-economic level watch this and have a serious taste types for more of films made specifically for television. There seems to be less space for those Perhaps Perhaps we’ll come to that later on when we talk about the technology but influencefilm oftechnology, or let’s not say,communication technology onlyconcerning our every-day work directly – not as a subject but as a method or technique. I would like to go to the next round in long experience think in your do you of view – what point your from please – that but before different societies, different cultures and different production systems changed the concerning especially changed, has what – years fifteen last the in see you what by just not, TV and storytelling. Thomas Bauermeister Jurgen Wolff Jurgen Thomas Bauermeister Jurgen Wolff Jurgen Thomas Bauermeister Thomas

Tell Me The Story / Panel Discussion 42 Graham Lester George Thomas Bauermeister Lamperova Marta Thomas Bauermeister Lamperova Marta Thomas Bauermeister SokolJaroslaw Thomas Bauermeister Balasz Lovas Thomas Bauermeister that, say, just for example, have as a subject this strange battle between the liberalisation on liberalisation the between battle strange this subject a as have example, screenplays for develop just say, to that, Poland in tendency any there Is you. to again question the Jaroslaw, the world butwithviewers around the world. tell our stories, which are full of tension and would find their way, not only in the festivals around surrealism. artistic We our find wayshould back our to reality is in search of the extremities in Hungarian movies, the post-Socialist anxieties and some kind of not only we Hungarian filmmakers but the Western viewers and Western ,too.Because everyone and stereotypes, local the of rid get should we that is thing other reasons.The educational for background. theoretical The knowledge the of screenwriting of methods is matter missing in a Hungary and it’s this goes think back I screen. the on stories strong really tell to conflicts these can’t use storytellers our their conflicts, have we although in So dreams. artistic and living world artistic own usually are They reality. our with touch in aren’t directors, our mainly and ters, wri our But tensions. social strong really have we – conflicts have we reality in yes, although, Barely. One problem screenwriting withHungarian isthat Are there screenwriters who are writing about the latest politics and political fights in Hungary a lotofotherpeople but are the direct result of the way we live now. You know, we live the good life at the expense of backyards own our in necessarily arenot that conflicts those expound to duty havewritersa as maybe we all,and us affect which the world in on going conflict of types thereareother think I gives you somethingto getto grips with. it as history recent your in conflicts hard you’vesome if got pearl,you’re a when oyster making it of envious or it of jealous are really we if know fight against, toto protestsomething against, instead ofhad this big,we soft pillowonly of liberalityof, that “If we livesort on.”this degree, a Ito don’t true that’s sure I’m everybody. for hard very life make would that because conflicts, those had haven’t we that grateful very I’mWell, well for telling stronger stories are a bit jealous of the conflicts in those societies that we do not have and that we could use very Graham Lester George, a provocation as a question. Do you think we could be, we should be, or films. I thinkthere isabigdifference, but I’m ofthescript. Romanian notsure inapart ifIcanpoint itout exactly or example, for Cannes, at was “Retrieval”, like which recently films Polish of way. don’tcertain I lots watchedknow,a I in described emotion there’sof type this be to going that expect, would you as or way conventional a in emotions with deal don’t they perhaps Or More distant withtheemotions Poland, are more distant. or differently.bit Hungary little about now European films,a Eastern and that think talking I I’m I’m not really sure about immediately, but I think that Eastern European film deal with emotions There was a German movie made recently with Volker Schlöndorff as director also about about also director as Schlöndorff Volker with subject. this recently made movie German a was There it was, whenitwas andwhat itshouldbeabout. what remember to trying problem tribute.a of had We all kind a do to wereapproached them, I think the 25 I by “we”mean – screenwritersasked wereand we directors ago – years to of do couple a A movie about anecdote : the an Solidarity.you tell ThereI past. was the an of anniversary, thing a it’scinema, the in but, do politicians the mean I more. any anti-communism and communism of non-consumptionist society to a post-consumptionist society. So we don’t really live that drama streets,actually. rapidlyfrom moved thathas a Poland very country Eastern an exampleof an is the in than more media and newspapers in that have Poland.We in that have really don’tWe countries, ofcourse. the one hand and the nationalistic foreground, if I may say so, in Poland. You have this in several th , of the Solidarity Movement. And a couple of directors and screenwriters, I among ; andthoseare whichmaybe the conflicts we canget to with. grips ? ? Oh,Ithought itwas theopposite… ; but it certainly does provide some grit in the in grit some provide does certainly it but ; ; and we and means ; our find to should ? -

43 Tell Me The Story / Panel Discussion

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? Did you read or see a movie recently where you said this ! It’s a comic piece. piece. a comic ! It’s The The is sitting on his digital equipment and has no real influence on thecontent, [or] the way the film has been created.Even the actorscould bereplaced in the monsters futureor by figures. digital For me it is avery interesting question, especially whenwe are A of colleague in yours Thomas. this discussion teaching said he told his as do, you generations, younger Can I pick up an idea from Graham academy in Berlin, and we asked what about the future wasalso one ofthe questions, what influence has technological change [had] on the habits of our audience, especially the younger audience ham, but notit’s our job to do that, to prepare that. But we can think about it. talkLet’s about the contents and the writing for a very, very small screen, like a mobile wephone thathave could,been as informed, be one of the major technical the devicesfuture. What for about thewriting receptionfor the of screen filmsof a in laptop wasvery surprised. Everybody “Thecontentssays, have always been theThe same.basic story about So ourlove andidea hate was and that all themaybe conflicts in fifteen years we know.” the writer is the real important person in the process of filmmaking, because the director will become just an operator. when there was communism there. I always have this feeling that we should think about ourselves as storytellers in the first place, that thing the That’s storytellers. English or storytellers Hungarian storytellers, Polish than rather unites us. Because storytellers, we’re we know a good story when we hear it. An unsuccessful by the eaten is it unfortunately, But, fish. a big catches he last at and fishing, out goes fisherman sharks. It is local, obviously. It is rooted in the realities of present-day living sortthe is this and look storyall of should but, we forever It live will timeless. and universal on it’s hand, the other country what actually from. no matter we come for Thank you. Are there any questions is from a different culture, from aEuropean culture, andI’m impressedby storytelling it my for learn from I could something that convoluted superficial, it’s It’s is. it way the and Poland of ture local. the on over-emphasis an call would I that Europe over all filmmaking in trends certain tates I believe every universal story must be rooted in the local, because otherwise ait’s non-place. It’s taking place nowhere, and you don’t wantwantknowfollowtodon’ttodon’t the thecharacters. feelings want You You ofthecharacters. to follow a story that takes placeBut on nowhere. the other hand, what do we really care if mean thelook at movie the workis of Mexican,Kieslowski German– you allor know, Polishthe great Polish filmmaker. I’m fannotofmentioninghis, but I’m atheexample big assomething canwecommunicate about because you probably know his flicks. The “Decalogue”, the ten movies he made, is set inPoland. communist And you get the feeling of that, evenPoland.not it’s However, about communist afterPoland. It’s about universal alldramas and that’s why the years, that it’s set in it hascommunist survived to this time. Watching the movies right now is stillrience a for positive us, aestheticbecause expe it gives you an idea of people feel and not what Poles felt in the‘80s And And they want to present Poland as if it was always a member of the EU and community, as if and so on as was no if unemployment there there, such a as was never thing communism there stations. commercial TV the on there Poland beautiful of kind this promote also They forth. so and A two couple for of So years ago content. I wrote social a much book too about has a He group of people, and guy. unemployed word Sokol got that out for out watch to TVstations the among fortunately. it, about forgot they and changed it Then anything. do to them by hired wasn’t I years about talk They directors. young the among stance extremist another there’s hand, other the On about bit a do to wants everyone so complex, Loach Ken this have They well. as can I so openly, it unemployed miners. And the problem with the unemployed miners in Poland is fewer that and fewer there’s of them because as they are also They’re changing. getting new jobs, they’re changing profession and fortunately the mines are being closed as well. They come from the documentary tradition, and they They exaggerate. exaggerate a lot, and I had the feeling that very pic false a you give “Retrieval”, here, one the like world, the around films Polish the of most Yes, I had a friend who Yes, worked on the for screenplay it. I know all about partit and that’s of the Polish paradox, actually – that want we to don’t remember about the past, not because too it’s in piece the Soliwhat my you tell I’ll just a an As factanecdote, of life. It’s or anything. dramatic what out figure to tried who screenwriter a and director a about Itwas about. was projectdarity be about should the movie Thank you for the bit about beautiful Germany, by the way, because we have as well. that It in concerns the Poland privately owned TV stations, in the firstplace the station or the editors there try to cut down on every piece of social content whatsoever. Participant Thomas Bauermeister Jaroslaw Sokol

Tell Me The Story / Panel Discussion 44 Jurgen Wolff Jaroslaw SokolJaroslaw Thomas Bauermeister Participant toanswer. quantity stepin a only Thisis story lines, good stories, from the experienced ones. So it’s a question which is good up to want the authors they generation, upcoming the or youth at aimed only not and this like stories for it. looking invest in are will They they then and pieces five-minute the for it restructure to need mean it does what So parts. 78 and tions por different. it’stwo if ago five-minute producerweeks me in A asked have possible to story a of question “YouTube.com”the think little I a screen. is this on on so pictures and show to how and question big screen. a the is as Toscreendevelops smaller mobile a the fortodaywork but mobile the as developed character the of Part phone. they communicate, to meet don’tstorytelling. They in phone mobile by communicate who characters two of communication the fit in we can how was storytelling and phone withthe mobile the with question the problem first The phone. mobile mentioned You storytelling. affects development technological How it’s happeningpartly. be somehow the author of the new contents. I don’t if this is know going to happen, but I know the designer – and so the one who is compiling and putting all these things together is going to say,– media of development the about think who people some are market. There this in be to what’send, the deciding,in is going who carefully watchvery to need we think I this. in market commercialinteresta somehow theremaybeis and usage large got you’ve and screen small this got you’ve if because possibilities, the show also will This be. will market wherethe is question big now.the it think I weknow So as concentratedto storytelling somehow back getting it’s that sure be can’t Wenowadays. storytelling change will this how know can’t really we so want, they as bits out take “YouTube”,at people Look example, it. for reworkto start you and Internet, the on havealready you things if bits take just you work, own your produce or write don’t you If storytelling. changes really which example, for resembling, it’sthink market’sI wherethe of question big a be.to going Whatcultureweof havethe nowis question ofhow asthewholenature dowe adaptasstorytellers ofthischanges this as least, at interesting, as that’s think I So aspect. one is which look, people wherever ads with that do “YouTube”to how don’t know some or sticking of idea “MySpace”the than other – intosomething money moment.you Monetise.Howthe doturn that saying,monetise weand can dy’s“Well,panicking everybo so money, advertising down cutting That’stoday. is it as television of consumption storytelling of standards older to back go and blogs of tired get people will Or changing. is media with interaction of nature the whether of sonality per a pick you where world ritual this world, whole your create you where also But them. for game they podcasts, do hours.They for “MySpace”on go who blogs, have who people are These people. average among media ting crea to media consuming from emphasis the in change a be to seems there that fact the It’s watch. you what about really not it’s that is – way a in too, me, and – out them freaking really about how do we find stories to put on the small screen, although that’s also one theme, What’s panic the not it’sAnd what’shappening. about studios the degree, some to and networks the I’ve just come back from the States, and what’s interesting is that there is a sense of panic among even onthesmallscreen ofamobile phone. Now maybe it’s the opposite. Take a long film but make the story so short that the story will work students to start the short film, but be prepared that the long film is that what you’re headed for. very, very little screen is not something that most of you wouldthat like to do in of the future probably.much too make shouldn’t we that believe I that. with argue can’tYou their tests, that’s how long the attention span is of the viewer. But medium is the message right every in country.same First it’sall of the minutes5 not be will tests the of outcome the so write to how on beginning the at rules of set a given was I situation. the of fact basic the That’s money-oriented. it’s place first the In but itdoesn’t matter becauseallisconsumer-based andtarget-oriented. storytelling about knowledge or confidence no have now,they right and actually producers as and act corporations tests telephone the So making forth. so of and audiences process of segments and the audiences testing in are they now Right think. you than worse even are tings mee those of conclusions the and filmmaking phone mobile concerning meetings corporate some attended I experience. some have I because now right floor the take to volunteer I Okay, of well-told stories to invest theirmoneyfrom “YouTube.com” orothercompanies. a very long way. It may be a fact but it will not change generally so they are looking and are fond ; and then you as the user can interact with other users and so on. It’s really a question a It’sreally on. so and users other with interact can user the as you then and ; ; they’renow; minutea about because, talking according to ; we still have this telling stories in a very long time and time long very wehavea ; still in tellingstories this ; but it’s not just playing a game someone has created has someone game a playing just it’snot but ; ? It means the story is as long as the 78 parts but you but parts 78 the as long as is story the means It ? ? At the moment that’s cutting hugely into the into hugely cutting that’s moment the At ? ?” That’s a terrible word, very popular at ?”popular very word, terrible That’sa ? Because at the moment they moment the at Because ? ; then you will get a bigger a get youwill then ; ; writing for the for writing ; ? ? - - - - -

45 Tell Me The Story / Panel Discussion

; - - ? My son shows shows son My ? ? Because this is the nature nature the Becauseis ? this ! No exteriors because, of course, ? Not me. year of my school, they said to everybody“Make a one minute th day every Internet the on this see to able we Aren’t ? and most of those going people weren’t to go and become writers. But they were taking what we gave them and building on it for themselves. I think in a cinema film the there’s from that created has less or come more Plane”, a on “Snakes called film American amusing an year, this out vable already, which is that people are not vable already, going to the cinema to see a film or turning on their television. But instead, [they’re] making their own stuff and it is scaryto writers. Becauseyou think if people are going to create their own content, they’re not going to be as interested in churning out. we’re what film the out put you where loop of kind a is very interesting, is which TVfilm, and in see I trend A is This something TV And people react it, build to on or it [it] and back programme. you. feed to which technology has made possible. I was working on a medical drama for British television about 5 years ago, and it had a fan website where the fans would come on and say what they thought about the They episodes. were absolutely passionate about the direction stories were actors favourite their for websites fan own their created even they and characters the and taking and characters. their writing were – sixteen about were they think I – them of bunch a where site one was There own stories based on the characters. Now, I never thought about plundering this for material, happening now. I was at a meeting last week in with a company tryingthat’s to do this. And they had a study of when people do look at stuff on their mobile, which I thinkyou needto keep in mind and they found, not surprisingly, people look at their stuff when they’re travelling on a bus or and mind their of out bored bank.they’re the And at as line in waiting they’re when something, watch something for a minute or and two, also when eating they’re alone and perhaps waiting for their food to Socome. far nobody wants to sit and watch something where they can a have big screen. In the context of anything [[to have times do], at when the you don’t moment most they’ll as sound. But in a [little] while, pictures as well watching be their iPods. to people listen I wanted to back up what Jurgen was saying. I a think huge there’s trend coming obser that’s So the narrative is becoming more and more important, and the poetic is becoming less important. less becoming is poetic the and important, more and more becoming is narrative the So You need to be aware that you have another way of creating a story. For the a Here’s celebration little of the example. 40 Letter to “A the and It’s called School” you say what taken you’ve with We were you. movie.” on camera, an and island digital with possibilities no aparttechnical computer Macintosh my from horriblequality be will it but this, with it make could I thought I And movies. small makes which sto testing to used were We hard. found startedwe which making story, a We broadcasting. for ries and, having done some directing, the visual side, too. I think some of the young people at my school nowadays think very differently of howto startThey a think don’t story. from paper, they start directly in communication. I don’t know what this will mean in the future, but it’s Internet. And it’s just a joke. Like something happening to a politician or a slipping of the tongue tongue the of slipping a or politician a to happening something Like joke. a just it’s And Internet. I guess the screen itself demands visually or a whatever. certain leaving out graphic, reality and On the other hand the story an event. the signs. itself becomes just going back to of case the Take to. directed it’s veryimportantwho It’s message”. the “Theis medium said, I Like be could We years. of number a for technology our in option an been has which messaging, text Why this. doing not we’re but writing Haiku, textfor using messages of the medium here. It just occurred to me that the size of a mobile phone screen is about the same size as the box in a graphic novel or in a comic book. And I think probably that’s the way that going it’s to be getting a sort book. of comic so you’re in the same way the stories condensing The The other set of rules was that there should be no exteriors confronted was I company the of conclusion third The screen. small the on seen be can nothing with, a major company, Orange I think, was two actors in a They have to scene sit and That was talk and the funny. fourth rule very of the whole game. little So two actors movement. in a that do to want do you one minute, for talk funny room already happening this Isn’t it every week or every second week to me that they take a minute of live TV and put it in the Participant Jurgen Wolff Jurgen Participant Thomas Bauermeister Graham Lester George Lester Graham Jaroslaw Sokol Thomas Bauermeister

Tell Me The Story / Panel Discussion 46 Participant Thomas Bauermeister Marta Lamperova Marta Thomas Bauermeister Jurgen Wolff Thomas Bauermeister can lookforward to. money – has also helped distribution. That’s the bright spot in this whole scene that, for me, we production of – because you can do digital cost video, high definition eventhe and do incredible editing fordown almost no bringing as well as technology, sense that in that think I about. passionate they’re what and are concerns their what and do they what by inspired be degree, some to even, can you that And made.you’ve what of more see to want they’ll that is it likely more the made, you’ve what over involved get they that passionately more before.The reach individuals around the world who may want what we’re even or offering them and haven’t groups been able smaller to of number larger a find to we’regoing how that’s think I use. can you niche audiences, because they’re probably already consuming media, such as magazines, which The challenge, then, is going to be how do you get them to know about it and you have system for adelivery it. film your see to want who people many how know suddenly, don’t So, I or it. 100,000 extra download an you’refinding can they because matter doesn’t it but venues, usual the in films not enough Greek people there to have there’sa cinema. where Places worldwhere it the makes no around sense to living show Greekindividuals, even or people, of pockets of lots are there doesn’t It matterthere’sare.whereif they So world. interestan pictures,Greekfor language in example, I’m the sure around audience an find can we faster, and faster getting downloading it with do you did what then But film. a make towasn’t expensive it that 16mm with Even distribution. been always has problem The I thinktheway that we’re goingto reach more ofanaudience hasto dowiththetechnology. too.thing, whole the do and up dress actually they whereStar Treksites these of some know I people with collaborating of ways other find or useless) is (which it fight is,we question “Do it’sit’sbecause think not,we I or embraceif it the of question So a tohappen. not going almost flowingwriting again. And that’s for everybody, notonly for writers whogetpaid for it. creativity You’redomain. teaching your be should this Jurgen, it andbeaware ofthepossibilities. embracealso can one and it, of watchwary and be readbooks towascan which one think TV.I child, a was I when did I what from things different utterly do to able they’re And technology. I was a in kid the ‘70s, and I realised that a child today is growingdifferent. up with unimaginably differentvery very,it’s and thing threatening and frightening a is It stories. own their making whatever I and the other writers were doing, people felt so passionately about itthat they were drama, medical this on I worked when that flattering quite way, and a in exciting quite it find I stories of form the in experiences their describing stories, telling people in interest an be alwaysthere about is storytelling what that isn’t or storytelling audience our broaden we question, can next “How our to us leads That This isatrend whichIsee, andIthinkthisiswhat technology hasmadepossible. movie. derivative fairly a get you want, fans the what by written movie a get you when that is proves it what think I But fun. it’squite and movie, the saw I do. to characters the wanted they title up and from what the fans wanted, from what people had dictated on websites about what better marketing you do, the more people you’ll get to the cinema. Especially now,Especially there cinema. when the you’llto people get moredo, you the marketing better the so – lot a with competing are you date, then same the on released being films of lot havea you If marketing. the in investto have you print, the in investto have you because – expensive very is cinema the in film this exploit to film, arthouse small a have you if that is problem The in France. That’s scary. films in the cinema anymore. aboutTalking the admissions, they only have 1000 or 2000 people arthouse watch to coming is nobody because – bankrupt going another,are after one butors, increased has admission general the example : Francean take as you if interesting very actually is It festivals. the at world the circling mostly are They cinema. to the films arthouse small the get to difficult very very, It’s more. any work doesn’t It trically. thea them sell to possible was it ago years four films, arthouse European small about talking I’m and films, immensely.arthouse changed has In market years,the 4 past the of course the In has stories European increased, orisitmorefor difficult now tobuyand tosell interest the think you Do today. life the to back come to just Marta, ? So we? So willnever beoutofwork ? Because there was no place to show it. show toWithbroadband place no was there Because ? ? ? Isn’t storytelling an endless source, won’t source, endless an storytelling Isn’t ? ? ; First Aid and how to get your get to how and Aid First ; ; but the small arthouse distri arthouse small the but ; ?” Are we the priests of priests ?”the we Are ? It’s always easier with ?” - - ;

47 Tell Me The Story / Panel Discussion

------; which ; ? Not in finding European ? Not in European finding ? ? ? Can we find a way to usetofind our put away together ? creativity we it Can ters. So the sensibilities and cultural roots of the two nations kind of interact within the story. But But story. the within interact of kind nations two the of roots cultural and sensibilities within the So ters. element cultural any be to has there mean necessarily doesn’t finance say, you as course, of sensibility European a is, there think I and hope, I from. coming money’s the where from story the anyway. America, from different that’s filmmaking in Not necessarily. It’s not necessary that if you have two or three co-producing countries you have have you countries co-producing three or two have you if that necessary not It’s necessarily. Not to shoot in three countries. I mean that’s what they are working on now in Europe – to allow, not only co-productions but also co-financial productions soyou can shoot the entire means in the artisticThat film co-production. still a German/French/Hungarian But it’s in Hungary. say, aspect to get together and Somework together. days ago, I heard on the radio an essay about German Finnish and are there and pianist French a is head the Berlin.in At musicians of group a not They’re like how members, you not too. They’re think.just getting their folk roots and cros sing over, no. As a group, they are finding acompletely newway thinking I was what of as a vision. That’s of been done before. making hasn’t music that music – making charac British and Hungarian involves story my and experience, own my from speaking only I’m I can only speak from recent and personal experience. I’m currently engaged in a project that, if it goes all the way to the end and gets tion. distributed, It will would seem that be there is a a way of British/Hungarian financing this throughco-produc Hungary, through Britain and two the of ends both at qualify to it for course, of But, Europe. in Programme Media the through funding schemes it countries” has to have certain elements in place. For example, for it to be a Hungarian/British co-production it has to have certain elements of Hungarian input in terms of style or director or location. It has to tick Less so boxes. from the British end, because there’s a much more liberal idea about how you make films and get stories funded.find Iwill think we means whatwhich it’s doing Europe, is in happen to co-productions more encouraging that hopefully, universal have, element of storytelling but also have something about the loca lities of the two or co-production three which bringcountries, new elements the into story and make them European. perhaps even mainly we can see movies from Western Europe. It’s really rare if, for instance, a Polish movie can movie Polish a instance, for if, rare really It’s Europe. Western from movies see can we mainly you movie, a Russian example, for see, to want you If distribution. official in theatres our into get can see it maybe on TV, because we have this public cable TV, which is constantly waiting on a Hungarian audience. for the neighbouring countries from movies delivering discussing were we Chabrol, Claude director, French a with working was I when ago, years Some whether Wethere was such cametoa theconclusionthing thatas films there European or not. is no European film, non-existent. it’s justIt’s aFinnish film or a German film and completely is can we So, identity. no has It money. European is there but shot is film the where on dependent in well, as economic is which creativity, our use we Can films. local shoot to money European use the market and market the broaden to stories, new get to together way European a in working in but stories widen the audience The difference with Germany is that once you apply for a subsidy from the fund you have an obli an have you fund the from subsidy a for apply you once that is Germany with difference The basically, So, funding. get to going not you’re Otherwise, film. your for distributor a find to gation no matter what kind of a production it is, it has to be screened in the This cinema. is creating a especially. exhibitors the cinema for situation strange They even buy the cinemas to get a release. That’s been done since the beginning of cinema, not immoral. InThat’s I Hungary, suppose. are you able to see filmforeign in the theatres apart the big-budget movies from distri bigger even are there and strong pretty is scene cinema arthouse the Hungary in Actually, these Budapest, capital, Inthe so-calledart these on movies. European focusing are who butors movies have their audiences. What we can observe in the Hungarian arthouse choices is that are are so many filmsfor such a small market,a film which doesn’t dowell in its survive. to going firstweek not is I can agree with that in Germany with the theatrical release. First of all the amount of produc all these So, ago. double what it years was ten that’s 300 last year, was over the theatre tions for week, out. but after one marketto the they are a screening and get films get Graham Lester George Lester Graham Thomas Bauermeister Graham Lester George Lester Graham Thomas Bauermeister Balasz Lovas Thomas Bauermeister MartaLamperova Thomas Bauermeister

Tell Me The Story / Panel Discussion 48 Christina Kallas Thomas Bauermeister Thanks to Thomas andto allofyou onthepanelandinroom. Have agoodevening. These are agoodlastwords. evening Good andthanks.

49 Tell Me The Story / Panel Discussion

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? Why do Why ? directors want ? Is there an obvious and ? Is the possessory credit ? What is the situation situation the is What ? ? Does professionalization ? What is the situation in the ? Does the praxis correspond to ? ? Why not ; and we also talked about the differences in differences the abouttalked also we and ; ? What does What the combined final? cut of wri

? Should there be a combined credit (film by (film credit combined a be there Should ? ? And that he would have the final cut, i.e. ., final word ? Is the droit d´ auteur just a facade, not really taken as seriously ? ? If taken seriously would it mean that the work writer’s could not ? Is the fire and hire policy againstEuropean law ? and the copyright countries in relation to the moral rights Whattheory. is of

ch circumstances what under yes, if and, legitimate credit possessory the Is – states of Europe like in the UK and Ireland of Europe states sdorfer, Frédéric Young, Razvan Radulescu, Robert Löhr, Mogens Rukov Robert Radulescu, Löhr, Razvan Young, Frédéric sdorfer, droit d´auteur interest to us now is the practice. So we are here to exchange our experiences. We have learned have We experiences.ourexchange to here are practice.we Sothe is now us to interest theorythe practiceto correspondthe does But rights.moral have we that I will start with this rare combination of a lawyer and a writer : what do Fred, you think screenwriting. Robert Löhr is one of the first studentscoming gramme outof the ofGerman the Film and Television screenwriting Academy, and done pro he’s some wonderful stuff in the last years – both in film and in the theatre – while his biggestcommercial success till now, interestingly enough, is not a screenplay but a “Der novel, Frédéric Schachautomat”. (Frédéric Young) I do not need to introduce, as he already talked moderated by to Leni Ohngemach,you who isyesterday. The a German panel writer living will in L.A., be someone who is strug gling to combine different cultures and make the most out of it not only as a professional but also in her everyday Leni,life. the microphone is yours. GoodThanksthe for introduction,morning, everybody.thinkI heard quite we a Christina. Well, yesterday rightsmoral aboutthings interesting few the to to share the screenplay credit and not the DoP credit, for instance circumstances what under yes, if and legitimate director and screenwriter) It’s my great pleasure to introduce to you the of memberswonderful of writers. this Mogens panel. (Mogens Once Rukov) again,you met it yesterday. Germany is Fred is, full interestingly enough, a lawyer, a producer and which most of ayou will have seen as“Sophie it received a Scholl :nomiThewrittenwriter Final Days,” nation for the Oscar Award for Best Foreign Film last year and was distributed widely all “The over paper and theworld.Razvan “TheLazarescu” DeathRadulescu ofMr. isRomaniana writer. twohighlyare acclaimed films which impress through the simple strength theirof willblue” be In most countries the screenwriter is the copyright owner of the screenplay. Does In this is most mean the owner the countries of screenwriter copyright the screenplay. that he cannot be the co-owner of the film and is there a downsidefor the directors in the countries where the writer is copyright the co-owner of the film’s of development mean adopting the American fire and hire practice legislation, their in them have countries which Rights : Moral non-waivable the of nature and and does this influence the praxis of screenwriting non droit d´auteur states of like Europe, the UK and Ireland the theory of Moral Rights as is stated in legislation be rewritten without his permission on the screenplay real downside if a final cutforwouldexist writers ters and directors in practxices French mean, and how does it work credits Does the practice correspond to the theory of Moral Rights Moral theoryof the to correspond practice the Does – Leni Ohngema Leni droit d’auteur droit Fred Breiner Fred writers Rights akers : akers : Sharing credit be combined Should there credits. of writers rights and of moral questions of authorship, panel will investigate This Spe Moderator : Moral in the non You Have the Right To… Right Have the You RightsI) (Part The / Cycle Thematic Second Leni Ohngemach Christina Kallas

50 Leni Ohngemach Fred Breinersdorfer Frédéric Young Leni Ohngemach Frédéric Young RukovMogens the real artistic and important ones. andimportant the real artistic missing and questions reallysecondary dayson or hours spending I’vepeople sometimes seen because important, less is what and tively.important is forwhat plan a and priorities Withclear togetheryour with colleaguesit moreand make concretein negotiating producers with collec he cannot use his rights. So this is a matter of collective I action, think Alone, much. do can’tweight, commercial huge with and he’swell-known reallyif even alone, author one that relationship.It’sclear power the of question it’sa course,always of but, – it on something with work to way a law,is in is it when right, A practice. in used we’rebe that will is thereit mistake is the thatright think the onceI believethat to made being andmoneyare. rightsarewhat industry –buttheyknow what artistic know don’t they because rights, artistic them call acceptable.shouldn’tWe industrially are which us, internationalan body,be should Europeana atleast or body, forrights some thatcouldoutline wish we as it change can screenplay.Weyour rewrite else somebody have can Wewant. we whatever do can say, “We and come they But god-like. being of reputation… this have still I moment very this At God. was I that think to began they life they thought I was a plain idiot. Then I made, together with Thomas professionalVinterberg, my of “Festen” years twenty-five and first the for because happy, very are experiences my Still rights realization)our of well,all pause take they forand the…forrights moral (short wouldinsist our talking we’re when that there should be realise a body, an institution I that would outline some framework it. for us, where we read even not will we And whatever. sign will we that film our the rights. I think our common experience is that we’re so happy that somebody wants to make I don’t know if there is anybody who can really try to get through our everyday work insisting on Yes. They are good. That doesn’t mean that I think the state of affairs is good Mogens, may Iaskyou aboutyour experiences better inthepoliticalcontext practice andinoureveryday work. for stand to writers as us to it’sup Nevertheless, soft. but wonderful is rights moral of idea The writing. thescreenplay In started form you have norightsat all–notinpractice. etc.). Because thereplay, you havetheatre the chance a to achieve the into result you screenplaymay have a intended when you turn to right the novelization, (like rights additional of forms in written have we what of done, have we what of little a hands our in keep to is writers, as us, for point key the think I countries. European most in illegal is this if even rights, moral your up giving actually are you that declare you which in paper of piece a sign to also have you wrote thick contracts and the end result is the same : whenever you have the chance to sell the film you the screenplay, which should definitely of belong to novelization the writer. the of There or is a lotfilm of nonsensethe written in concerning book the of those even – us from away rights all take usually which contracts,sign have towe because one intricate an countries,is other many Ireland and UK the like non- the in situation the is is, “What question second Theno. is tions with a single word. Does the practice correspond to the theory of moral ques rights the answer and yesterday it Rukov,did Mogens panellist, fellow my like it do to try will I do have a power in negotiations – but maybe you don’t know it. I really do advise you to bring bring to you advise do really I it. don’t youknow maybe but – negotiations in power a have do you important, really is screenwriter specific the where productions TV big or film However,in serials in hiring when different bit writer,another use can they workwhen in and production formatthe set.when is especially TV little a be could It film. a have to need They it. do to want they screenplay a negotiating of process the in are they when because negotiate, to continue it.” alwaysfilm.” do don’t they answered,the always then But “Okay, make I not will I condition this at or price this saying, at “Okay,of point the reaching her or him without producer a with it’snegotiationcourse a had nevermyexperience,Of ned.produced, I interestingin get but, to work.”to nity anything.almost sign they sig So they what us,towith unhappycome they Then signingafter them. It’s so crazy. As someone said, “It’s great to have a contract and the opportu but I’m amazed how many screenwriters and directors are coming with their contracts to see us societies to put minimum standards in practice in their dayevery production work. It’s not easy, Well, now it’s our every day work, film by film.try We to get thewriters associations and authors' cendent over Europe interms ofthemoral rightspractice, somethinglikeacodex ofpractice moreis general,thattrans something is thatwith coming up of possibility the youabout think do what Frédéric,rights. moral of case this in law, the enforce to able be to is problem the So, ! They candowhatever theywant. do. And theyactually ?” I would say difficult. The problem of moral rights in my country, as in as country, my in rights moral of problem difficult. The say ?”would I ? ; we can do whatever.”do there can why we is ; That droit d’auteur droit ; you have to work on that ; I think it’s very bad. ; and you can build can you and ; states in Europe, in states ? The answer ? - - - - -

51 You Have the Right To… / Panel Discussion

- - - - ; and you can ? . I also know that I have had many many had have I that know also I . droit d’auteur droit ; it’s a lot of money in Germany. But we give away ! ? In Germany buy out contracts seem to be the norm? In now. seem to buy out contracts Germany ; and this is my ideal. Besides, I always work with friends. The director is, is, director The friends. with work always I Besides, ideal. my is this and ; ? Would you ever sign a complete buy-out a complete sign ever you Would ? ; and the production company always got me. When we came to the point of point the to came we When me. got always company production the and ; ? ?

or if others do [it], they can take control. Maybe this is too much together. stay we things if move can really but I think we of “Imagine”, John Lennon’s So what about you, RobertSo about you, what too always was I but contract, next the in for fight to wanted I things of list a have to used I Well, talk to intimidated I think it’s rights. my conceded I and soft, just was I film” the do don’t we or film the do we “either a contract in our hands. have these contracts so we sign that We similar with buy-out contracts. I mean the buy-out money is good money that believe also I but naïve, is this Maybe sense. make doesn’t it term long the in and everything we have the power to fightfor these rights only ifwe join Itogether. started in the business as a strike-breaker. I was brought in to re-write a script after somebody else had been kicked out. I was very young so, of course. I ask didn’t if the other writer was okay with that, and I re-wrote the script for lots of After money. that experience, I think I’ll never do this again. Because if I do seventy years after you’re dead after you’re years seventy and longer. grandchildren for our the rights, away we sign time for what out figure Yes, countryIn my nobody discusses these things. about a buy-outWhat No. kinds of contracts, also full of illegality, on some projects, because, I personally, like to work on agreements gentleman’s how about concern no really have I well, as producer a be to happens he If friend. my somehow, everything happens. So, we sign more of a fictionalcontract between us. On the other hand, when I try to sign a very elaborate contract about what I I that realize this contract is to not want the according CNC rules (the Romanianof Cinemato Centre and what are the limitations, the graphy, main state aid agency body for films in Romania).For instance, I neverwant to let off the rights of publishing a script as a book.And I try notto let off the for rights the for movie accept they story, my to rights the get to them for order in Sometimes, twentyyears. than more that it’s only for twenty Then, years. they however, sign with television for one hundred years. bother why So, In your case, more than one hundred years because you’re very young and the rights go on It’s It’s different in theU.S., becauseyou have a big industrycentred inLos Angeles engage in negotiations for thousands of productions. It’s an industrial situation. Here, except perhaps for television, I really believe that standard minimum contracts will be hard to nego and I am minimum that the afraid contract will standard tiate, then as turn [out] be to regarded the maximum. This is an interesting point you are making here. rience withRazvan, us would you now share your expe Well, I have to admit I don’t know even if MEDIA is or is not applicable in our and country. regulations, international are It I know think there it like is. a journal. somehow is more that I don´t to relating – us for applicable somehow are they somebody else in to the negotiations. When I negotiate for myself I am very bad. It’s something I am very It’s myself bad. for I negotiate When somebody the else negotiations. in to I hate, but if you take somebody who can help you, he can speak about you in terms you will never speak about somebody Take yourself. who knows what negotiations are. It’s quite tech nical negotiating an author’s contract : the remuneration, the rights, the future, what you can copy, private rights, of management collective the on have can you what terms, foreign on have and associations screenwriters the for time it’s think I work, and technical It’s etc. rights, satellite guilds to develop means, special experts, who can help their writers to negotiate and also to rights. their own enforce I’m very reluctant about global agreements and standard minimum contracts, here in Europe. Robert Löhr Leni Ohngemach Leni Leni Ohngemach Leni Radulescu Razvan Razvan Radulescu Razvan Another Participant Participant Razvan Radulescu Razvan Leni Ohngemach Leni

You Have the Right To… / Panel Discussion 52 Fred Breinersdorfer Leni Ohngemach Löhr Robert Leni Ohngemach Frédéric Young Christina Kallas Leni Ohngemach Christina Kallas Of course theyare.Of rightsandmoneyare course, inawayOf connected. theartistic discuss to time collective agreements, remunerationof andsoon. lots have will we afternoon This credit. possessory the as matters also and split these two issues into two panels, so that we can now concentrate on the moral rights issue issues money discuss to starting are we as something, say just I Can rights are something else. internet.the ping Youanymore.that youdo can’tmoral if cannot But But them. join them, beat internet for rights their all publishing, because they didn’t pay lost attention. They didn’t journalists care for is not a it.question of It stop the of most years fifteen last the In process. this in financially participate to want I phones. mobile on shown be to down it trims and parts 120 in minutes 120 of movie a portions somebody Maybe technique. new a definitely is phones. This market the on technique new conditions the are “Which be, always must question away.The rights the sign we whether be never can problem the So, and rights, whichhave to beremunerated. Icannotdealwithonlymy rightsfor thefilm. rights artistic have whom of cinematographer,film. all a director, sometimes composer,a the a is Thereof part only are we writers as Besides, rights. these having without market, national the on even or market, world the on film that sell That’scannot I that it’struth because naked a years. 125 time, every for and lifelong rights all having without movie cinema a for contract a your work. I think I will frustrate most of you here, but I’m also a producer and I would never sign ones in this body important of rights. Another thing is the right to earn money out of the use of most the of one is right artistic this that artist, an manage as me, to For right. and personal a keep is it to as carefully, right important very very, is It keep. to care we the which in and script place the first into put we that ideas preserve to right the us gives which right, artistic with the start Let’s them. between difference a making worth is It money. is moral other is the and one rights matters : different two discussing are Weclear. something make to like would I ofleverage forsome kind meto trade itinagainstsomethingelse. way a in was this least anymore.Atmovie that couldn’twith I identify because else, something with credit possessory the to right my in traded I then So unsatisfactory. very be to out turned film the that was happened what Actually, myself. and director the by be would film the that credit possessory Now,the about what happen, becausepeoplewant to gettheirfoot inthedoor. rights”. these want say,I and am. won’t school I This here “Okay, film of out come to somebody for expect can’twe because trailblazers be should writers well-known that think also I Exactly. youSo are preaching for notrewriting otherpeople’s stuff. bring bring back the spirit of authors rights and create a new category of authors rights tothat would be order in now come can new something that convinced more and more are rights, authors' clear inourindustry. Interestingly enough,theselawyers, whoare alsoprofessors specialized in almost It’sindustry. music the in clear is It companies. major by abused being from author the 18 the in created were rights authors the that more convinced and more are lawyers of number greater a that believe really I that is thing second The producers andotherparties. legal system our to see how inside we can use work it in favour to of an equitable need relationship between writers we and think I So, producers. the and directors the between relationship legal the in change major a was It done. well very was producer.This the of contractor the as interlocutor,the into turned was society this day one In society. management collective the to day same the on rights, their of some or rights, their assigned directors the all which in way a give organised youUK, the D.P.R.S,in the organisationthat,if directorsto the Due twice,right. the to exclusivity it assign cannot Youonce. assign only can you that material something as integration overindustry.all the vertical think in the I Europe is author’sthe seen legally is right yesterday, described I situation the which and tradition buy-out the about thing more one Just ? Am I in a situation where I participate, let’s say, when there is a is there when say, let’s participate, I where situation a in I Am ? ?“ Yesterdaymobile on screening about evening the in talked we ? I only managed to get it once in a contract. It was said was It contract. a in once it get to managed only I ? th or 19 or th Century in order to protect to order in Century ? We actually deliberately actually We? -

53 You Have the Right To… / Panel Discussion

- - - - - ; but we ; and we can sense ; and sure I’m everybody in this room could contri ; and so I need the right to be able to do that.” But, at the same this time, is not fair ; and so I need the right to be able to do that.” ; and an it’s institution, an initiative of the Dutch Guild together with the Collective Society about four years. About sixty out of about 220 people who are writing regularly in television and television in regularly writing are who people 220 about of out sixty About years. four about filmat the moment have made use of this and that’s quite a large number it. to getting used slowly are the producers that law. As Frédéric Young was saying, you Young will As only law. Frédéric get the minimum, which will become the new screenwriters that was before saying was I All interesting. that be to going not it’s and standard, should get in a better position to discuss the conditions of their contracts with the producers. the where key And is. that means that need we I guilds stronger think really and that’s that also is It demand. can they what know they so screenwriters for education good need we that means instance. for rights, of their moral not aware are most screenwriters true that Last but not least, I would like to share with you what we have in Holland, which is a contract law for Writers in Holland. It offers an alternativeto agents. In Hollandwe hardly have any agents. Agents are supposed to fightfor the rights of theirWe clients. don’t have any agents to is do doesn’t Guild the What contracts. in conditions proper defines which law, contract have subsidised foundation, a maybe fact in institution, an have we But producers. the with negotiate mainly by a social and cultural fund from our which Collective to contributes Society, the of fee very qualified lawyers who can negotiate. I must saywe really canfeel the difference after only I would also like to add something Breinersdorferto what Fred said. I with agree also him don’t that as a producer you need all the rights to make a film. It’s a principlefor screenwriters that you just don’t sign away your rights as the creator of a work. We are very adamant about this at the Dutch Guild, and we always recommend to try and hold on to your moral rights and not to sign them away but assign a licence instead. Quite a few Breinersdorfer, but producers there are say also quite the a few same who do as agree with Fred the licence because it is pos sible to make a film with only a licence. I alsowould liketo add something else that I think as a in writer, the end, you need to be a bit realistic. If you get a fair amount paid then you could also consider to sign away these rights. But most of the European this times follow to you lot a don’t. screenwriters help Not would it think in don’t I Europe. legislation, Now, E.U. concerning law for help in their struggle for better contracts. really I’m convinced that you have to do that EU in result good a get you that think really don’t I that is reasons the of One level. national a on about introducing similar legislation into our field. There is legislation onabout contractsimilar introducing terms, which legislation into our field. are defined asunfair inconsumer contracts copyright. field of film the from drawn examples i.e., with clauses, bute The second one is improving the copyright situation on the basis of your individual contract. We’ve heard much about reading contracts this use you when cases and many In it. signing then and signing first it reading means which contracts. order, mended I think there is a economic of recom field the in or rights moral of field the in either improvements some have you order sign to impossible legally is it where and rights moral have which countries, those in Even rights. them many away, producers will try to get you to sign away these rights. So they suggest that you transfer your moral rights, which, by definition, is impossible.And even ifyou waive these rights, which to some extent are possible, there is always a which remainder, can’t be waived- such as the right to object to know even that. Most distortions don’t writers of your screenplay. This is important to consider. I’m the might head knowof I’m the the legal saying that aide You there to the Austrian delegation. are always as many legal opinions as lawyers, so Fred Breinersdorfer disagree with what he said will I before. think there is surely no need, at least allow no legal need, to me sign away to all economic rights in a copyright contract. On the contrary, a screenwriter may easily retain, for example, the remake rights, the merchandising rights, the right to, for example, derive the etc. the screenplay, of version musical or the theatre The main thing I would like to add is that complained we’ve so much about the legal situation that maybe worthit’s taking the next step and looking into how to best improve the legal fra mework for the I screenwriters. think there are two main The roads first towards improvement. one being improvement of the legal situation in the sense of improving the copyright laws in our The countries. laws in our countries are both determined by EU legislation and by domes tic legislation. I would like to point out a directive, which exists on the Directive on Unfair Contract Clauses in Maybe Consumer Contracts. it EU would be worth thinking level, which is the forever linked to the author and could not be assigned directly to the producer – something like something – producer the to directly assigned be not could and author the to linked forever what was said before, a distinction between the artistic right and the industrial right. Nobody knows what can emerge from that. I can understand the “I producers need saying, the right in order to do my job. I will find investors, I will findTV money, I will make a plan for distribution of the movie take you where all a capacityprocess of ininfluence plus, – the because caseit’s of the buy out, on work to have we that is belief my So authors. the from remuneration equitable of capacity all relationship. the equilibrate to way find a better the actual to legislation Participant Albrecht Haller

You Have the Right To… / Panel Discussion 54 Mogens RukovMogens Christina Kallas Löhr Robert Participant Fred Breinersdorfer Christina Kallas Fred Breinersdorfer RukovMogens Fred Breinersdorfer Christina Kallas are suggested, and that as the writer you should be consulted and have the right to make these say to able be “Yes”to right the is it that is and saying are you what “No” So that changes the to basics of the story intact. You only make the changes youtherights. Youmoralkeeppersonally be considertounderstand wegood that’s whatfor Butexample. yourBad work.is. it guessYes, I laughs.)(Everybody That’s abetter story generalold British whosaves Madagascar. an and girl Canadian young a between story love a haveyou end the at and everything almost changing of road long very this on get you so enough not is castle”,this Mediterranean but a rainy,cold,tootoocastle.” Mediterraneanis let’sa intoso it turn Yousay, into it “Okay, turn will I castle Scottish the says,of and location comes producer the “The day one But castle. Scottish a in lady English old an stalking killer a about day film the young a of would end toatthe like see you So castle. Scottish a in lady English old an stalking killer young a about story tremendous a have story.”you the say let’sloves So, he because them buys he rights, your buys anyone or example an you give I Can just we can So experiences. define moralrights for screenwriters,different know sothat what about we we are talking slightly have us of Most Mogens. man, lucky a are You laughs.)(Everybody from So, thescript. Iguessthisisreassuring. expected I than things better doing are they that is experience my and that, like something or rights moral I are don’t know. earth I’m in on the same situation What as you,you. except I’mas not young.question But I’msame working with friends the have I because answer, no have I when you say moral rights. What could be moral rights for screenwriters in their everyday lives moral rights ments. I would like to go back to the first question, “Does the practice correspond to the theory of havearegoingwholetoafternoonwethepanelthisdiscussas toof contracts, paymoneyand mattersubject actual the to back you leadplease me let But Robert.point, good very a is This done before. to me by my agent and by the writers association, and I think maybe [that] this could have been this. on emphasis more little a put course,of film toa is make object, main Our to important very is it think I school. film a at teacher a is who room this in everybody for this saying am I rights. rights of use of practical the theory about nothing the but about instruction some got We school. our in neglected bit a was rights bigthe how know I don’t schools film from come school, actually who film is screenwriters fromof percentage coming Me, thing. small one add to want also I the point where you’ll do whatever they want. That’s the truth of the matter. So now I take the take I now matter. So the of want.truth That’sthey the whatever do you’llwhere point the trouble.”to causes you always get He they him. So, with work to it’ssaid,hard no, they “Oh cer to work for this big, big company. And time every when I went to a station or another TV produ chance the lost had I but money, the all me gave money.even They the all wanted I And left. I leave.”you said, “No”or I us and So with stay you either possibilities : two are theresaid, “Well, so much trouble with a character. I said, “No. I don’t want this character to be changed.” And they happened to me onceIt [that] I signed the contract one week before shooting, because we had is notmy idea.Come on,we’ll changeit.” the third dayafter or of fourth shooting so you are sure you can withdraw. Youis say,best Thepossible. “No,as this shit late as contract writer’s the sign to – myself it do I and – recommend I So moment. last very the at Madagascar.”not rights but say,else that still for Madagascar.Okay,Everything can “Not (laughs) youryou assign to instance for is idea intelligent An Exactly. changes yourself.

?” The answer seems to be, “No”, and I would like to ask you to describe what you mean ! ? Frédéric said a helpful sentence. He said, “Whenever a producer a “Whenever said, He sentence. helpful a said Frédéric ? ; but I, myself,I, but ; have tohad have taughtrights these ; but the whole subject of subject whole the but ; ?

? ? - -

55 You Have the Right To… / Panel Discussion

; - - - - ?” ?” And the producer says, “Blah, blah, blah,” ? ?

is a lonesome animal, as our colleague said And before. I have a question. If American films are being killed by product placement – as the screenwriters, who have waived their moral rights, are constantly thinking of how to put the products in their screenplay – are European films I think you’re very right that this is our biggest problem – the screenplays being taken the on directors by to rewrite. For instance, I would never rewrite someone script, else’s and I would not On like the this happen other me. to to side though, thinking that a scriptwriter the at front have I If position. self-esteem low a is scriptwriter, another by replaced be to has always position a good script and the contract producer reasonable does is not think comply I to my what will, with and complying I not give is this director producer the the script and together, it do we and wise – then I will not have this There producer. are plenty of producers around. Which is why I always try to bond with a director first. Ofcourse, ifyou are caught in acontract at already, a certain point you may findyourself in a position whereyou can bereplaced andby mistreated it is. but this is how tough, It’s the producer. I have a short remark about writer solidarity. I think don’t it can actually exist, because a writer I think a that’s marvellous thing to say. I wish I could say I had as much integrity as our collea gue here. I did what Robert did once, and I just took it. I didn’t even think of what I was doing to the other Just writer. the awareness of that, of what somebody here in just called cannibalism, is really important. The other thing, though, which has happened to me so that my rights were truly destroyed, is that two or three times directors had taken over my absolutely Now, there’s no script. sense of solidarity there, and each of those times the director said, They tried but they I didn’t. going can to do “Look, take it I’m it the over. way I want to shoot it”, for two or three months to do something, and then it ended up with another writer. None another to on of given and directors the by over taken was screenplay my when times three those writer did That wasthe very films ever and get something frustrating, I produced. that think it’s be addressed. needs to So we should have our own dogma, so to speak to so dogma, our own should have So we and this is Yes, needed very and urgently, it could also be the way to introduce the craft in film schools, for example. Because we are all scriptwriters that work together. alone We aren’t at in home. contact. We We hardly don’t sit know each other. I don’t know how red often scripts I’m to offe rewrite which have been written by colleagues, and my first question is always, “Why don’t they go on working with their script or something about not enough time, so I start enquiring myself. And then you hear a totally different story. I will neverrewrite a scriptwhen the person who wrote it is not involved any more. Sometimes, very rarely, somebody says that they don’t want to continue anymore, but this is not the The normal normal case. case is that you are kicked out, and that somebody else will willingly are a do As partthe long We job. as change it our of is situation. like this, we won’t problem. our own Well, the question is whether we can enforce them in practice.not applicableWhat use are rights that are I’m a One writer. point which causes a lot of problems for us is the way that each of us is capi talized on by other screenwriters. I think the problem is that our work is [The] that side. factis rights not moral the on especially but level recognised, contract the on just as not be, should it artisticthe mistreating and others of work the rewriting willingly are us of lots this, of result a as rights of our colleagues. I think we should really find away to ban this. If protectwe each don’t like us treating are others or fact The producers that will. else nobody treatment this from other will they doesn’t, he if or it] [do doesn’t she if know they that background the with do to has this find somebody else who does. money and also keep the job, whatever it takes, because I have a family. I have a very a expensive have I family. a have I because takes, it whatever job, the keep also and money home. at daughter (Everybody laughs.) even rights, these have We discussion. this have to started we when said Frédéric what that’s But the practice is… whatever law, the are They away. them cannot give we [to], wanted if we Participant Participant Participant Dorothee Schön Leni Ohngemach Leni Dorothee Schön Christina Kallas Participant

You Have the Right To… / Panel Discussion 56 Leni Ohngemach Participant Katharine Way Löhr Robert Participant I have a point to make about writing cannibalism, I think, in a position from both sides. I’ve I’ve sides. both from position a in think, I cannibalism, writing about make to point a have I becausesomebodysaidso.direction different completely a into run not this, improve to try and place first the in good was thought films. I think what we really have to do is claim responsibility for our stories and stick to what we more any get to not afraid so are we because around, running be can’twe think I story. dumb Because they have already driven the writer before crazy, and he can’t work anymore, not on this made. it’sThey know horrible, buttheywilldoitanyway. come andsay, And they’ll is it”.movie “Re-write a as long as everything, nearly do can they And stations. TV to connected producers station, and their TV job is toa say something. institution, I’ve had scripts, funding which were horrible, a but they have tocome from connected are they because so do to able are they that There are so many people who are just saying something in order to say something. They know told. be should story of kind which knows really nobody that is Germany, in especially rience, expe My stories. own our for responsibility back take to need we all, of first that, think I Well, like that, you won’t have somany problems, Ithink. life five or ten with whom you can work, and that will be over the course of fifty years. If you think every producer or every director, there’s enough of them around. Maybe you with meet friendly in be yourto don’tneed whole you so – anyway script a write to time certain a takes it because with which you like to work with. I think that a screenwriter doesn’t have to work with everybody the limits and that this yourhurts writing, then in ten or twenty years you will have an ensemble you can’t afford not to work with them in the future. But if you do face the factthat they go over think you Sometimes limits. the over go who people with working up end you sometimes and limits are there but – rewrites or changes making with problem a don’thave I and improved is with whom youselection can write, who improves the script. I like to make changes if the script of process permanent a be should screenwriter a of life selects. The nobody lifeprofessional in But the truth of the matter is that while in normal life you select the people you want to be with, helpful. very be can director a with coalition a me For coalitions. forming about something Youmentioned Well, corrupting your story because of financing is certainly a subject matter we need to address. laughs.)(Everybody soundat thesametime. artistically good. are So it seems which that product placement placement,is a much healthier country way to get containing money for yourmovies films andEuropean stay few very see I but movies, werethatgood placement product with movies American of lot a saw I that that tosaywould I French And we comply. personoranItalian. We can’t anymore. write normally the ones I wrote. This is, I think, us killing on a subconscious level because we are told we need a aboutfive meetinginabarorsomething.tourists be astory These are different than characters one man be German”,the said,“Let producer and the producerItalian said, German “Letthe the other be Italian”,but lives, so in the whole end it will their other each known had who people about drama a Australia, in village a about script a wrote once I think. co-producer,I Italian an of because it in of Venice seconds five with film a has Mogens So practice. in them use not do placement country by killed being perhaps something that’s happening increasingly in television where I work. Product placement is one is placement Product work. I where television in increasingly that’shappening something is this because integration product and placement product about briefly talk to wanted also I want. they what know don’t who fools Youhave wouldn’t producers. educated better have would we surely world ideal an in why. don’t know, I quickly quite cover with work to nightmares are who some are there and writers nurturing at good and with work to brilliant are who producers some are there And themselves. want they what know doesn’t who and confident isn’t who one the is with work to producer worst the think I problem.” the solve experience, my to From writer perfect the get I’ll “Somehow thinking, one by one out writer each throwing just on and happy.”on not go they still I’m And thinks, “Well, producer the so problems, new some creates and things some improves writer new the work.” it And make they’ll and one, new a getting and writer this firing by problem the solve will I “Ahthink, it. They with happy entirely not they’re and written, is script the So Madagascar. in or Scotland in set be to story the want they whether know don’t They want. they what know really doesn’t who someone have producer. You unconfident an of have you sort is this rewriting, with serial especially and films in especially though, happens what think I script. else’s someone over taken I’ve And else. by somebody rewritten and over taken mine of a script had ? I mean we cannot waive our moral rights, but we but rights, moral our waive cannot we mean I ?

; and you dis you and ;

- - !

57 You Have the Right To… / Panel Discussion

; - - - - - ? ; but before I did ?” and ?” it was another countries ! ; and the funny thing is, in fact, I get the droit droit d’auteur ? I think This is yourself. why the model of wri ? and a director a producer ? A writer, ; I did it in my last film, I think withvery good results. someday !” I “May !” said, I have a look at the script ; and that’s something we have to be wary to of. have we something ; and that’s country, right country, auteur droit d’auteur droit ; a guy who perhaps has just read the script one time when he jumped on the ; and having it’s an effect on writers, because with product you integration don’t ! This is what I mean, unconfident and incompetent producers. Not basically incompetent, incompetent, basically Not producers. incompetent and unconfident mean, I what is This ! ; you just have someone driving a BMW, and that’s fine. Product integration is getting alto getting is integration Product fine. that’s and BMW, a driving someone have just you ; you you moved on to another topic, which is very interesting, about Can the I writer-producer remind model. some of you of an area that we don’t think about cers in is terms American of television. writers American TV as at produ the moment is a completely writer-lead medium Of course this is very important when you are thinking tionship. If about I equitable get income a hand in on the the rela money, in the production process, better That it situation. is what United gives Artists was in me the beginning, so a in a way we much, are now thin much king about old solutions, solutions that have been tried before. We know the story of United Artists : one day you will have more producers than artists. The other but way, quite it’s a risky co-production. of share a into film the to contribution your transform can you that say to is one, It’s another model, “I you bring say, the screenplay and the screenplay is perhaps 15% or 20% of the worth of the I whole take production.” this percentage, and I can act but as work as a don’t an contributor producer, executive as You a become your own company. You co-producer. of a huge part of the financing of the film. Of course, this film needs the case. not always been worth it and that’s have to have to this investment for later success some economic I wanted to say a little something about the non- Well, Well, maybe. No, seriously. I thank you very much for this phrase “unconfident it’s producer”, exactly the truth broadcasting, of head a to talked once I do. story you than your about knowmore cannot plane and he “This said, is a lousy script script but these are people who work too much and try to make money money on because expensive they films already and daughterslost and so on. deals. Being economic for a responsibility the writer-produceron taking is ayou’re end the difficultin and but go, to way interesting very laws tax European under have, you and certain income a have you well, goes film the when And the film. producing during you’re the time that tax advantages as I see it, cinema ones. It’s very difficult to run companya like that, but very it’s comfortable in terms of self-consciousyou things being work,of the all terms doing and in your on hands your keeping do. need to take on the responsibility for You take On on. the other side though it is a big responsibility you someone If project. the into bring partnersyou the for and rent you stuff the for story, own your wants me to, I can explain to them the advantages and disadvantages of this system. This is a clings with together That what keep hands to doing. very your on are way what you interesting you sign just a mentioned contract, – which to face To not it : your give away moral rights. Let’s story of your is the death the right of rewriting, away gives be an Does mean you’ll that (Everybody laughs.) Yes, and Yes, as I’ve said, I’ve worked mainly in television impression this (the infringement of moral rights) happens far more in film than intelevision – writing if even you’re an episode on a series created by someone else, comparatively rare it’s in film. this happens far more feeling I get the replaced. off and just get thrown you that I’m sorry to plunge in, but I think you got a point there :most confident in producer, terms Who “unconfident ofyour producer”. is story the ter-producer easily is which is a very company,” a up interesting build one “Let’s director, the told I idea, our of discussions first the After since Now, this time, I have five produce the let’s film“And done ourselves.” under German law, a short with big the to beginning up movie movies, different single-purposefive for companies thing gether scarier the in be to has which it, about conversation a have You Mercedes. a driving somebody have just Come had. ever the best car I’ve It’s car. this Mercedes bought I’ve “Yes, script. So someone says, really, that think I it. about conversation whole a have to have you And Mercedes.” my in ride a for is startingthat distort to writing a non- from You’re David Kavanagh Frédéric Young Frédéric Fred Breinersdorfer Fred Participant Fred BreinersdorferFred Leni Ohngemach Leni Way Katharine

You Have the Right To… / Panel Discussion 58 Christina Kallas Neirotti Savina Participant tand the producer and not be the producer.doesn’tthe who be somebody script not of rewritethe producerand think the I tand but when I think of this, I think of somebody that can be very close to the writer but also unders doesn’t figure this where editor. havecountry story importance a from great a come I of figure the to is, editor story a what to discussion this thinking in attention was enough payingI we’renot whether – cannibalism the problems, rights moral these problems, rewrite these all to Listening perspective. different a from it see I so field training the from come I and Italian, I’m feed the demand it’s a market. Otherwise, we would write novels. But if you work in andTV movies it’s a market. to Youadmit that we’re not good and not always geniuses. We’ll be rewritten expenses.again It’s andgoing tomeanlots personalofagain, work, andit’s becausenotthat easy. So, sometimes wehave ducer is a huge help for the project projects,rewritesand needhappen.to Wehavestopto blaming others,theall because prothe some on good not arewriters theSometimeswe’reSometimesthing. good. forgetonenot we and network, bad producer,the the blame always werewrites, Forsomething. add me let But ther andourcollective negotiations. And that iseffectively thecaseinallsystems. producersand writers the copyright system, however in practice, we are dealing with the power relationship between on your film, then you do my film.” I think in theory that the “Okay,don’tI have moralthe law,in right haveI but practice.in it youif Because want my name say,can who you’reMogens, if right powerful very it’sa writer.But famous a you’renot if right don’t what’syou if work your like to film done the being from name your provision is in the contract as much as we can put it in. Usually what it is, is the right to withdraw visions, which are in the contract so we have a writer paternity in the contract. And the integrity the contract substitute for that and tothe substitute put in wethe contract is the credittry pro negotiate we then and them, waive we So waived. be to them allows lawrights. The the waive integrity”,you of and right the eternity.You have in right says,the have“Youit contract the in You spoke also about moral rights. We waive our moral rights. So, we have the moral rights, and solutionsthat someofyousolution, whichisalmostasgoodtheday-to-day guys have had. a be to me to seems Thatnegotiators. your of power the on depending – drafts four or three two, done you’ve after only but you, fire to right the have would producer the So effect. to in comes beforecut-off writewriter youcan the drafts of number wenegotiatethe is Whatwedo call it the “writer cut-off”,producers which means Our theright tothings. fire thecoverwriter. to words They don’tobscure sayfiring thewith writer. up coming of habit a have producers Our examples of couple a mentioned you And law about It’snot cal. ment imple to try you how of reality the this, to listening people copyright other the for guess I and me, for fascinating it’s But better.it’s that theory, in paper, on clear,it’s yes, And system. right the that say also would them, of lot a be to seems immediately said you better is “Which said, who Mogens was it think I yesterday, non the about bit little a say to wanted also I tic example ofhow it’s possiblefor writers to beproducers perfectly oftheirown work. I think, has the best drama in the world at the moment, is completely run by writers. It’s a fantas televi the for pitched who stations sion writers are these of all etc.), Alias (Lost, J.J.Abrams O'Kelly, David It doesn’t make sense. Not even for the publisher. How can a person who has not written the written not has who person a can How publisher. the for even Not sense. make doesn’t It asking without changes it publisher the publisher, the to it give you once and novel a write you Imagine year. cheaper and cheaper getting are films Besides, films. expensive so not to applies practice this it’sSometimes sometimes not. but medium sive “Okay, then go out and write a novel instead because film is expensive”, I mean, film is an expen is the fact that we should be asked about, to do talking the really rewriting areourselves wein the what firstus, place. Iftroubling you’reis What saying,think. I that, in agree all Weachieve. to striving areyou what understands who person a of case rare havethis to helps it course of and project, our helps it that and good is development that fact the about we’re talking think not I the development andnotcreating thesedramatic situations. who is not going to sign the script or something, but is going to work in the direction of helping editors – meaning that in some situations the writer could also ask to have somebody he trusts, training story with in writers the strengthento wellopportunity an be also could it so if wondering was courses,I works this If important. very is doctor, script or editor story a is but writer, but can maybe help. I mean the relationship between a writer and somebody that is not another droit d’auteur droit ; and who are now producers of the series. American television, which, forgivewhich, television, American series.are producersthe nowme,who of and ;

; and it’s not only us choosing so, rewrites will happen again and again. ; and then it gets published, and it has your name on it. That can’t be right. be can’t That it. on name your has it and published, gets it then and ; on a day-to-day basis – that at the end of the day it’s the same. It’s identi It’s same. the it’s day the of end the at that – basis day-to-day a on ; it’s about the power relationship between the writer and the producers. the and writer the between relationshippower the it’sabout ; ; and it depends on our negotiating skills, on our solidarity with one ano one with solidarity our on negotiatingskills, our on depends it and ; ri d’auteur droit

; and, trust me, being a producer is not easy. It’s going to mean Ad ges vr lwe i ti ro hr, n there and here, room this in lawyer every guess I And . fr ntne yu akd bu frn te writer. the firing about talked you instance, for ; droit d’auteurdroit ; and this argument applies less and less each less and less applies argument this and ; droit d’auteurdroit droit d’auteur countries. When we were speaking speaking were we countries.When ; droit d’auteur droit system is better than the copythe than better is system is obviously better than ; and, okay,and,it’s ; small a or copyright or ?” and ?” ------;

59 You Have the Right To… / Panel Discussion

- - - ?” ?” and you say

? Writing? means

?” So ?” you write in ? Also, the budget

; and I rewrite his third.

; and, like says, Fred you have ; and if you are a writer and you ; but when it’s not working, it’s terrible. A good

? Is the project going somewhere good

; it’s all in his novel. We are doing teamwork ?” Writing is ?” doing the work, creating the work – nothing else.

? This This should ? be a process of fruitful with conversation the creator of the work. Saying that There There are more people working on the film, soyou have The yourquestion “Who is, confrontations makes the indecisions otherand who ways. takes the responsibility coming coming to you with ideas and with say, for suggestions “I example, – with be want to have we the how they red That’s fucked. shirt” get and want will they go.” you “What to say, let’s so, about a minute in writer, a shoot discuss we a because shirt as red green the with I want one “No, something for you standing and to used get you don’t you If too. screenplays, our I have a question for Fred, actually. I thought when you were talking about the writer and the producerinone person, Ithought about marriage because awriter and producer relationship is like a marriage.When it’s working, it’s great marriage has some things going for it. One of them is reality check.When you are married to yourself, how do you check reality checks – because as a writer you put in explosions Asin a producer aeroplanesyou need to sit downand and considereverything things money-wise. you want. Christina, you mentioned a novelist going to a publisher. I think the difference is the novelist is the director, the producer and the screenwriter in one person. He makes the makes costumes, the he music want to protect your rights, then you have to meet these people to show self-consciousness. You have to stand there and fight. It’s like aYou marriage. argue and when you don’t argue you make suggestions, but you have to be really the That’s strong. point : we can talk about this for days and but stand days, if up we don’t for our rights we don’t stand up for our work. Even to have the experience where they send you off withmoney or whatever is halffine. Ifwe of neverexperience that and the stand upus for ourselves protect thenwe can won’t laws even rights, Even creatively. working be never will we but want we what do strong. be really need to – we I was once a director for a film, and you have to be a general on the set. A lot of people are duced. Because in Europe we don’t let everyone do what they do best. If would we writedid, andthe thewriters directors would direct. And they would get better, becausepractice they wouldtheir craft. I know there’s the rare exceptions wherecertain films.somebody But in Europe theis exception hasboth, turned into theat rule. least for I see the problem but I would like to ask a question.What does writing mean to write a text, not to have ideas. Our law says that only the So, work ais protected,director not withthe idea.whom you work will say hebut at comesthe end withthe writergood writes. Thenideas. he claimsThen credityou and discussyou“No say, way, because Itit is not forbidden I’m the towriter.” write scripts, even not for directors.When they do the work then, okay.We can share the credit. He does the first draft, then the second This is the basic idea of the law. I know the practice is different, but the truth of the matter is, What“ is writing they’ve been fired and asking what happened. But the real issue is the lack of solidaritydirectors. needWe to see with the whole picture. In cinema, very often, you cannot write a screen play as a writer without a director as your co-writer, because the director thinks they have to be the co-writer. The director will sit in the same room as thethe production directordesigner, and hewill discuss ofand havean opinion photography,and want this and want thatwith changed and will talk about the vision or whatever. But they will of notphotography askcredit for or thethe co-productionco-director designer credit. But when the same director discusswillscript,the theywillconsider themselvesTheywillcreditthewantwhatand co-writer. a it entails. And that has a second implication. The real problem is thatEurope, we because cannot we writewill spec not scriptsbe ablein to find adirector, director because the eventually.directors have It’stheir veryown stories. Anddifficult the directors will towant find to co-write a the script. So, this is a real big problem and it influences the quality of the screenplays pro book be the best one to make the changes, which may be needed, let alone decide what is nee is what decide alone let needed, be may which changes, the make to one best the be book ded sometimes just we’re not good. Well, then they should get another story by somebody good. ourWeconfidence accepted have This has to do need with asours. confidence well. They don’t being destroyed. It’s like a child being told all the time that a he’s bad pupil. At the end of the bad pupil. he will be a day Something else – I want to go back to what Kit Hopkinsbeing saidthe beforelack aboutof solidaritythe problembetween not writers, as I do think that’s writerssomething have that– andprofessional it’s clear from our discussion. There’s such a thing as calling a colleague if Fred BreinersdorferFred Participant Uwe Wilhelm Fred Breinersdorfer

You Have the Right To… / Panel Discussion 60 Participant Mogens RukovMogens Participant RukovMogens Christina Kallas cult part is writing and eachwriter isdifferent. iswriting editors.cult part Ihate story character. their of diffi the do.But can that’sI wantbecause thing things the general about something suggest the could I is what story, their of goal the is what ask to people remind to is been executed, and still the writing is just as bad as it was in the beginning. The way I do it today and some of these suggestions are made. And I realise that the total sum of the suggestions has My experience is that I can correct page three, page five teacher. professor. a screenwriter. I’m a I’m a not I’m fact, In thing. bad self- it’s a think and I confidence. pride your lose will you time of course due the in you, correcting and coming body some have to have always you that kind this of development a is there If also. pride, with do story, the to something has It into them. hate I story. a fingers in fingers their putting their people hate I gets. it put worse the people more the that is thinking my editor : story the About four times. or three rewrite a make to allowed are we which example, for contract, a into get can you that do. to that’s idea thing because good only it’sself-confident, That’s the think promise.very I a a self-confident her.I’mnot from learn can I thing only the is fact, proud. in and That, living.self-confident be to have we are that is her from people learn can I what how think I about anything understand don’t I that and own I everything counts mean you do living.”say, “What are I people how about anything understand daughter a havejungle.also realisewethata I also are in myand bettercare of rights take should realiseI I should thinkabout. the raise would This wrote. consciousness weof what a writer does and that of what a screenplay screenplayis. That the is definitely something we not is now right market the in published screenplays if being is What drafts. writer’s bad the as be but screen on not is what of would transcripts as it not published were so is, screenplay a what of awareness little There’s is. screenwriter a what of awareness There’sno proud. be to have we that yesterday said Mogens who writes, notjustthescreenwriter. It’s becoming more and more important where we sell the stuff. I think it’s the same for everyone nobody will buy it, so we again maybe come to again the question, as other then people said, But copies. “What’s thousand the market a some sell because you maybe published, and it cheap quite it’sget it, you liked people maybe book good really a write you If it. see could you wish I process. whole the film to them allowed seen novelist have the where I documentary instance. wonderful for a character, a like don’t they that saying and coming somebody also And maybe they only sell a hundred copies. It’snovelists. not good that they really can do are whatever they friends want. my There’sof some but novelist, a not I’mnovelist. who a be one to to, wants every allows market the that not It’s though. misunderstanding, one there’s think I with yourself infront ofthemirror orsomething way rational very a is money.This this say,more.”can Euros you 150,000 then costs “Okay,investand it to people convince can I Then CGI.”in this it say,make youlike In to example looks thattry “Okay,whatI’ll decision. Youexactly proveto have the makes who and risks the takes who person the are you that is difference this.”in money don’tweour invest well as Youconflicts the have expensive it’s too say,but thing. it’s nice They “Well, maybe this finance to have who guys the to eyes your in glint a with come producer,you the are you if So scenes. wonderful of couple a in that show to emphasis sentence fire.” of “Allthis out lot just a have script you’ll Okay, your you want, and that’s not the kind of people I want. Everything depends on which kind of person I can fix page nine,” but they forget the consequences on page five. That’s not the kind of people story and don’t really care because they pass by. the A lot into of reallythese people not pass by are and think, who people “Oh of yes, kind the not especially and interfering people many too right are Youright. were because youa could and have this function. wrong What I was meant was to I retain pride and that not having said you that be would answer short The suggestions, andtheyaremaking paidby theproducer for that. and story, somebody is not paid by youryou to help you. Is that a good thing of or what proud are Youstory. the develop to you helps who someone is there then well.But very doesn’tscript he the time producer, the know the all of you,and with it discusses representative the producer,or the then and out things leave they But mind. their in working it’sand story, their have writers all Not geniuses. are writers all not because necessary, are tion I think you don’t know what we do. I’m a story editor, Mogens. Story editors in industrial produc ! She was expensive, but she’s not expensive anymore. She says to me, “You don’tme,“You to says She anymore. expensive she’snot but expensive, was She ! ; but if you need to fight, during the night you can fight can you night the during fight, to need you if but ; ! ; and I can make some good suggestions ; but when I leave here I will be more be will I here leave I when but ; ; but with different people the different people with but ; ? He is not dictating, he is ?” and then she then and ?” ?” - - - - ;

61 You Have the Right To… / Panel Discussion

; - - - - - ! Now, about the screen the about Now, ! ? Ifit the lowers riskyes, of ; don’t start with dreams, start with ! All the people who are younger want to be the young guy… young the be to want younger are who people the All !

?” Because I only read half the book the half read only I Because ?” !” should look at things like a creditory statement by the Directors Guild that they are the primary they are Guild that the Directors things by should like look a at creditory statement story. the of authors the are we acknowledgedthat be to it for and audio-visualwork of authors The The other side is – I want to be directed. I want to see on the screen an interpretation of which I that wrote. If not, I have to be the only author of a film.Even then something willcome out that I never expected Sobefore. the better solution for me is that I want to have an interpreta tion, which maybe shocks me but gives a new glance, production a industrial the in new so not view It’s work. I whom of with is make that to have which I decision basic I the But have done. of television but in cinema this is the most important thing. Also the same decision you have Is he able to to understand make what with mean you the producer. is veryThis important. being rewritten. to need also we but self-confidence, need do we – right Mogensis and it, summarisedChristina and producers the people, other of minds the in writer the importanceof the of awareness raise the directors we work with. Because at the end of I the could go day, into a meeting full of self- we think I very So, a time. hard to have going I’m with me, but if nobody else agrees confidence System Value “theBeginning called play being an artisticI think endeavour. so it’s boring to read supposed screenplays. Really. I’m make a film. to is there screenplay The so boring. a lot but I think it’s read to Concerning the people we work with, in terms of script-editing, I always say the writer has to make a basic, artistic decision with whom he works. For directors. Three instance individual persons. you And you have have the three same wonderfuldecision with the general and his love story in Majorca. I think I could do a film with thesevery gifted directors, not all ofbut them each of them. And the result would be three quite different ful, films.because That that is shows reallythe wonder work. broadness I whom of with decision creativity. the What make to surely have will I So, work. not never will work It film. is one just make that together we four directed. be to has which film, a writingam for I because script, my directionof basic the is That Because you are as old as the general the as old as are you Because right, You’re of course. Because you don’t want me to think as you do. But I example think when it’s a talking good about rights. Yes, yes, yes. They will nothing no have we always solidarity, no have win We over around. running daughters expensive these us, all have because they but if we fight themwe should do it onour own ground. We we stand. So, shouldevery script should fighttake three months, them at the is And Two most. frombetter. you know, where what we world. the should in subject smallest learn the take is to on, so how and PhD to their do to write go they when a people, advise decent I script. I’m educating at university and there They came here twenty years ago and wanted to describe the being in developing countries and so Martianon and it took them three years. vision I took a book and wrote of the human And you know it’s why of System this “Theand this Value title).” (novel Beginning a thesis called school in this way and we succeeded. I think 70%, maybe 80%, it’s respect of they people because who system good are a working that’s better, that’s think I education. of kind this from come in involved problems the about knewnothing I here came I when fact,In us. respect do They us. now. understand it better I this. But if we are having all these problems then we should also tryourselves. We should to decide to make make our stories, which work are easier easy. I’ve for met screenwriters who said, writing “I’m a script. It has taken me If one the it year” best has thing taken I can “skip it.” say is, one year, it’s stupid. A screenplay should take three months. Another thing. You have to start with a good story with three or four persons. Make it easy immedia would I Scotland, in lady old storythe the of told you When veryconcrete. something it “Drop say, tely (Everybody laughs.) it is. It depends on the kind of person I am, you are, the the helper, person talking you’re with, which kind of person they are. I think the that’s best kind of result I can get from here – being two things more. say would self-confident.selfish and I One thing is the producers. I am from a country where, our experience, because I we have developed producers together would with directors and say, screenwri it’s difficult to give you ters, sound engineers and so on. So, 70% of our industry is developed from the same school, the school where I come from. And they have a mutual That helps. respect. It helps very much. the for thing main the is That also. producers the – dramaturgy and narrative taught all are They the made We vital. storyis the place, our everybodyin For story. the and money the – producers Participant Fred Breinersdorfer Fred Mogens Rukov Participant

You Have the Right To… / Panel Discussion 62 Kit Hopkins Leni Ohngemach Razvan Radulescu Christina Kallas Participant that was mentioned is the differences between cinema and TV. But why is it that in television in that it is why But TV. and cinema between differences the is mentioned was that thing Another difference. big That’sa work. they whom with not work, they whom for choose whom we work. For me it seems that we should stress the fact that most screenwriters in Europe Just to summarise a little bit what we’ve been saying. One thing is what Fred said, to choose with teams should bepossibleandthat protecting your rightsispossible. working think I right. that’s think don’t I rights. our protect can we where way only the That’s the Sixties, that we have to do all that ourselves, that we have to be writer, director and producer. So, it’s an evil world out there, and basically what I get out of this discussion is that we are back in in thedevelopment with theproducer. Somehow it’s thedevelopment system that sucks. you’ve been given a fair go, because the broadcasters come in and turn over the decisions made that satisfaction of feeling no is certainly contracts.there our but You’verewrites two the done in securehoweverwethererewrites many be tocontinue will frustration the about, talking are to talking been have should you broadcaster the It’s along. all person wrong the with talking been have you realise you project. you’reThen the off sometimes and out inside and development down upside turned the is producer the where with doing been situation have you different completely a in you’re sudden, a of all then, and channel the TV representativeof that’sthe and up, called get you where time the until up cers broadcasters face they when happens what is producers then they turn out not to be kosher. One of the things that I think reveals the non-kosher of part that those people really are gentlemen. They’re a dying breed or you think that they’re okay and gentlemen’syouwerea like about sayingbit little a agreement is which people, good are think and like you that people finding of idea this is thing other The eventually,projects butIdon’t any know way outofthat. the damages perhaps and pleasant less experience the makes which project, to project from jumping and I’mdoing what doing usually aretime. They of period long very a for project one atthattime.on thatare So, writing, areworking working tothey be know not for I people most three things going. Otherwise, you’re going to have these big air spaces, so that you’re not going one will be at an exposé stage and another one will be in its fourth draft. You have to have these he’swhether out togoing really commit totalk will tohe thenbroadcaster– a not or it thatand figure to weeks six takes producer the and in treatment levels.different one three hand at You wayweworknow. For alwaysI me have tohave time three same different the at going projects a script. Just to be able to have the time to do that doesn’t seem to me to be very realistic for the downforwritetosit threeand able months tobe idea the Thereis One things,aretwothough. we have to to learn say no. something. from away walk Perhaps just to sometimes means also Well,confidence self maybe ofwhat we do.importance ahead.”go day,the the of of So,end the atawareness raiseto we need industry throughout the won’t project the and money any you givewon’t we or him, from rights those all back take to producer but now the broadcaster needs more money and so he says to the producer, “You need in a project adaptation and very self-confidently negotiated a very good deal for myself with the don’t have that power. The directors have it as do the producers. So, that needs to change. I was we have a tax-exempt status that directors don’t have. But when we go to the bartering table we We have a funny situation in Ireland, because we are considered the creators of the work in that for control is quite big. The point is I have some needs, because we are talking about moral about talking are we because needs, need some have my I So is problem. point a The That’sbig. country. quite the is control of for president the being like feel I that is fact The Ithink, about thescript, “No director the meaning film, his it’s “Why say is, they question when feel my you direct.”do So, how should And you think I screenwriter. great a such you’re “Oh, had a common experience over the last few days, and I thatknow you’ve been told many times, with do to has conversations we’ve Razvan, directing. of further task higher towardsthe step a as considered our is Screenwritingpride. for mind in keep definitely will I point one the But else andcanwe findwhat itis something there is – or offices home our of cosiness the prefer we glamour,while of kind that glamorous so is cinema because it Is least,. at yetoverEurope, not all possibility,that not has interestingtelevisionwhy It’sreallyaround. way other the not director the chooses writers.writer Thethe just producers, watch. Youin But can’tcinema. tothe don’tapplies or TV,directorsthey same the the say know it’sdifferent writersfor ? In most countries the audience knows the writers of the TV shows the writersof countriesthe most audience the they knows In ? TV ? It has Cannes and Berlin – and directors and producers care more formore careproducers and directors and – Berlin and Cannes has It ? ! It’s hisfilmandit’s your film”. Mostdefinitely. ? ! So, I think a lot of these things that we that things these of lot a think I So, ! ; and I’ve had great times with produ with times great had I’ve and ; ; but that is on the presumptionthe on is that but ; ? When I hear you talk you hear I When ? ?” -

63 You Have the Right To… / Panel Discussion

- - , which is ? European European Film Academy ? I’m a writer. ? I’m ; but still doing it in a friendly way, which the director can ? More like conditions. regressive If the movie is not fine, then I prefer notto be ; and Cristi developed the script. ; and Cristi developed Just two sentences. When we talk about the presence of presence writers, in we have the to media talk and about in our the industry. Consider presided the by Wim Wenders who told us yesterday that writers need to take their rightful place. Last year my film,well the film that wroteI and wasco-produced, nominated for the European place shitty this to go to talent other the all with bus the entryto refused was I And Awards. Film where they gave us the These awards. organisations, the festivals and the media have no idea is part team. the writer that of the creative I know somebody in this room who is collecting such stories. I will introduce you to him over coffee, which is expecting us, ladies andlively gentlemen. conversation. Thank you allfor this interesting and together on the script. together film a it’s say they still credit, screenwriting sole your is which Lazarescu”, Mr. of “TheDeath in But Cristi Puiu. by exchan we because us, of both by is script The too. say, I what is This Puiu. Cristi by film a is it But ged ideas saying you’re what you direct is that it, film if So it can only be your be friendly, be because friendly, known we’ve each other for a long time. And then we think about writing Because I know that I can humanly it doesn’t. and if it it and doesn’t, works, if it works, together, chances logical more has project common this Having them. artisticallyrewrite and that rewrite no need then I have which happens, the rights, from come if no problems work.to So therefore direc of variety a is there because Lazaresc”, “TheMr. of Death direct to need no have I direct. to director the [for] substitute to can I want – so how tors I wanted to say one small thing about crediting. I completely agree with Fred that about the it’s one fact thing exchanging ideas and another to write them down. discussion But with the often director about you ideas have for the a script, and you will write them down and the director will “I say, would like to I sign know them.” this is happening and therefore, from the beginning, I want a director to write. I want the director to things. Do violence. not to Contribute write. Really only whatever. exchange scene, one pages, ten ideas write to also but with me he case, this in think I good. was it think I and Blue”, be will “ThePaper Raduin to happened This worked we because fair Itis share. his but complete Not work. his for credit deserves authorship rights. rights. I care about moral rights in terms of being acknowledged, of having, at least, a decent share of authorship when credited for a film.This always happened, andbut I’m very I think glad that foris because it, there were no contracts. Because what can you put as a in the contract condition This credited. is what we can do, but you cannot be sure in the contract that the movie will be good. So, therefore, as contracts are indifferent interms of quality of movies, I preferto make things better by controlling a bit him with fighting not and director the with relationship friendly a having by mean I understand. to them of some with manage I somehow But friends. be to order in him drinkingwith then and Christina Kallas Fred Breinersdorfer Fred Christina Kallas Razvan Radulescu Razvan Christina Kallas

You Have the Right To… / Panel Discussion 64 Uwe Wilhelm Uwe Kallas Christina

pressing need for people who are human rank service machines like me.like machines pressingforneed are who rankpeople service human Webusiness our make there’sprogrammes, a TV of tons have we Since movies. forTV and series for TV with worked I member. IalsothinkI’m ascreenwriter, thank you. a also I’m all, After members. six than more has Germany of Guild Writers the that know Yes,I It used to be seven, but one has just become a successful cab driver – he had to pay a mortgage. In Germany there are no screenwriters. Well, no, that’s unfair. There are some – there it in areyour eyes you don’tfive get the joke with orthe human rankmachine. service six. Well, let me explain. all the experience and wisdom. And became again a human rank service machine. one. Well, I can that see try never Listen, for God mytoroots,thank back and get to decided world,I small aroundour jumped I writers.So, after neurotic with and actors retarded with directors, maniac ego with producer.work a to become had to I decided though, money,I meant,That of so out always was film next my producerof the because again frustratedwas I lateryear one then But finally, you have the power to torture and tantalize the writer. Christina, are you still mad at me it’syou Because,tellparadise. life.I your in once just for director a Be should. you it, tried never right unloved, be to want don’t we and – actors and director loveaffection werethe and regardall given the no but forto get my I work, did only me.toNot happened what imagine and screen the big for writing started I so again, and again story murder same eat. the was writing I later, always year to and one bored then But nothing 350scl. Benz Mercedes had a and flat but a bought I successful and TV, for writing was I because again, frustrated daughter my Youremember was I later year One plays. theatre own my writing started I so plays, theatre modern of dramaturgy neo-erotic the ago years twenty was actor.That theatre a as started I later. years and months back machines service are rank what know You machine. service rank human a I’m and Wilhelm Uwe Germany in screenwriter a being of parameters macroeconomic and political social, the about talk to me asked Christina Okay, please ago. it, Youcorrect to have years some had says, I Mrs.”it “Uwe change Wilhelm, programme gender the of That’sbecause the in me told Kit screenwriter. the Uwe Wilhelm, of description character a you give to try me like all screenwriter’s is boring lives are so very boring, I very to decided tell you a story. First, let It’s a to privilege be able to talk about myself. Finally. Are you really in interested my life (laughter) Mind”.Dangerous. Not Desperate. Desperate Screenwriter’s a of be “Confessions must It right. Mind”. not That’s Dangerous ter’s write is “Why intervention my of title the So… better. feels Well, itthistime, justgiveI decidedto try meaminute naked.”all they’re imagined and so audience And the at me, looked told have“You and should horror my experienced who colleague old an was there and horrible was it and ago, years two standing in front of you, my colleagues, makes me nervous. I think my first speech ever was only Before I start, I must say I’m a little nervous. Because we talk about self-confidence anddon’t pride and I because Europe, in writing know what about it means to write youin Europe. I can to just tell you some things talk about writing in Germany.can’t I all of First everybody. you Thank to wants He screen. small the and big Europe. in writing it’s about guess I something. the confess for both screenwriters, experienced most Germany’s and of one active Wilhelm, Uwe speaker, next the you to introduce to pleasure my It’s Lecturer : of a Screenwriter’s dangerous mind

? They are the machines you use to copy your screenplay to send to producers and get it it get and producers to send to screenplay your copy to use you machines the are They ? Uwe Wilhelm Why Write?Confessions (‘Bandits ? She was three at the time. Started being expensive. So I started started I So expensive. being Started time. the at three was She ? Se cond Thematic Cycle / The (Part II) Rights

; and I said I’ll do it, because that’s an easy job. My name is is name My job. easy an that’s because it, do I’ll said I and ; ! Now I’m Mr. Now a ! ” , “ ? I was shocked to find out that nobody paid attention paid nobody that out find to shocked was I ? Sass ” , “

! (stares at theaudience for awholeminute.) ! A girlcalled Rosemary ; and one year later I was frustrated by frustrated was I later year one and ; ? So I decided to direct. If you’ve If direct. to decided I So ?

? Confessions of a Screenwri a of Confessions ? ” )

? ? My life ? - -

65

- - - ? ? Because Because ?

? Are you serious you Are ?

? What What ? would you do in my place ? Easy money.” Then Then they tell me what ? Easy money.”

; and our poor young and foolishly kind girl girl kind foolishly and young poor our and ;

? From the government, from subsidies, from from subsidies, from government, the From ?

? Not by creating singular artworks, of course ? To make money, absolutely right. And how does how And right. absolutely money, make To ? ? Are you asking me why these films are made are films these why me asking you Are ?

; and five or six rewrites later, you’re done. Like in your countries, German is TV German countries, your in Like done. you’re later, rewrites six or five and ; ? That ? That I wrote it three years The ago. only differencewas the name of the girl. ; romantic comedies, murder stories, social dramas and daily soaps. social dramas stories, murder comedies, ; romantic democratic democratic country see, You there in was the no whole single world.” movie, which deals with was no There film about people corruption losingor their political scandal or today. films, children’s more yet were hard, verylooking after found, we All integrity. their losing or jobs films and brain-deadNazi/Stasi comedies. who’s had a who’s Nazi in correct. their Or family. they nowadays, had politically a definitely Stasi in movie : of sort the this family in or risk no know someone There’s family. their in Stasi a had who’s Last but not least the there’s filmchildren’s mafia. I don’t want to talk badly about that mafia much money. spending too from away daughter keep my because they help me to I myself have worked for all of the mafias (asyou know, I changedmy gender so Icould even make arthouse films) and I also made some money. Until lastweek when Iwas fired. Which is a cab driver. become I decided to why But, honestly : we’ve been talking the last few days about how we write screenplays and how can we keep our rights do and is so talk on, about but One what what write. we week didn’t we ago a colleague of mine from Albania showed up. It was his first visitto and Germany, hewan ted to know all about German films. So Itook himto one of these multiplex movie prisons, and we watched forty filmsYou in know two what“Oh,nights. he Germany said, must be the most The The arthouse success cinema any – well, the you that’s know, without kind of film movie a that will make not be to watched by an have you mafia this to belong To 20,000. than bigger audience What office. box the at they money the on depend They office. box the at make they money the on depend not do they where from And process. production the during get would the be so-called making state money aid. Itby the producing Golf is V.W. and like not by it. make to paid were they unless it, making stop probably would they Well, it. selling in verysuccessful is which movie, of the kind That’s mafia. comedy chance mainstream the to the now Okay, get never will you mafia, this of part once are you If brain-dead. it’s because – Germany mafia. film arthouse the to belong never certainly most will you And else. anything write to the Third, Nazi filmsin or, their most recentedition,the very so-called Stasi– thefilms.Basically guilt same of sense German common the with deal they And past. time a of someone are knows stories The or family thing. his in Nazi a had has everybody Germany in know, You recipe. successful ryline department had changed, of course, so what did Xeroxing. I do just along get don’t you usually honest, be To it. Xeroxed I and screenplay old my took I much easier. it’s now Tippex, used Back then we ages and settings. change things, to have You good really are There films. good really are TVthere German In moment. a for serious, be let’s But screenplays, thrilling stories. These are accidents. It’s not because someone wants them, Breinersdorfer who is because like maybe is a there Fred a pain screenwriter in the ass when he but argues about his stories and who manages to sell the lesbian from Iran. Or whatever it takes to originality. achieve A different thing isto writefor German cinema. In Germany there is a cinema mafia no,– what am I in saying, Germany there are four cinema mafias. Ifwe do somethingweto have do it per mainstream the is one second The arthouse the is one first The mafia. cinema know. you as fect, comedy mafia.The third one is the Nazi films mafia and the fourth one it. That’s mafia. is the films children’s Fifteen years ago I worked for daily soaps. I wrote the first twenty episodes of the mindblowingly mindblowingly the of episodes twenty first the wrote I soaps. daily for worked I ago years Fifteen – “Marienhof” sure I’m seen you’ve these Three successful years twenty later episodes. we were in the middle of a development meeting about episode 960. The production company wants Why not me to “Yes. write some more and episodes I say, kind a of girl example, young they falls For stories in need. with love a who is journalist married to his pain-in-the-ass wife who suddenly suffersfrom cancer and terrorizes everybody around gets she so wife, cancerous the help can who doctor a meets girl young the Then Mid-point. her. husband her with back is she what, guess And, cured. from lesbian a is reality in who doctor, a with love in falls and fails course of But suicide. commits guess. I extreme, Too that. buy to them get didn’t I joke, a that’s Ok, Ahmadinejad. hates who Iran But except for the lesbian, it have was to a admit You beautiful that. And story. you know what was so beautiful Luckily no-one remembered that I had already written that story and the producer in the sto working TV for because easy it’s work.The bosses of GermanTV stations such and as RTLSAT1 know exactly what They they communicate want. their needs, and you write And a screenplay. when they change their it. minds And rewrite when you they change their minds again, do you same the of more industry an of goal the is what and industry an the industry make money, and so much money not. That’s too expensive, too much work and too much risk. Industry makes by selling lots a of the same lot product. So, writing of for GermanTV money means that you write lots of the same

Why Write ? / Lecture / Uwe Wilhelm 66 can, because there is so much money wasted in this business. There’s so much corruption in this hopelessness and frustration tgage.wherever areoffered.subsidies they Wetaking on go in can as we much as take should We drowning from you do to need you what you prevent tell to I am who – to and sermon, this stop To out andfound humangreed. It’s adamngoodstory. went Saul innocence. their lost they when paradise, fucking their left they when didn’tdie Eve subsidies.and Adam home.leaves he when without dies nobody that me die tells experience My not. will Maybe Maybe. industry film European the that argue people of lot A inspiration. and personality artistic our of gravediggers the are Subsidies audience. the to closer us bring doesn’t it times most And storytelling. different of ways tomovies, making to doesn’tus lead It art. our of substance the from away us carries subsidies on dependence our that I’mconfident The easiestfilmIever made. myself. film Nazi a written have I ago years four about, I’m talking what know I films. Nazi were films… the of most children’sbut comedies, movies,were rest the and movies American were in order to bring vitality back to the German cinema. 2005 In 75% of movies in German cinemas films our finance and produce to ways other some find to have we Maybe money. public with stories these produce to able be not would we stories these wrote we if corrupted, get who or world, stories that deal with people who lose their integrity, stories about people who get killed stories wrote we if – business thathave life,daily toour with do threatthe storiesthatwith deal thatIslamic comesthe of out our with money make to forced were we if that sure quite I’m there isnomoney, whichismore gutlessthanpublicmoney. subsidies. enough Or whether it’s the right people who get get the subsidies. What we didn’t we talk about is the that fact whether and subsidies discussing were We process. development and production the by affected are stories how about talking been have we days two last The So, who’s to blame for theNazis. And theStasi. God industry. Thank film German the for thing great a and safe are films Nazi Nazis. the about to get resigned and you think, “What the heck editor then they say, “Well, the dramaturgy didn’t Did you work. think about collaborating with a story you ask yourself, “Why is answer the and “No.”answer an get you later months so and explanation without times Most three and subsidies film give who committees these of one to it send you and that about play that my them gave I “No,won’thavesaid,I myfriends word so word. and industrial My tell.” and refused Whydon’the about wehavemovie a And were. people these who tell to answer to him forced or him asked court Theexactly. knows Nobody himself. for or party his for friends trial the say, let’s about, story a write to Chancellor Helmut haveKohl. He took some money you that you tells which voice inner that hear you and screenwriter committed a are you example, for say,Let’s truth. dismissed and painful the friend Albanian my told I And spend. to money them gives that government are the to and amenable money public with deal who people by censorship the about talking I’m Brussels. or Korea… censorship. North Iran or It’s like despotic countries censorshipyou in that the find not censorship with do to something has it that mind to come Well,does it ries, stories butnotfor thrilling Germany. mafia cigarette You“Thank the for Smoking’, forworks who guy the about film that Or, weapons.“Nixon” or with deal who people about Cage Nicholas War”with of like “Lord poisoned Or getting people about true is which story, good a tellsBrockovich,” which “Erin lar Whydon’t we tell Germanystoriesin like “Syriana – butisthisabadthing completely change will cinema German of world the maybe then But intelligence.challenging and feelings deep by affected be will which audience an on stories. second Thecracking tell to ideal,an Maybeis this we inspirationthink our I on but first twothings : on depend only should aid state from independent government, of kind any independent. Independent in the true meaning of the word. Independent from the influence of really is which industry, film a fight for to need we means it stories these tell to Well,wantwe if me and you like being ruledby corrupt politicians. people about jobs, losing people about lives, human of isolation the about you have – business cartoons Danish the about film a you want to if tell stories But about does.the real else world, let’s everybody saywhat about do the didn’tDanish cartoons – he I’ve if never seen idiot an himself call should one that business ? Isn’t that interesting that Isn’t ? ?”say,they Or pancake.”“It’s a like flat start fivetimesyou or you rewrite after four so And ? The government ?” and you call the woman or the man in charge and you ask him why and ? Will you really misstheNazifilms ? He ruled us for two hundred years so imagine you write a screen a write you imagine so years hundred two for us ruled He ? ? The producers who have no balls ? You, perhaps, need to pay your rent or your mor your or rent your pay to ? You,need perhaps, ?” And that’s the point when you start writing films ; took two million Euros from people, from indus ”? Have”? you seen “Syriana” ; independent from government control. government from independent ; ? And also about the ending of families, of ending the about also And ? ? Thank much. you very ; a very delicate form of formdelicate very a ; ? Or the screenwriters

? Or the very popu very the Or ? ? Good sto Good ? ? ? - - - - -

67 Why Write ? / Lecture / Uwe Wilhelm

- - - - ; ; and if we

; those who don’t don’t who ; those

?” The government government The ?”

? There’s no chance. There’s ? ; ; but seems to nobody to want tell a story about

; it grabs you. There are different ways to ways bring the; are There different story it you. grabs

? Then you are back with the arthouse mafia arthouse the with back are you Then ?

; and I don’t blame anybody who takes the subsidies. How can ; maybe it’s going to be much easier to sell a small film. This development is also in the the in also is development This film. small a sell to easier much be to going it’s maybe ;

? It’s a way to make movies, but I just thought about it as we were standing in this I do that multiplex cinema, and there was no film about ourcommon reality. And this system ifof subsidies who are you to fightyou against the political influence are a part of lot of small movies. I think film is about culture and we should have this, too. too. this, have should we and culture about is film think I movies. small of lot my Probably too. it feel I and pain, your feel can really I much. very me touched said you what Uwe, I’ve and will best never story, out totally be Either screenplays I’m of produced. touch with important what people want, very a was thought I which story political one had I right. you’re maybe or him. knows everybody think I Dutschke, Rudi about It’s now. years six for produced it get to tried know is I bad, And the don’t maybe screenplay Rudi who Dutschke, was one probably of the too. most in important figures me, political the to Sixties and happened it as saying you’re what feel can I but know, don’t I country. our in Seventies And to make it clear, I don’t blame anybody. I don’t blame the government, I don’t blame the people who give out subsidies was a young boy and about his brother who died and about his mother who was very religious. who very was his religious. mother and who died about his brother and about boy a was young in get this suddenly story involved You audience. the to I think it’s very simple to blame the funding agencies. I be don’t really to need like we but money things, I the think government know lots of also people who decision are I part of in this making decision works. pro that those concept a has it if film Nazi a make to bad not it’s think I cess. small very allows that something be to going is market The changing. is market the how of aware maybe know how this is to going develop, don’t We example. for say on the internet audiences, demand on I’ve because this possibility very we that have happy I’m a big change. so there’s industry, music cinema no had they because watching people hundred five maybe had just that films of lots done a than worse are seen, of have people millions which I lots of that think the movies, capabilities. Well, I don’t know. I wouldn’t write about the Danish cartoons because it’s something the Danish Danish the something it’s because cartoons Danish the about write wouldn’t I know. don’t I Well, cer a at producer, the that said somebody and yesterday, it about talked We about. write should othe film, the do to needs he because money the needs he process, production the of point tain this where point the to story the develop to him for chance little is there So bankrupt. is he rwise filmcan Ifbewe to wanted successful. tell a story say –about these Danishcartoons –let’s more and possibly people, that way a in it tell to forced be would we it, finance to way easy no had because we this do to forced be would We film. this see to like would million, two maybe 20,000, than back money our get we do “Hey, says, which us, behind money have would we need get to the get doesn’t money its and You money if back. you lose it then no you problem, this filmand itwatch thetells storyWe of “Nixon.” like a say we have story, Let’s get new money. a man who who was was an desperate, really asshole and who and fucked the it’s government, he when Nixon Mr. of story the It tells success. a was it but success, small a It was story. thrilling a didn’t didn’t have state funding then nothing would get made in that language, because it’s not big enough to attract the market. So, good perhaps what’s for one territory might not be good for territory. every countries small Even forever. there been not has film for money state as point interesting an still is It that’s something It’s television. before was this course, Of industry. film flourishing a have to used the at have we that industries heavily-subsidised these means, all it what considering worth really Europe. in moment in get people than 20,000 more the would about cartoons Danish movie that your you sure Are it see to like would who Germany audience. big the for films make Thank you, Uwe. “There is nothing more gutless than state money.” I am sure there’s a lot of people people of lot a there’s sure am I money.” state than gutless more nothing is “There Uwe. you, Thank money state more demanding We’re statement. that against argue to like would who screenwri room to this in goes which money, state of percentage small very very, a there’s as screenwriters, for altogether money state of abolition the for strive just should we whether asking are you And ters. position. better a in us put would that whether and In which is a we have by Ireland spoken a of language, people very small percentage Uwe Wilhelm Uwe Participant Participant Uwe Wilhelm Uwe Participant Christina Kallas Christina Participant Christina Kallas Christina

Why Write ? / Lecture / Uwe Wilhelm 68 Participant Christina Kallas Thomas McLaughlin Christina Kallas Participant actually mean are people who come to see films. And people know their common reality common their know people And films. see to come who they people what are when markets mean aboutactually talk people when upset also I’m that. about upset really I’m audiencean wantsaid, here“Don’twe someone believe cannot I Guild.Irish the fromI’m Hi, phone desperately before lunch. audiencebigger a weget audience in mind while writing do should producers that something it is process,or creative the for good it is mean I write. we when audience an of think to good it is – yet it cuss dis to chance haven’ta we had and really – point serious very a is think I which thing, Another nitely discuss. Where shouldthesesubsidies, development moneyandsoon, goto quickly as possible into production. So, there is a point there, and it’s something we should defi as film the bring producing to is focus and of effort their So out money. aid state the money of out means make film. This the they that you tell will ones sincere most the producers, with money development of recipients right the producers Are up. it brought who Kavanagh David was it think I and this, no about yesterdayor discussion yes a was money : There State discussions. further our of sake the for bit a summarise just me Let are just the market, it’s not ordered by the government. Maybe it’s exactly the other way around. want. you I what don’t for know why you exactly didn’t are get through subsidies with political stories And in the market. F.F.R.the just or it’swhatever. government, the The mafias of politics the it’s not I think So, success. some had which films, other with and films Nazi the with same the also It’s these. of more lots made they and comedy successful one was There market. the of out came mentioned you mafias these because around,way it’sother think the completelyI should write itasacomedy oraStasi orachildren’s film. you So, . works really which , shape a into story the hit must youstate, the of heart the in knife a drives which story, a make you countries.When ex-socialist small, our from experience some the you giving hard me hard,hit me “I’m hit like, but money masochistic be to money the out gives who official state the expect mafia.arthouse the films, stateis whichneeds money mafia really too. only the think I You can’t comedy will still course,be made. them. And the childrenOf they will keep on making and Nazi brain-dead the film, the for funding the stops state the if even that is problem basic the think I rights overseas. I don’t know where the money came from, maybe it was the Russian mafia. the money to develop the story. I tell you he would produce the film without subsidies by selling and he said, “Well, you’re a writer. You don’t know them.” And four weeks later he areshowed upso with many people who are willing to finance thiskind of movie.” I said,do“Why you don’tmean Iknow them and he said, “Okay, I’ll give you the money.” I said, “Don’t you need a subsidy “Yes.” documentaries. motorcycledriver.a said,about expensivewas he need you So do It money much “How very documentaries, said, making I story.And this writing interested inwas I whether is me asked story,and a me told he whoAnd Hamburg from guy a met I offinancing another type for movies. weBut have to movies,fight of type Germany, in another especially for and havewe fightto for power. the has money, the has whoever And it. that’s story, the tells money the has Whoever in theafternoon. Well, thank you, Thomas. And before it gets any more heated, we’re off to lunch. We will continue films or horror films or gangster films. I don’t know what kind of films you’re all trying to write… of their common reality they don’t have to be told. And maybe they come to see brain-dead comedies, because they’re sick

?” Then I told him about the subsidies and he said, “No, no. We don’t need that. There

; and they want to be entertained. Nobody has mentioned science-fiction ? Now,? no,oh – us there’slet microwantsthe colleaguewho one still ? What is the audience for the stories we are writing, and how do !” This is unrealistic. So I think the future Germans must get must !” Germans future the think I unrealistic.So is This ; and what does it mean if a writer has the has writer a if mean it does what and ; ? If you have this conversation this have you If ?

?” and he said, “What

?”him,told I ?

?” ?” ?

- - - ;

69 Why Write ? / Lecture / Uwe Wilhelm

; -

; he’s a ; he’s

? How can we ; ; and not only that

and ? ? ? The collecting societies, possible agh and cons the pros are What ? ; I’m going to ask you all, including the panel, to take your clothes off. off. to clothes take your the panel, to going including ask ; all, you I’m

? Way, Antoine Lacomblez, Marc Linssen Marc Antoine Lacomblez, Way, ? David Kavan ? What is the principle of equitable and fair remuneration and ications of Screenwriting in Europe in Screenwriting of ications European European writers and European subsidies. What percentage of the Minimum term deals and basic of rates pay : should there be European ; ; and I’ve agreed to allow him fiveminutes when we come to talk about those issues.

How How can collecting societies be made more transparent / Moderator : / Moderator : a screenplay for percentage is the right budget What ? also that there are residual payments of some kind, and I guess private copy, also. So, can I ask you you ask I can So, also. copy, private guess I and kind, some of payments residual are there that also bank your If youhave as possible. detail and confidential private to start as with personal, much you… with statement helpful to us in our discussion. discussion. our in us to helpful There are another two small things that I have to do as we go A along. number of people have licensing and Commons Creative about talking provided) not (name Pano hear can if they asked systems it. about all I you tell should hope Pano that you’re not interesting going it’s think to I get forever. here caught be we’ll in are you if an because animated discussion about Creative Commons here be will Frédéric hope I this. into formality little a time first the for introduce to going also you like I’m I’d that statement formal a propose to going it. actually on I’m it. views with your me help get to and afternoon later this that circulate to try will I so copy private of subject the on consider to bit a little please, Antoine, to know from like I would striptease. the into if I straight So, jump can Antoine like writer a expect could you that money actual the about talking We’re detail. real the of is, There elements. I area there guess of filmFrance. to number in different make a from feature a I a you get which fee I the for you suppose get which rights. fee itself, the for suppose, writing those things – but we have of course not talked about the important, guilty secret that we don’t don’t we that secret guilty important, the about talked not of course – have we but things those our exposing session this of bit little a spend to like would I money. is which – about speak to like Euros. of number exact the meaning, the money, of question the on selves joined on I’m the panel by a which I nudists, of group would like volunteer to to you. introduce you book little that in says who writer a prolific Belgrade. from Koljevic Srdjan have we all of First to trying still I’m and directed, he one the was wrote he screenplay successful most the that have who is a prolific Way, Katharine I me, have Beside remark. by that chairperson suggesting the he’s out what work moment, the at also, She’s business. big very a is which television, British for writer France in films feature twenty written has Lacomblez Antoine Britain. Great of Guild Writers the of and has made his living for a long time as a And films. of writer in veryfeature contrast marked Endemol who for on works Linssen Marc this side we have to Antoine, guy who a employs writers- although he’s writer working himself, on soaps and drama. Finally, international an with but Paris, in S.A.C.D the for works who Loulergue, Géraldine by joined we’re be will she so societies collecting different between agreements negotiate to helping dimension, Hello. I work with the Irish Playwrights and Screenwriters Guild. In the little lecture we had before before had we lecture little the In Guild. Screenwriters and Playwrights Irish the with work I Hello. to going I’m afraid I’m all naked. you and imagined there stood Wilhelm Uwe lunch, for we went worse even do something days two last the spent have We ourselves. expose to really is section this in do to us want I What talking about those public and open things that we always talk about – stories and rights and What What are the financialconsequences of the forsystems different screenwriters an Koljevic, Katharine an Koljevic, Subsidies : producers : Societies : Srdj and and Content : Géraldine Loulergue Géraldine harmonization, D.R.M.. What does that mean does that What harmonization, D.R.M.. Online (collective societies, D.R.M., etc.) writers for its implications are what Speakers : the screenplay to budget should go Writers standards and rates Collecting make sure that everybody gets what he or she deserves Third thematic Cycle / The Money The / Cycle thematic Third Writers Show Me The Money Me The Show Impl Financial David Kavanagh

70 Antoine LacomblezAntoine KavanaghDavid LacomblezAntoine Antoine LacomblezAntoine KavanaghDavid LacomblezAntoine KavanaghDavid LacomblezAntoine KavanaghDavid LacomblezAntoine KavanaghDavid I’m pleased to see that, too that, see to pleased I’m writers would bepleasedto see50,000Euros. and the UK it’s 2-2.5%. 50,000 So Euros for us for writing a feature film would be okay. Irish Most Ireland in normally and 70% to the down be might it 15%, minus or 10% be might budget which costs, financing the it’s sometimes budget, total the it’s Sometimes budget. by mean you what depends it but budget the you of areUK offered 2.5% the and and 2% Ireland between In I really don’t know. I’ve justbeentold that. When you say 3%ofthebudget, isit3% ofthetotal budgetor… the film. That’s an average estimation. Ihave noidea,but I’ve been told that. the general budget of the film on the script and now we’re down to maybe 3% of the budget of to,used they yearsmaybetenago.average on of 6% or 5% like something Wepaid get to used I’m not the only one. I have friends who have the same problem. Everyone says they get less than the next one. Now you get paid a lot less, actually, than you used to – or what I used to get paid. for wait then and movie, one than more no movie, one write to able be to used I ago years ten that was say to wanted I Euros.What 10,000 like something – channels the through broadcast and movie the on production. I depends can get from the collecting societies – It it usually depends on how many that. movies are like something for or more get rights to merchandising contract or the rights in me, remake for it does agent my or discuss, usually can I or get can I get between 2%and2.5%,butit’syou also2%or2.5%ofzero soit’susually thesame. exactly where UK the in Ireland, in it have Weproblem. common very a is this think I that. seen never I’ve then but producer.movie, the of exploitation the the of accounts you give to obliged and legally me are between producers The nothing. is agreement which that, like an something or 0.1% It’s about usually money.you give They this seen never have I and Yes, itmeanthesameasproducer’sDoes netprofit Producer’s benefits, actually. the movies. The general idea is that usually when I sign a contract I get 0.1% benefits of the film. from get I what it, that’sabout S.A.C.D.And the with agreementshave they where countries in rights)whenthefeature filmisbroadcastedprimary to aS.A.C.Dchannelin Belgium,Canada or thousand sixty and fifty Euros between as a than minimum fee, moreand afterwards I get get the copyright. to I get the able author’s been rights (what we never call have I guarantee. mum mini a ensure they but percentage, a be to supposed it’s So rights. author’s by only made be guaranteed.fee We’re minimum to a havesupposed I usually sign, I that contracts the In Okay. rage. It’s what happensto mebecauseIchoose to beton thingsthat canexist. ave an It’snot production. into go that three of out two have I case mydon’t in I know.Maybe to gointo production production into go number,which the to compared development into go which projects, of number the of average an experience, your in there, Is I sharework. my timebetween livingmoneyandartistic that. than less lot a paid be would I written I’ve movies feature Many film. a write I time every Euros 50,000 getting not I’mmovies. mainstream for writing and nothing for writing between but no money. I would get some money if the movie is a success or is produced. I share my time contracts good get I projects those on time the write of most and And creative. morebusiness I’m where mainstream movies the from escape then and that on money living my make to movies ; the mainstream, commercial movies commercial mainstream, the ; ? ! Those movies where I get that kind of contract are big demand big are contract of kind that get I where movies Those ! ; and what I try to do, what I want to do, is try try is do, to want I what do, to try I what and ; ? Iguessnot. ? How many go into development but fail but development into go many How ? - -

71 Show Me the Money / Panel Discussion ! But besides the joke, ? ? ? ? For example “The Bear” which was written

? ? ? ? ? ; or is it the screenplay fee you’re talking about you’re fee screenplay ; or is it the ?

They They might be tricky, but directors are tricky, actors may be tricky and the game. That’s writers may be tricky. Yes, I have an agent. I have Yes, the reaction was what And The reaction is that you get accounts for the movies as benefits. If Iwanted to go into a for that, fight I mean legally they give us accounts and these seem to be have right, to so fight we’d against the accounts. Neither I nor my agent nor anybody else has the into time this or kind money of verification. to Somego of the times I have producers who are sincere and are not cheating. I’m not talking of fighting with producers. I like the producers for write I When produced. be not will movie the producer, a without that considered always I’ve enemy. an necessarily not is producer the think I so exist, to movies the want definitely I movies It never happened to me. I’m sorry. I’m It me. happened to never money got any never You that admissions 300,000 than more made movie the if said that contract a once had have I Well, I would get something like 10,000 Euros. I never saw the money from that percentage. All the the benefits. achieved never have apparently, written, I have movies them asked for ever if you A small question. I wonder You talk about the You fees you got for writing. Did you get something on which you got residuals, such as money on an issue in the theatres Sometimes. how intheatres, existed which written, have you of which a film, us an example give you can So, much money in total you earned, approximately by Gerard Brach. He got to write it alone, and he got 200,000 Euros. But with the admission in the he theatres made much more because of So, the with your residuals. canfilms, you give an example So, it’s 50 plus 50, so it’s 100 50 plus 50, so it’s it’s So, supposed get to 50,000 or 60,000, but I thing The only is get that I’m know what he gets. I don’t this once the film isshot. But many times I get 10,000 or 20,000Euros, if the movieraces admissions. gets so many and us the budgets tell you Can whether say to able be wouldn’t I Euros. million six to five say would I Approximately, really. can’t I plus the acting or whatever. budget it’s Those scripts you were talking about, is it 50,000 for you and 50,000 for the director, because the because director, the for 50,000 and you for 50,000 it is about, talking were you scripts Those co-writes director I’m signed right now where I’m supposed to get 60,000 Euros for a movie.This is going to be my work. Antoine Lacomblez Participant Antoine Lacomblez Participant Antoine Lacomblez Participant Antoine Lacomblez Participant Antoine Lacomblez Participant Antoine Lacomblez Christina Kallas Antoine Lacomblez Christina Kallas Antoine Lacomblez Christina Kallas Christina

Show Me the Money / Panel Discussion 72 Srdjan Koljevic David Kavanagh David KavanaghDavid Srdjan Koljevic Christina Kallas Srdjan Koljevic David Kavanagh rich, so I’m a stupid person to talk about money. industry really. But for writing one film a year I can survive, and that’s something. And I’ll never less. little be That’s a average the million or around one are Serbia in films budgetsand the allpercentage andthe to course,tied ofare, webecause budget the it’s connectedtoAnd Yes, sure. In Serbia we produce something like six or seven over a year. Luckily I have enough work. difficult, because you don’t get so many of them. small country like Serbia you don’t get the chance to write so much. So the low fees you’reare even morea young man, obviously else in Europe, so it’s fantastic. Congratulations for that. Which puts Antoinetickets in a boughtsituation. for Antoine,the cinema in France were bought for French films.theirown films Europe.in Not Indeed, thinktwo thatyearsor I one what in recently more happens the than of 50% anywhere thehighest number offeature films of any country in Europe and the biggest local audiences for particularmadeain country. AntoineSo thesituationinis writingof France, in whichstill makes issue of how many feature films you write. That, in itself, is a function ofOne howissue aboutmany being feature paid for films writing are feature films is how many contracts you sign and that is an aspects of it we were discussing this morning and also the money. pride of the profession. I think we can do something where it’s there, and it’sdon’t I connectedhaveproblem,a because–established I different myself mycountry.in Butwearetalking about the werediscussingthingwethisindividual notmorning. this andpride pride.questionourIt’s of a pointthat we were discussing before. But Ido believe that this question of money has to do with I’m starting my own production company now. So I’m a producer, director and writer.But eventually, That wasafter theseven feature films as a writer and one as a director, I came to the point where a relationship of mutual trust. practice you can never win in court. So, what I tend to do is work with producersthere’s that I alwaystrust. this It’s one missing. just Basically, it’s like this it’sand, so office count always 99.99 100,000 boxthereforbonus is a contractlegislationwith a sign you money.protecting Ifthe you but, in Iknow from other colleagues that this is not agood combination because, as Isay, you never see screenwriterthething.good Sometimesa fullyispaidI’m is offered shares percentages and but and everything so you don’t trust anybody and basically the fact that shooting cannot start livetowhile.mebeforefor a Besides E.U.the wearenotincountry areandwe awith lotscorruption of What is good about it is that I get the whole amount before the first day of shooting which enables 25,000 or 30,000 in Ireland, for example. somethingwouldbelike itthat such is Serbia standard livinginconsideringthethat of fact the 15,000 Euros, which is considered a very high fee for an adaptation of a afilm novel for post-production,into a and scriptthe fee I gotin is an adaptationSerbia, of a novel. And the fee that I got was directed was a co-production between Serbia, Slovenia and Germany. As andwrote a writer,co-production. I that infilm orThestate afterthe supported bythat, be toI hashavesomethingthat box office [in] the first five, but still don’t make enough money. much So make it’s not a cannot thegood directed in yearly business. are wrote and France. I that You one It’s the wrote before from and just I audiences,films different theeven very and country small a Serbia, from I’m So, your clothes off Staying with feature films, let’s move on to Srdjan and ask the same question. Do you mind taking keep your handup. (looksaround) That’s pretty good. writer would you put your hand up room the in question strange slightly a ask I Can they go out there I become their lawyer, also, because they are just unprotected legally. problem,but teachI also atfilm a school, which is the oldest film school in the region. And when I’ma teacher, also, and my students are unprotected and what you’ve done before. It can really range from nothing to this is the maximum tedyou as cana percentageget. of the budget. It’s more a really straight negotiation. It’s in terms countryof and–your thinkI canI namespeak for Slovenia and ex-Yugoslavian countries also that– it’s calcula Yes, and I think that the idea that we establish a percentage is good because it’s not the case in my 50,000 Eurospercentageas forsame a 5 themillion budget,is budget andmillion that’s one not aa lot in forboth Euros cases.15,000 that remark to wanted just I

?

; with twenty feature films written. That’s a lot of work, whereas in a ? If ? you’reIf a writer who lives exclusively on your writing then ? Not everyone here is a writer, so if you are a are you if writer,so a is here everyone Not ?

;and this is what pisses me off. I don’t have a

; it’s not anit’s not; -

73 Show Me the Money / Panel Discussion

; - - ? I can tell tell can I ? ? Because ? ? ? I think that makes a big difference, because difference, big a makes that think I ? ? ; does anyone want to talk about soaps about talk to want anyone does ; ?” ? a residual buy-out them or is there ? Do you from ; and they are shown again on Sunday afternoon. So you get paid again ; and we send people home to write scripts. write to send people home ; and we ? (looks around) Mixed, okay. It’s very ? It’s clear (looks that okay. around) the Mixed, majority of the who people here, make different system. OnCoronation Street, they have a fairly smallteam of writers, I When thinktwenty. you think about that there are two to two and a half hours of Coronation Street every week, then that’s a lot of writing. They also have a responsibility to come up with most of the you get the fee plus about 75%. Then it gets sold around the world to cable and satellite and you you and satellite and cable to world the around sold gets it Then 75%. about plus fee the get you keep on getting money for years to come. So, soap writing is actually very well paid in the UK. other writing. to compared is very paid, in general well Screenwriting episode per writer one it is or work, collective a it Is what he’s talking about is the collective where everyIn Germany, I don’t writer write , but does I know something only about it. We get a dailies that part pay 3,000 of one Euros only script. for dialogue, but mostly we get paid around 1,000 to 1,300 Euros. If scripts then you it’s do another more thing. So my question “Do is, you get this money for writing a whole episode or just being part of the process It’s for the whole We episode. have four or five soaps in Englandat least, and every soap has a you you very briefly about the Irish soap where he pays his guys 800Euros for doing the dialogue for twenty minutes. In Ireland, they pay the same guys 4,800 Euros for doing the dialogues for twenty-five minutes in an English script. If writingyou’re in Irish,you get paid a lot less, about half an hour. doing the dialogue for 3,000 for In English soaps, not you’re considered a dialogue You do writer. have some influence on the Street Coronation and Eastenders soaps, English top-rating two The storywell. as character and They’re country. the TVin writers paid best the of some probably are writers Street Coronation – on working was I when Eastenders, on Writers episode. per Euros 15,000 to up believe, I getting, that show I was getting 11,000 Euros an These episode. episodes are thirty minutes. And that’s just the start, because not that’s a buy-out.They show the show twice. For example, shown it’s on Thursday night and what then they there’s call an omnibus where they put a worthweek’s of shows together To To be specific,for episode dramas police series, hospital series, that kind10,000 of Euros stuff.for one It’saround script. So for just the dialogue, it’s about twenty I guess. off, minutes a lot of scripts write not so much, but when they well they can be pretty That’s for 800 Euros. about buy-outs what And Well, there is a total buy-out. networks, Another you get money for thing the cable re-transmission. When is you are a soap when writer, it’s pretty the soap nice. so that’s each minute Euros about ten I think it’s a lot of scripts. write good because you is broadcast by the public room the in writers soap other are there know I or does everyone separately situation write room No, it is a mix-like situation as in the States. In L.A., we work with staff writers and freelancers. Staff writers paid aren’t by script, theyget a salaryover a andyear, freelancers just get paidfor writer’s in work we series, drama in So, do. we that writing team all is system The do. they scripts rooms that for do they receive what And Well, it depends. A staff writer earns between 50,000 and 70,000Euros per Someyear. freelan cers earn more because they are very fast so when they write a lot of scripts they get higher. please films, feature for cinema, for same question ask the you Can Okay, those of you who make a living writing exclusively for the cinema. Or writing for televi sion a living from writing, make a living from writing for television. So a maybe point that’s to make a switch and talk to the two people writing for television. Shall I start with you, Marc you you, crazy you employ writers. A guy, writer that employs writers. Do you work in a writer’s Katharine Way Katharine Participant Katharine Way Katharine David Kavanagh Marc Linssen David Kavanagh Marc Linssen David Kavanagh Marc Linssen Christina Kallas Christina David Kavanagh

Show Me the Money / Panel Discussion 74 David KavanaghDavid Katharine Way Participant Participant Katharine Way Christina Kallas Katharine Way Christina Kallas its own, so it has a film award for London films called films London London.”for award “Film film a has this it with so up own, come its They’ve on region a as counts London one. Midlands east the has George Lester Graham country. the which yesterday,The talk a give and along the about come interesting, was Council Film the from Crooks Lenny had We making and eat. to have out you when romantic that It’s not romantic. going it’s And very paid. gets one people no and films dedicated crazy, these have you that why know quite don’t I romantic. as seen It’s actually filmmaking. no-budget to low of idea the love people that is UK, if you say you anyway,get 2% system, or 3% fair of the a budget. like I think sounds something alarming, it which is because happening percentages,in the on something say to wanted I And right forever, of20,000Pounds fortwo hisfilm,whichistheequivalent episodes of Casualty nearly it went into production several and times and got pulled He back. got a years, grand total fee,buy-out twelve every for off and on film feature a on worked he writer, good a is know I who them, of One reviews. half-decent some got even and enough, unusually distributed, and featurewritten had aroundtime films,that which them were made of both and me with drama medical the on wereworking who friends two had royalties.I plus that’sstart And episode.the drama, hour-long an on working was Poundsper 10,000 I were about those and – lot a those I’veon worked– drama story. medical police a a you tell I’ll thing. interesting the is this Well, Before you whatwriter would aBritish dothat, getfor canIaskKatharine feature films and Iwould like to hearfrom someother countries andcomparative figures. Okay, as you can see this platform is entirely naked. So now, it’s your turn to take your clothes off, of what theBBCsells grossthe of nothing.of televisionour nothing,sells Because whereas havethey net the of 5.6% 7% haveunfortunately, we but gross, the of 7% have to impressivegross.it’s the very Wethink negotiatora forthat5.6% gets writer.the That’sisn’tright it has writer the costs. And it’s sales selling, so the of of cost the net off takes programmeand the sells BBC the So, sales. the of value net the of 5.6% get you Katharine, correctly, remember I If you 100Pounds know there, 15Pounds here. then, you probably get about 1,000 or 2,000 Pounds on top of the fee. comes It in tiny amounts, altogether say, would I royalties. in again much that get you because years, five next the over money my doubled probably I reckon I Pounds. 3,000 or 2,500 about paid getting and drama It’s hard to tell. When I first writing, started and I was getting less, I was writing about a half hour total,In what would bethemoney accumulated onone episode On the soap, you said you get a price for the re-run, and then the residual sold around the world. That’s completely different.So you can’t comparetwo themoneyin systems. of that story. You have somenotionofthestory. last you six months, and you’ll do a number of episodes within that. But you won’t tell the whole stories that are going to be told and the episodes as well. So, you might think up a story that will We’re going to make these films over here, which we want to be commercially successful commercially be to want we which here, over films these make We’reto going money.” any make of to them sort expect really don’t this we make and low-budget, to are which going here, “We’re over said, films they and money of lot a [out] passed They’ve funds. different these into divided it’s that is noticed I that Council Film the about things the of One about talking possible the what see to interesting breakevenit’s point of such think a film is. II mean, when youbecause say 30,000 Eurospercentage, what sort of budgetthe are you about asked I see. I are writers if getting paidapercentage thenthey’re because goingto gethardly any money. alarming, quite filmmaking budget low of worship of sort the find I So work it out to trying was I Euros. 120,000 about or Pounds 75,000 is everything, writers, shooting, actors, director, film, the of budget total the mean I budget low say I Now,films. feature when budget calling they’re which idea, bright “Microwave”,really,tenlow reallymake will they that is which UK FilmUK Council ; if you’re the writer, you get paid 2% of that – 1,500 Pounds for writing a screenplay ? Because it’s? Because low for very anAnglo-Saxonfilm. is divided intoregionaldivided agencies.is aroundthem dozen Thereof a are about ; andnow you’re aboutmoney, talking becausetheBBCsells. New Cinema Fund Cinema New . And there are some opportunities for writers. for opportunities some are there And . ? WhereasIreland,in we have of 7% ? ? ; and ; ! ?

75 Show Me the Money / Panel Discussion

- - - ? ; or they or ; ; I was making ? ? ; and I get for it 40,000 Euros, which it’s too ; and I asked her whether I could just pull her into the conversation. the conversation. just pull her into ; and I asked her whether I could ? automatic subsidy. Every German film can get the money for filming or even a foreign film if they film foreign a even or filming for money the get can film German Every subsidy. automatic and ButFrance the thefilm UK situation it in is in the sameGermany. as in a weGermany : have movies. big and only a few some medium movies lot of small movies, I think it’s something like 2-2.5%, actually. I think it’s movie. is 2% of a 5 million Euro 100,000 Euros a question I of because think negotiations, tryit’s we always to achieve 3%, but we never get it. group. a as much as not get us of most But more. get us of some and negotiate, can we 3% Until To the other question you asked, in Germany we don’t have a lot for these big movies like the in UK, because the German language is limited to a small audience. So we have these Hitler movies, “The But like, it’s Downfall”. just one big company that produces these, whereas most of the German movies are in the middle range. Now we’ve got this new we time first the 20% is which state, subsidy the by spending German system. its of 20% gets movie Germanevery So have a subsidy without a commission, which decides upon the merits of the an It’s screenplay. We We have with us one of the most active cinema writers, who Ruth that’s “Gloomy Toma, wrote among others Sunday” I have done seven movies in Germany, and the budgets were all very different. Right now I’m doing one with an ex-student, and it’s low budget little but it’s fun. The highest I had was 100,000 Euro, and I think that’s normal budget film. for a medium And do decide you, in your Germany, fee as a of percentage the production budget or as just a price negotiation usually good money when I was working on those medium-budget films. In fact, on paper there there paper on fact, In films. medium-budget those on working was I when money good usually is no reduction because they make an average. That’s very interesting. I’d like one of the broadcas the where – Ireland and German UK the in situation identical the colleagues that’s because also, Germany to say whether that applies in ters have withdrawn from funding in large measure, and the result is that the medium budget movies Dollar million twenty and fifteen ten, few very a is left what’s And Euros. million 3.5 to fell that Except well. as UK the in situation identical the that’s And less. or million two are rest the and in the got UK a you’ve complete reduction in the number of productions. So last in year France less or country more of a 55, had you UK the In that. like something or films feature 200 had you with the German a parallel situation Is there size. identical Falling budgets bring all kinds of problems. Antoine, you said that you receive less now than you you than now less receive you that said you Antoine, problems. of kinds all bring budgets Falling in part Is that down coming the budgets are because used to. channels. TV is movies the of financing main the because situation, different a it’s France in Well, And one of those is Canal plus, and Canal plus has renegotiated its obligations. the renegotiation the It and after films, feature French has the of certain percentage a obliga finance to tions obligation now is to finance per project in – acertainto meaning invest that they have amount of low budget films and alwaysat their discretion.The politics huge, of few a in money Canalof lot a put they So plusmarket. international an reach istry to to movies budget to finance big big-budget movies – meaning that the medium budget of them a lot finance could they has and films, very budget low very, finance they either disappeared So, off the landscape. fund a few huge projects, and like “Asterix” this kind of mainstream things. And the budget medium is disappearing totally from the French landscape. That was my field we’ll put a bit more money into them, because we’ll expect them to make more money. And so a so And money. more make to them expect we’ll because them, into money more bit a put we’ll five perhaps is film budgeted better slightly a and Pounds million to two one is film low-budget million. And you do get films with budgets often or fifteenor even twenty Pounds, but million really. up all the scale, get So a lot. you that’s certainly feature crisis a of There’s budgeting. film crisis feature of European a there’s if wonder I film budgeting in the UK and Irelandat the moment. Both thevolume and production are fal ling, but more worryingly the budgets are going down. I wonder if the that’s same in general Participant David Kavanagh Ruth Toma Ruth David Kavanagh Ruth Toma Ruth Christina Kallas David Kavanagh Antoine Lacomblez David Kavanagh

Show Me the Money / Panel Discussion 76 David Kavanagh Participant David Kavanagh P Frédéric Young Participant Frédéric Young David Kavanagh Antoine Lacomblez Participant David Kavanagh Participant Katharine Way David Kavanagh Participant articipant and the rest of the money is going into very, very cheap moviesTV or series. expensivemostthe was,eleven million Euros. thesemoviesmoremakestationsofto The try TV movies. We have these 180-minute event movies, which cost between 7.5 ofthem millionhave budgeta offour Eurosmillion Euros and,for 90-minute a I movie, thinkTV and we have lota of small Frenchcinema we have in TV.Because inGermany we create veryexpensive movies. TV Sosome Thesituation wehave withmovies changingisTV nowbecause thesituation wetalked aboutin and more. But to start with it’s six times. No, it’s usually six times one hour. Some places will do eight or ten times, and it’s going to go more Usually if it’s one hour, is it then eight times one hour or… better on foreign markets. So in France this trend is in decline. because all the series are going to a 52-minute or one hour show because they realiseInFrance theythe 90-minute can movie,sell which was abig trend for many years, is now going to disappear You do see more in the last few years than there have been for a while. And it’s not so common in the UK to see a 90-minute movie every week. You do see some. stuff.It’s less than Germany, though, which is producing, I think, over 1,800 hoursIn France forTV lastevery yearyear. we produced over 750 hours of fiction, which goes into movies, series and other And you don’t include those in the 200 feature films number We have quite a few. think, that you have 90-minute films made for television. theforTV made feature-lengthvolumefairlygoodof a Germany,therethat isfilmscasein stillthe And it also, is variable budget productions, especially in cinema. seconda chance. So, we’ve got something inthe middle, which isgood, but we also have lota of spend,let’s say,it. threeon yearsThere’sso or marketbigforthosepeople,a theynever andget scene.Actually they get, think,I 15,000 for screenplay,a which isn’t really much money budgets, which is less than you get for a movie,TV for example. So, there’s a really big low-budgetthey’re starting in their first movies. There’s a big scene from people who makethings, films because for cinemaI’m for a teacher of them. And I see a lot of low-budgetstudents,thesesomethingaboutknow privileged situation.you’re thinkIa threeaboutspeaking I years or so from school, and are includedinthefee. for instance, where the collecting societies only collect rights secondary Germany in different than copy,is private which and rights cable rights, primary for collect can we because money of amount important an quite broadcasting every for paying is Yes,which isTV 6,000. You can have also author’s rights on top of it. sioncommercials. So I worked for a detective TV series, and it was 7,000 per episode. Commercial or 2% 2.5% so it’s about between get 17,000 also and 30,000 you Euros. and Inaverage, television, on I worked Euros in million events on two public televi to one mainly it’s budgets, film For I will speak about the movie production, not the production.TV could expect to be paid Let’skeeptalkingaboutprices,the though. Frédéric, Belgiantheyouknowpricesdo

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77 Show Me the Money / Panel Discussion

- - ?

! You need to go to 5% to findYou anything ! ? So that means if you write a TV series and some view and [if] you sell 100,000 Dollars at three which is still very small. money, get 1.75% of that you example, every for sale, Euros Yes. the from but I heard startingsaid DVD sales are make money, to You a question, Frédéric. I have right getting only 1.75%. Is that are on the DVD price the writers that S.A.C.D. It depends on the type negotia or no of something is but there on and production. the percentage, public different price. We There totally have a another offers price is countries here some in for Belgium SCAM one for that the know S.A.C.D. I agreement professional. [not] but films on feature for agreement this provisional a only was level. It think. I TV, It around tion is 1.75% remuneration. of level be seen as a definitive I think it shouldn’t So, Last remark. It seems that these last two years we collect quite a lot of money from DVD received received DVD from money of lot a quite collect we years two last these that seems It remark. Last for the authors. So I am asking everybody to check their contracts as to what they can collect from the DVD and Video-On-Demand. That’s something that will be important for everybody years. these next few over or Eastern I true. Europe, In made Yugoslavia 100,000 the that’s Euros in former the cinema Yes, half of it. which was sold, and then 100,000 DVDs were of the DVD income a share is for contract your And And this is the same situation in the UK that you don’t have the middle budgeted film, only very only film, budgeted middle the have don’t you that UK the in situation same the is this And and veryexpensive small. also the The money same from the that but filmwe make com it’s some television movies. Yes, to because television spend an where we have we have some obligation towards budget pany, in us. invest to have doesn’t But television on television. I know in Eastern Europe the situation is approximately the same. In Hungary there are four or amount tremendous a and region, this of standards the to comparison in films, high-budget five of these low budget and middle-budget films,and whichHD with are course, of the do, core to has It of theway. this disappearing qualityactually are cinema, of European Central Eastern or topic. a serious and I think that’s films, doing the possibilities for digital For the French-speaking part the of French-speaking the budget, percentage of For Belgium, an I average think have we which is a little at bit around 5%. higher, Between 4.5% and 5% of the budget. And the budget million Euros. two is usually around So that’s the lowest feature-film budget thatwe’ve heardreferred to so far in our discussion. Those are very Serbia for low budgets, except of course as that. as low useful out of a budget Because we have don’t a lot of like it’s money, nine million Euros for the whole thing including and budget small are films Four films. seven or six of average an make we Every year animation. big budget. are three That’s also on the network. also on the That’s that Yes, varies of course, according to network and public-financedtelevision. It’s something around 50 Euros per minute for primary rights, and it’s doubled for the deal at 100 more. Euros minute per Participant Frédéric Young Frédéric Participant Srdjan Koljevic David Kavanagh Srdjan Koljevic Frédéric Young Frédéric Srdjan Koljevic Participant Frédéric Young Frédéric Participant David Kavanagh Participant Participant Young Frédéric

Show Me the Money / Panel Discussion 78 Participant Participant Participant KavanaghDavid Participant Tony Cama KavanaghDavid Participant Christina Kallas KavanaghDavid want to sell it to another country you will get 10.5% of the seller’s income. And then you will get the work and bulk broadcast and two reruns. Another rerun is 25% of the first income, andfor if is you that but Euros, 9,000 about get you episode 60-minute a affair. For another is show TV A to theproducer andthewriter, andtheyhave to makethedealagain. back go to haveyou remake a do to want you if So remake. a do to right the states remake the the spending sum of 55,000 to 60,000 Euros. that’s So but not totally, of buy-out a kind because of total the of 40% maybe film, a of lifetime a Formoney. of amount large a quite to amounts that and corollaries private and cable get you Then said. you of rest the like – nothing means and get another fee if you want to continue to exploit. You can get 4-5% of the net, though that writer the have that contact you to after years. 30 And to 25 field for the exploit can you means I am from Sweden. For cinema, we recommend that 55,000 to 60,000 Euros for a feature, and that We alsohave SpainandSweden intheroom. Now that we’re allcompletely naked, theinteresting Butthat willbeafter coffee. stuffstarts. exciting to see. be that’ll So, drama. more make and try to hungry getting they’re think I and now, series first their had us.”just with has you channel keep commercial thirdwill thatthe if And more 10,000 or 5,000 you give say, just “We’ll they So writers. for competing always they’re but figures the don’tknow I although well, quite doing they’re think I series. police a with hit big finally,had, a huge there’sa So this. do need there forthat trainers. For commercial left television there’sthree only one other channel which has or now two only maybe are there because series, the for writers lead become to writers episode the get really writers. to themselves new initiatives discover tried to they And them for way a That’s series. a create to well as students producing they’re when them with collaboration in is years two these of months eight to six around and have collaboration with the Danish filmSchool, which has thetwo-year course for screenwriters they so writers, new for need big a have writers. They fine lacking always are they And things. episode writers and a lot of freelance. I just wife brother’shad a the meeting with of them and one that’sand whybrothers I are know these they And people. three to two It’s How many people do to want you and years something else, they alsokeepthemonthesamepay. Eventwo or there. one them for series keep a to writing you’re order maybe writing, in not you’re deals if Euros good about 150,000 some have also pay probably probably they they and that annually there writers staff some has channel TV radio Euros,70,000 and knowbetween40,000 Denmark’s that I film. the of budget the on depending ters in Denmark that get, for a feature film, 100,000 or 110,000 Euros, the average being more like the off of top head.situationDenmark my the in know I There aretwo maybe screenwri or one could contribute alittlebit the coffee break, if you’ll agree. I wanted to ask if there’s after issue aseparateScandinavian a country inis the Downloads roomshares. who and downloads of question the to back Let’scome with three friends of mine, and I use a writer’s room. Per episode we are getting 8,000 Euros, 8,000 getting are we episode Per room. writer’s a use I and Turkeymine, of in friends is three with situation the what you tell can I want, you If really. mum episode series a Euros 12,000 perhaps, Guild, the at recommend we pay they maybe, get Euros A 5,000 altogether. writers, few And of maybe. For the head writers self-employed writers. staff of lot ones, Euros. lucky 600 The a sometimes Euros, 1,000 than less get have they So wages. low very them companies big the Madrid, in especially because, lion Euros. But I know there As are and higher for lower productions. budget the TV, it depends I’m but sorry, I don’t a know I is lot that cinema. the know two about budget about average mil Thank you. Tony, willyou doSpain this cablemoneyaswell. ? ? ? ? I’m writing a drama series for TV TV for series drama a writing I’m ?

; but it’s more of a maxi a of more it’s but ; ! Then they have they Then !

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79 Show Me the Money / Panel Discussion

- ? ! ? ? ? ? ! ? Let’s really try to finish in one more hour in this section. I know it’s the Greek style to work to style Greek the it’s know I section. this in hour more one in finish tryto really Let’s ? process process would be more like six to eight weeks, rather than three or four days, And to then get the that opportunities all. would be very limited. only There’s one soap and very few shortother six-part series made during the year. I think they vary from one to three million at the top. the top. million at I think they vary three one to from pick up on minority to languages want do you Greg, I’m sure my experience probably represents people writing for countries minority in We would Europe. be on languages percentage of half for in this for our colleagues other in the print school. In the case of a soap, which is indicative of any verygenre, and little there’s in the Irish language but I guess our highest pay-rate would be about 2,850 Euros which is about TV. on soap our for half get they what half about get We of soap. first their for get on so Seanand what But we also have a work pattern, which would be more similar to what Katharine was talking would go about We from with storylineEastenders. through structure and story and the whole Are your feature films as good as the song films as feature your Are look like it They of the production budget as a fee use the idea of a percentage Do you Not generally. films feature the budgets for are what In general, two two in particular – the percentage of the development budget, which should go to the writer, and the percentage of the production budget that should go to We the definitely want writer. to want I and for, here is Géraldine what That’s copy. talkingtime of private bit about a spend to raise some questions about private copy as well. I guess trywe’ll to finish with a little bit about prices with respect to new technological uses of our work. a So, that’s fairly heavy agenda that we want to do, and also we’re going to put in a few moments on Creative Commons. So, can I his clothes off take start to colleague asking by the Finnish The figuresfrom Finland are 45,000 Euros and for television, 30-minute episode that is That price 5,000 is Euros. commercial and feature for screenwriters films Contest Song Eurovision the finally, won, we yes, And TV. get public between 25,000 and Hi, I’m from Hi,Ireland. I would I’m just like to say that I write for the minority language in Ireland, and lot a In had. they what had we if situation Serbian the of representative more be would story our of the countries mentioned here today there were a lot of minority languages in which people also are working to try to get and jobs, Sonone of here. I just them would like is to represented today. not everyone that is being spoken for say Okay people two or One can. we if hour the in finished get tryand Let’s tired. getting I’m but late, bit a want to with continue colleagues like would the our to striptease, take Finnish their clothes off. do we because on move to want I Then Irish. in off clothes his take to Greg like would I then And have a fairly complicated agenda of things to talk about. We need to talk about development subsidy, which is something we’re going to talk about with the particular going problem to We’re have a of little more prices. discussion about the business of percentage of budgets and which which is almost 10% of the budget of the drama we are writing. But our commons are sixteen adver four put TV to want channels the because sixty minutes, are These everyand week. years it was 45 and an minutes episode, ago, years Two it is is why That so long. in tising there. breaks series the last drama And wholesale. get any don’t you And 65 minutes. they put it to right now than 1.5 in million more Dollars brought in the advertising ending episode, money I that wrote, over the And neither hour. the producer nor us received any of that I money. really don’t know in production. slowly more far but they work projects, about cinema Greg O’Braonain David Kavanagh Participant David Kavanagh David Kavanagh Participant Participant David Kavanagh Participant David Kavanagh Greg O’Braonain

Show Me the Money / Panel Discussion 80 Participant Alexander Kakavas Christina Kallas Alexander Kakavas KavanaghDavid Participant KavanaghDavid Italians. But here in Greece, unfortunately, the situation is very, very bad. Televisioncan very writers very, is situation unfortunately,the Greece, in here But Italians. the or Germans the from mostly given, price the to adapt to has then it that Europe around all from money much so get you because money some get you then developer.Okay, a for work get any money from the money.The paid get don’tscreenwriters the honest, be to usually Well, the price for adrama CanGreekthe ask I colleagues wouldthey if thing same the do have bought meacoffee would somebody that break coffee the beforeI’d this if I’msaid Euros.sure 2,000 was that And episode. 45-minute one write to me get might they and language, Croatian the in thing same most popular series TV in Slovenia and selling the same series in Croatia. So they’re shooting the in my account. So I stopped, but there is in Slovenia emerging television, which is producing the I don’t write Euros.much for 5,000 television, because only they it’s paid me So once immediately. something that 50% I didn’toff reallytake notice will state the then earnings your with year per Euros 40,000 over earn you if But film. feature a for Euros 10,000 about good, is deal the if gets, screenwriter the and year each made films three are there then good is year the If Euros. French the since ever doesn’tscreenwriters film need a that claiming of tradition long a has Slovenia and Slovenia from coming Okay, here number lowest the with competition the win I Can something. or it’s15% country my In ments. The tax question varies very radically from country to country and makes a big difference. don’tthere’s So tax. incomeartists pay Ireland paymentswhereasin pay fromour taken tax no their from taken tax there’sincome that telling was colleague Swedish The true. very it’sYes, and we haven’t mentioned this. I think we’re forgetting something very important here. The taxes differ from country to country, languages inEurope. minority other in working writers there’sforsay situationwould similar I a But ments.probably pay side the of couple a of because Eurosyear’s 4,000 maybea for work less or more I’vedone doesn’t,it If it. worth be it’ll production, into goes this day. If the of end the at money less lot a for work more lot a do we itself.So, language original the in it assess could they where read to qualified people enough not are there because it, read could forfinancing it assess that people the of some that also,so And England. from editor script a with work could we that so polish, a and drafts those of two of version language English an did also I polish, a and drafts three and script, which has gone through a number of drafts, and, also, not only did I produce a treatment there’s Because you’dway no project. a developtoWe finished up-front havea nowmoney get this. do to order in for writing myfromTV out getting and nothing virtually for this on working blem is that in order to move that project along, I’ve spent six months each of the last two years a about get would 35,000 Euros floor payment with I a 2.5% of the overall budget, theoretically,film. at the end. the The pro make do actually they if bad be wouldn’t negotiated I deal The My personal experience is that I was approached by a producer to work on an adaptation script. thecaseoffilm, In we haven’t successfully madea feature filmIrish-language yet. length on the budget. You get the figures on the real budget and the real budget, which you cannot you which budget, real the and budget real the on figures the Youbudget. get the on budget the of 3% around gets But if you’re a writer, you cannot have both. But usually a screenplay, not the thing. writer,same the a they’rescreenplay that say and come usually they so lot a rights the people with fee that the confuse problem serious a have Werights. of division the about bit little a know also I so and society, collecting the of member a was I that is thing the So problem. another Yes,is that to thewriter compared to thedirector the of law the to according goes, which budget, the of percentage the is Can I just ask Alexander to add something, because there’s an interesting thing in Greece, which get around 15,000. We getaround 12,000for ascreenplay. episode. That’s good per Euros 5,000 well.around get can you business, very in name important pays very a you’rewith even If that not comedy, especially episode, 50-minute a For though. money, of lots get Greek Film CentreFilm Greek ; a newcomer can get around 2,500 Euros in a big company and big names ? Greek Film Centre ! ; but the budgets are never real, and you never get these figures these get neveryou real,and neverare budgets the but ; has decided that we should get a 12,000 Euros payment if you if payment Euros 12,000 a get should we that decided has ? auteur , whatever the budget is. It’s difficultvery unless you dogma. The Slovenian budget is one million one is budget Slovenian The dogma. ! And if we do, we don’t get much get don’t we do, we if And ! ? Theprice for featurea and film Greek Film Centre Film Greek ? - - - ,

81 Show Me the Money / Panel Discussion

------? ; not many writers join them. But they But them. join writers many not ; ; the number of hours is amazing. ? One, to feel jealous, but the other aspect, jealous, feel to ? One, gets another budget. I’ve been trying to change it for ! But, more or less, this seems and, more [or] consistent less, it seems Greek Greek filmCentre ! And why compare with the Americans compare why ! And ; it’s now 25,000 ; Should Euros. it’s the Guilds start to abandon this idea of the 2.5% and we’ve all we’ve discussed about falling The budgets. main budget would be where to have 2.5% of not a is movie dollar million a of 2.5% have to But Euros. 70,000 it’s okay, is movie Dollar million 3.5 interesting population, as they have in the U.S.A. as they have population, diffe big the for makes films our of share market the but produced, is films of number same The of course. the budgets, And rence. TV dramas , hours is so big. the number of Also, try let’s So, and on, move because I want to knock some of these points off the agenda as soon as we can. One is the question we were asked to address, can and do about I’m it, not is the sure percentage of there’s much the budget we – both the development and the production budget, which goes to This writing. is in the context of this issue that Antoine mentioned, and of some kind, mostly DVD, including about 10 million Dollars that they get from European pri copy. vate Like a fool, I didn’t divide the one billion by the 10,000 members until I the was way on home. This the means plane that on the average income of every member of the Writers Guild America of is 100,000 Dollars a year. The average income of every member. They then to went tell on me that, in general, American writers Dollars 200,000 is income average their work then, writing, they’re When for spec. on writing they’re money year one year out of two, the other a That’s Thinkingaverage. year. in any group of writers, how many writers fuc are a Irish, not my excuse succeeding getting, are paid getting are who ones the means this so working, not and king fortune guilds the know all we and F.S.E., the of guilds member The writers. 10,000 is interesting, is which writers the all represent well very not do Europe around all our to relative writers, of amount same the is there less, or more So, members. 9,000 about have another. And, of course, we’re not speaking about all of the extra things – the different taxation, taxation, different the – things extra the of speakingall not about we’re course, of And, another. which is also verybyaffected which thecomes true. And other init’s money, afterwards inresi a are there that me to seems It copy. private on levies TVfrom and on repeats by payments, dual then and film, the for payment receive to expect can writer the where here countries of number see to between 50% and of 100% the in the come of lifetime exploita again that payment over said we of what sound like a summation does that So, sale. tion for Let me add in a country which is not represented here today and about which I know bit, which is a the USA – little where they have quite a big film industry, I actually. was in a meeting in Writers the Guild of America in Los Angeles and over the period of this meeting, they gave me two figures. Like the stupid person I am, until it Iwasn’t was on the plane on theway back that I connected The those first two figurethat figures. they told wasme that Writers Guild of in the was me told they that figure second the and members 10,300 were there East, and West America amount this And Dollars. billion 1 earn people these everyover just is that income the year that payments residual in Dollars million 270 fees, in Dollars million 700 approximately of up made is and we will see patterns. will see patterns. and we a buy-out or not. if it’s it makes all the difference And So, trying to find aconclusion, I don’t know whetheryou haveI’m the surprised same how impression as consistent I the do. prices were across all one is the that the smaller different countries pay less countries. well, but Twonot that’s surprising. But, things other than that, : 30,000 it from Going principle. in widespread fairly is budget feature-film the of 2-2,5% that seems to 60,000 Euros seems to be a fairly widespread gap that people are talking about, except for Serbs Greeks, and yourself that soap seems That is a 3,000 surprisingly to and 5,000 drama consis Euros is 10,000 or more. tent set of figurescoming out of agroup ofcountries, which don’t necessarily speakto one check check because the Because money. of lots get do directors because director, a became I why that’s and years many usually they also so produce, they do Then, whatever they of like. There course, there is no law. was an agreement between the state television and the Guild of Directors, which accords the get. they always of the budget – which 9% directors of but time, course, have I think it would be don’t very to We check interesting the percentages of the directors in the differentcountries accordingto the budgets and thencompare them – David Kavanagh Participant Christina Kallas David Kavanagh Participant Christina Kallas

Show Me the Money / Panel Discussion 82 Participant Christina Kallas Participant Participant KavanaghDavid Participant Frédéric Young KavanaghDavid Participant KavanaghDavid Participant just to losetheideaofpercentage ofthebudget. Probably. dangerous wouldvery be It sum. youworkforEurolump then should million a so 1 or under of budget small course,youarevery confrontedAnd,amount.of if a the with waysnegotiating of I would really keep the idea of a general link to the budget because it’s one of the most objective to be. As someonesaidearlier, assoonyou have aminimumthenitbecomes amaximum. The problem with that is that it tends to bring us to a minimum fee, which is not where we want a year.” half for script film feature a write to And thenyou getpaidfor that time. want I “Okay, say, should you think I in. you’re on a screenplay and then see how much money I need to write. That depends on which country spend we time much how see should we think way.I another it put and around it turn would I aboutaprice orfirst-use for orwhatever buy-outs thinking percentages our on relying percentages altogether of idea the abandoning of thinking be wewas, “Should asked I question percentage.The a on based still is fee percentage.The a on relying us leaves still it but common, quitethat’s think I over. goes never it which price, ceiling a and under, goes never it which price, floor a get you There is a convention in British contracts where you say that it’s a percentage of the budget, but the in clause a have You budget. real the to contract saying that ifthebudgetincreases, you willgetthat much,asapercentage. fee the adapt you that down put can you And that residuals could bemore interesting thanpercentages ofthebudgetmovie think I So, stars. big with movie big a or movie small a be could producer,it your to and, according story the have be. You to going is budget the what exactly know don’t a you sign film, featureyou When budget. the comparing when percentages the of question the sure not I’m else, over. theyseemto betaking buy-out contracts Europein contracts buy-out wehavedevelopment towardsDo a room with. addresstothe question a wouldbe that think I The bigdifference is countries where we have societies. collecting residuals. the for go you if for one and buy-out for one think, I numbers, two be should There ponses before moving on. res two or one get to table the on it put I’ve but here, answer possibly can’twe that question it’s a know I film. feature a for about talking be should we that sum bottom what’smoney,the more any 2.5% the about not “it’s speak in terms of sums actual of cash there’s much more to spend. Why shouldn’t you profit as a writer when the budget is high is budget voteI forit’spercentage,So lowthen a is budget the if and write Maybe I low-budget for a film. the when writer a as profit you shouldn’t Why spend. to more much there’s then bigger is budget the money.if So,big have you where projects haveyou and nothing,for nearly are which projects, have you So calculation. fixed a is writing money, of terms in think I something we shouldconsider. it’sMaybe situation. national own your in use then can you which country to country happens Maybe it would be a chance for F.S.E. to see if we can research and publish information on what not work inanother. but country one in good be might it that another to country one from different so are systems the stands, it As remuneration. maximum or minimum the fix to try to dangerous be would it tocomparetoanother.cult remuneration the fromcountry one Wethink haveI cautious tobe And the royalties collected by some collecting societies for broadcasts.primary So, it’s very diffi ? Of course, in France, buy-out contracts are forbidden by law, but everywhere ?” If budgets are moving very radically and dramatically then why are we ? It seems not the most intelligent way to manage it. Should we be we Should it. manage to way intelligent most the not seems It ? ? Are? there countriesstill feelwho havethey than other something ; it’s about a fixed sum of money.” And, if it’s a fixed sum of sum fixed a money.” it’s of if And, sum fixed a about it’s ; ? Should we be saying, those of us who do the bargaining, ? ? - - ;

83 Show Me the Money / Panel Discussion

------; they are unreliable. Don’t give them money, ? It rarely works, and I think it clearly work doesn’t here. ? I want to ask Géraldine to fill us in a little bit.First of all,

? problem we have now with the European Commission’s attack on private copy. pening, and we all take it for granted and we all do it, is writers are subsidizing the film industry. industry. film the subsidizing are writers is it, do all we and granted for it take all we and pening, around. it should be the other way Surely, again It’s to do with the question of pride. If the development money goes to producers, what it means really is that authors are like children because they need parents. So the whole thing 5,000 is given that are even writers young in where my Ireland, in small like draft, country first a we to have gives this centre film the that thing is actuallyto writers. to go directlyway a first draft. write I think the only to Euros Shall we move on to private copy on the background of private copy in general, and then move on to talk about the specific it would transfer into the market place I don’t know whether you want to add to this, but we had this not is producers the to discussion exclusively money channelling that was said we a what mostly and before number of times working and is causing problems for writers. State agencies need to be thinking more about channelling significant amounts developmentof money especiallywriters. for that add to to want anyone Does I think it has come up in this discussion. What I hear again and writers “Okay, again work is, for half a year and that pays them enough money to write the thing half they of want the I to for year.” think, the certainly other in England in television, you ting. And can writers will earn go to a television or lot work of on something money like a wri crime drama off, for years of They’llcouple a take two years. five or years. four for on live they’ll to And money enough earn hap actually what’s So project. original their write to saved, and earned they’ve money, the with ber the logic from why national film agencies subsidise development.The ideawas that pro ducers in Europe couldn’t make money at the box Theyoffice. make noprofit. If theyhave no profit they cannotreinvest in projects so therefore the stategives the to producers the invest money in the new they’re projects, Now another. or kind one of because schemes subsidy development of logic original they the was This cannot pay for themselves out of their very profits. widespread. I think every country in Europe has some kind of state-subsidized know whether I we don’t need develop to speak of development the ment, producer. but in it’s general, about this, because it came up before but it seems to me completely obvious that we have to now say that even if that was logical at the time. We cannot see any evidence that it has pro produce. us it would they told that the results duced The idea was that the producer would get money from the state, invest it in better The scripts. better scripts would make better audiences, the better audiences would make profit, the pro ducers would use the profitto payfor the scriptwriters, and theywouldn’t how many times we have heard Now, that needlogic anymore. about state subsidies that eventually the subsidy in the different countries. Youin alsothe havedifferenttocountries. take into account thecost of living in each country. The price of the script should also therefore be taken into account. In Finland, you get a high of living is actually but the cost higher. price, A big group of us went out last night and paid very little money for our There very nice food, anything. but no afford couldn’t we then scripts our for zero receive we if paid get we how matter is a conclusion in there somewhere, and I think the conclusion is that people feel, in general, that there should be a balance between minimums for low budget films and percentagesfor films. the general Let’s move on if you don’t mind, because this is something that we can a find European a level solution and to we at are required to talk a little bit about sidy development for subsidies development – and sub how the writer shares in development of subsidy. You all remem nothing nothing just to get my name in it, and it’s more of a realistic budget next a percentage. get you – and so calculation a mixed time it’s me For – money. I make then maybe It’s even more complicated. Sometimes a low-budget movie can make good money and about the back end. question is the prices the comparing about saying was Géraldine what about mind in keep to thing one There’s David Kavanagh Participant Katharine Way Katharine David Kavanagh Participant Participant

Show Me the Money / Panel Discussion 84 Géraldine Loulergue David KavanaghDavid Géraldine Loulergue KavanaghDavid One other thing is that the European Commissions initiative will be a recommendation, so it so recommendation, a be will initiative Commissions European the that is thing other One it’sis notefficient andwillnotenableauthors tobepaid. So tooearly. now.privatecopyinglevies out completelytophase decide dangeroustotooD.R.M. and much it’s too think we But effective. really becomes D.R.M. when levies copying private out phase to state member each to up be will it lawshavesecure we Onceyet. secure totally not are they so proof that D.R.M. are capable of totally replacing the private copying system. They are breakable there’s And no works. their of reproduction the for owners the compensate to means effective aproblem. really that’s And recommendation.being,an this time toauthors. oppose the forcopyingis,toprivate We that Wethink try paid be finally would D.R.M. of implementation the problem. a reallyThey are controlled is by the IT this industry, so we And do not know whether authors.the money collected throughby controlled not is D.R.M. environment. analogue and digital the in applies copy private whereas environment, digital the in applies D.R.M. privacy. consumer protect but compensateauthors toway a is copyprivate while reproduction of right copyprivateto D.R.M.complementary that is is position Our June 2007. We donotknow. issued. be to going in or weeksfew a in is out go Yesterdaycouldrecommendation the and interruptionswererecommendation there the when know not do We copying. private of right the have to need not and copies of number the control to able be will D.R.M. more. any copy private need not do we that say to tries who and level European the at copy private on study a initiated has who Commissioner,McCreevy, Irish the and market internal delegation general “Okay, say, To work. certain a of made.”being copies two or one allow I made fromcomesthe preventto Or made.It any being copies copies of number the measure system, to supposed Management is Rights which Digital the D.R.M., of heard probably have the You level.at pending European recommendation a collection Euros is million there because five danger, has in now S.A.C.D. is incopy France Private annually. Ithink heart. by figures the know don’t I Can you putsomefigures onthetableoramounts ofmoney in cultural action. promotionrepertoire, of etc. countriesartists, haveall of Not investmentning obligationof this collected by each society has to be dedicated to what we call “cultural action’, is which is fund trai that fee copying private the of 25% law, the to according And, performers. to one-third and producers to third one authors, to third one divided is copying private individual the of third one In France, also. time-shift and record to you enable which offer now companies satellite or cable that things these decoder, the to cassette audio the from devices of variety the on levy a have you But companies. private about speak would we didn’t know I instance,France, for In countries, country. each other on depends In It VCRs. DVDs. as such as materials [on] such also but devices devices, on on levies have you media, on levy a have you countries, some In modalities of the termination of the levies, and the materials on place which in these levies put are collected. has legislator or government which DVDs. another to or country cassettesone from depends like it devicesAnd blank on collected is which levy, a is copy countries. private European Practically, twenty in it have We amount. big a quite is it So, works. of copying vate pri for remuneration of right the for provide legislations European twenty-five of out twenty Perhaps performers. and producers authors, forremuneration to right a is it And works. of tion reproducprivate the forremuneration to right a is legislations,it most privacy.In consumer of perhaps a legal compromise between the protection and interests of authors as and it the define protection could you but means, it what know here you of all if know don’tcopy. I private So, our concern. expressing just than rather it about something do should we that think I dangerous. very and very limited amount of consultation but which we know will be implemented. It’s very worrying this”.did doesn’twhich But Europeanbythe Parliament requirefor a only any and participation issuing of a recommendation, which means they’re just saying, “We think it would be nice if you way.the by underhand done It’san being as described be only can what in it’sdone and being this, about consulted been they’ve feel who room this there’sin expect people manyI very not wrote. you what for big compensated be tothe right your with away take work to and to Microsoft like decided companies has Commission the and paid, get should you which for work your is problem. This serious very very, a is that’sclear. think It I and you,We’re to grateful very Author’s Rights. That isallIcansay. gerous, because it’s against the principle of subsidiary provided for in the European Directive on dan it’s So,very levies. copying private these out phase to not or whether the deciding of processin involved be not will states Member Council. the and Parliament the before go not will ? ; it is a way to enforceexclusivetoway an a is it ; - - - -

85 Show Me the Money / Panel Discussion

- ? There There ? are different fac ? ! Give it to me.” me.” it to ! Give ? If you think you can amend it then take a look.What I suggest,

? The The ? big companies lobby I Washington. in think they spend millions ? Because the kid is watching the movie, and the other kid comes by and by comes kid other the and movie, the watching is kid the Because ? movie a great What ! ; and the films and music are not with digital rights management. So, Microsoft has checkthe content, just tomake suretechnically it’s and absolutely precise. And sendwedon’t them something, which is incorrect. But this is the language that I would we agreepropose to send :in a letter for for people to because copy, they are living on that when they sell out those materials, such as DVDs, – but without remuneration for the authors. As they know, they would not change the They directive. go by a recommendation. And they really are buying the Commission to do so. the problem. That’s against that can fight we feel do you How A small thing I suggested this meeting could do is that this meeting can agree on something like this letter. Now let me tell you I am not, as hundred a screenwriters,Chairman, okay going to write the letter with a if you agree, is that we send this Christinaletter Kallasto theon our European behalf. CommissionAnd I or would Councilask Christinasigned and by Frédéric and Géraldine just to This This is not a discussion of whether D.R.M. works or work, doesn’t okay are hackable. Mostbother to people hack don’t them. So whether it All tors with D.R.M.’s D.R.M. forever. here be we’ll then because here, have to going we’re debate the really not is not or works speaking What we’re about is a deliberate attempt to destroy the private copy levying system, money. any you pay gone then it won’t if it’s And some money. you pays which currently You’re exactly right. In 2001, there was a directive decided that every at member state has the the right to have private European copy exceptions. If they level decide and that directive to do the so, directive says that authors The situation must is be that remunerated. twenty-one must be You countries decided on an for private copy so exception people anywhere can copy. possibility the keep to resolution by is now do to trying is industry IT the what And remunerated. But they say that’s three times you have to pay for. pay to have times you three that’s But they say Digital Rights Management doesn’t work. It’s probably working in Microsoft but tomorrow or work. a kid It it. somewhere this night, will break won’t what they said I in think the that’s music industry when Napster started now they and, actually, very it is manageable. that positive I’m managed it. How to manage Napster the authors. and millions of Dollars than they paid to money on legal action, more and it was Of course. It’s a challenge for me to say nobody will crack this. this. nobody will crack say me to for a challenge It’s Of course. copying. private for substituting D.R.M. not simply a case of But it’s Imagine Microsoft. I listen and would films watch can you like iPod, On iPod. to the with Apple is give leader market the moment, an the At explanation for me to have a clear to picture music of it. and the selling point of this is that the entered the “Zoom” market of with iPods the item called Why in. built is wireless “Wow says, I obviously believe in private copy, but I work in the IT industry as an are you expertIfwork. doesn’t in Management Right Digital mobile clearly. something phone state me let so companies skip to how it. children and should ask your illiterate completely are you then a victim of D.R.M. can else somebody then rights, digital the manage to programme computer a design can they If rights. unmanage the digital to programme a computer design Participant David Kavanagh Frédéric Young Frédéric David Kavanagh Participant Participant Participant David Kavanagh Participant David Kavanagh Participant David Kavanagh Participant

Show Me the Money / Panel Discussion 86 Participant Frédéric Young Participant KavanaghDavid Katharine Way KavanaghDavid Christina Kallas KavanaghDavid for the moment that it would be a good idea, together with our collecting society, that we would should ask for the demand you price what consider to hard it’sso because it, about do we should internet.What the onto broadcast were members our of works the where position the in ourselvesproblem. Wefound this tackled Guild Dutch the how and situation, Dutch the about something say to like would I writers shouldbecompensated for thenewforms oftheirwork. ofthedistribution how and content, online about briefly talk to want I about. talk to want we things of couple there’sa and minutes ten last the to coming we’reSo, Malta. and Luxembourg UK, the Ireland, long too it makes It weDo name thefour memberstates intheletter (General agreement.) and soon to agree without a bunch of people jumping up and saying that we should change some words going really we are So, effect. some have to have might we chance betterurgently, the in, sent are letters of kinds these of more the that is Géraldine and Frédéric from get I impression The There are alsowriters intheroom whoare notrepresented by aGuild. have therightauthority. The reason I don’t Guilds. suggest the the Guilds of here behalf is on because tomorrow there is effort maybe second some a Guilds make here who will don’tand again over all this do will we the of Assembly General the be will Tomorrow many of Guilds the of countries.” European members also are and add, “…who but hundred “One true say, is you which letter writers” the of twenty-five beginning the At that that. something to add weight just more would give I write. would to need you what exactly and great really it’s think I Screenwriters.” European of meeting Thessaloniki the of participants the of behalf on Kallas, Chrsitina Signed work. their of use the for writers remunerateto responsibilities their avoid who states member the Union. of states four the to extension the and member levies copyingprivate of system the retentionof the on Weinsist twenty-five the of four in copying private for remuneration of absence the by caused be could distortion possible only Thelevies. resulcopying private from distortion ting market of evidence no is There opposition. expressed strongly while our work our ignoring for paid are we which in way the in changes drastic make to plan would sion Commis European the that shocked are remuneration.We to entitled are we copied, is which you to appeal for a change in the approach currently being adopted. As the creators of the work, to write to determined they that property intellectual their of copying private the for neration in gathered states toThessaloniki discuss their craft were European so concerned by the current attack on the right to remu twenty-two from screenwriters twenty-five and hundred “One house to dothat ontelevisions. At thesame timetheyare developing “YouTube.com”. publishing big a with publishing find to trying are they and online, products their sell to order in Google by organised One platforms. two be will there because us, of all for thing major a be and video Google to go “YouTube.com”, you if you will because see incredible abuses of your works. It’s Google, full of works online and this will with negotiating today are We exportation. game video all on agreement pilot a It’sFrench-speaking.Canvas, with one haveWe Demand. Video-On- on agreement global a discussing are we years.Then few next the in not sure.We’llsee is which mobile, their on something watch will public the as far as agreement good very a it’s and agreement, first our It’s mobiles. on programmes television for Belgium, in company Just a few things.practical We already have an agreement with Proximus, the mobile telephone maybe it’s agoodideafor more countries. about these rights. It’s an enormous leverage to negotiate. I just wanted to tell you this because that anymoreposition producersbroadcastersa the negotiatetoor themselvesin with are not they means Which them. for negotiate to mandate a society our give to members our advise ? ! The four member states, for your interest, who do not remunerate, are remunerate, not do who interest, your for states, member four The ! ? And so we will know how much money we make, etc. So we decided Federation of Screentwriters in Europe in Screentwriters of Federation ? , and , - - -

87 Show Me the Money / Panel Discussion

------; because when because ; ; you copy and digitalise it, if and digitalise copy ; you is something called the Creative Commons. Commons. is something called the Creative droit d’auteur droit certain amount of protection over the internet. And, believe me, the Creative Commons protec Commons Creative the me, believe And, internet. the over protection of certain amount tion is better than no protection at all – or waiting for the border of your own which country, is It this way. no longer works you. protect to Guild or association, your set by ever be able to change this or stop it. So as a way of maintaining the balance between copyright copyright between balance the maintaining of way a as So it. stop or this change to able be ever and Creative Commons is a user and without negotiation, author-friendly you communication can pretty environment much into set the which, legal be used framework over time. for Over time how Stanford University your has worked works very hard can with Lawrence Lessig to establish the legal framework behind Creative Commons. And they’ve also done to all a of favour us by investing in creating the negotiation as process well as with Microsoft’s new info for getting companies What content. “YouTube.com” I wanted like to say is that Google and as a Creative Commons supporter and early founder and sharing in the mechanism, I must tell else everybody for but me for just Not positive. been has experience the that you words that have been used before you can license them things on or ideas Creative Commons even for anywhere, the appeared future. never they’ve – [sic] specked have you that words Even that you consider as useless – they can find a newBecause now they can be life distributed and databases producing – also the with administrative a and home underCreative Commons. money. But, at the moment, the situation is that producers and broadcasters want, for the same the for want, broadcasters and producers that is situation the moment, the at But, money. amount of also money, the the problem That’s internet and we use. why that’s we also need to our collecting society. involved we why that’s And be stronger. going to I’m try and move on. I know that a number of you are in interested this Com Creative couple a us give to provided) not (name participants our of one ask to going I’m and issue, mons collectivebargaining. to talk about is we need the final thing I think And on it. of minutes I think Creative Commons was created to address all the questions in the IT industry. So, as a writer, I’m fully committed, of course, to the protection of ideas, but I also wanted to all remind of us that we started borrowing things all the way from Aristotle on the And you know that think the more than we’ll bard Shakespeare borrowed else. I anybody way don’t to Euripides. I think we, as writers, should see all the things as possibilities. And also all the big companies, rights have who people those contacting all is who nowadays person special a has BBC, the like with what kind of you content can imagine, because all those can contents be broadcast again something has that anybody think I and negotiations, of lot a be to going are There ways. new in that people really want to see can earn money again. So a see I good the I think thing. don’t it’s of course. negotiate, – when you problem negotiate. the right to have is to problem The I totally agree with Mark in that because way, we, as writers, have new possibilities to earn the caster, caster, which has huge resources. David and I and a few others were at a meeting of the Wri Guild ter’s in London a few weeks ago, and they showed us all the very impressive technology. They are doing all sorts of things such as television programmes, including television dramas. They have a catch-up service. If you miss the programme when it was on, then you can down load it to your computer and watch it anytime in the next seven days or so. And after that you cannot copy it, keep it or send it to another computer, supposedly, archive though vast a such has BBC the Because I vanishes. it days, seven imagine After that. on working be might people archives its up opening about talking it’s years, 75 back going radio TVand both programmes, of docu and programmes news like Things people. to available information of sorts all making and mentaries as well as drama. It’s also very interested in what’s called User-Generated Content, which is people filming things on theirown mobiles and then sending them in. Ifees think and I think the thing still positive is be arrangements are to that the agreed. BBC is negotiating with to do want we “Look, saying, Guild and not just takingIt’s Writers Itthe stuff. us. is talking the to writers.” for us on the remuneration with and negotiate Come have. we this with the material “YouTube.com” is like for music exchange. You find somethingnice You music exchange. is like for “YouTube.com” seen be can it that so it Google organised yourself. by Net the on it put you then and necessary, there, problem rights author’s big a is there that conscious maybe are they think I everybody. by and I’m sure there will be a lot of negotiation around that. Microsoft is trying a similar system. So we will a have new channel of distribution with a very question complicated of what will be of those distributions will be. the economy what works, of the the value broad state the BBC, the been has UK the in this in leader the think I content, online Inof terms Participant David Kavanagh David Kavanagh Participant Participant Katharine Way Katharine

Show Me the Money / Panel Discussion 88 David KavanaghDavid of us we are associations of independent contractors. Relatively few of us are trade unions, and unions,tradeare us contractors.fewof Relativelyindependent of associationsarewe us of majority vast the for that forget Don’t reasons. different for countries many in is this blematic pro how realise don’t we and country, to country from radically varies This decision-making. collective Let’s and bargaining collective of business moveon. final the toWe moveon towant fear, for ourwork. Thank you. of out not love, of out create and creative be to let’stry is say to I’mtrying what So something. he’sthink to I on work. his upon improve can somebody that fact the on exchange money any drama. Theretheatrea is play now, here Athens,in Andpurely is this without work. based his of a it made and screenplays his of one took somebody month last this that is thing unfortunate I retain my copyright, and yet I give free licence to others to play with my work.” He said that the about this, and I explained to him about Creative Commons. And he said, “I support it in practice. of course, when and, you actually write friends on spec. and Yesterdayfamily your I with had a it chance to share speak with you Wim when story,Wenders your pitch you when – day every it using are you that you challenge I Commons,Creative don’t know you if even And possible. as manypeople as requireswith shareit youtoyourstory.telling and It contract this to yougo So that was contract contract the And important yourself. with most made the you was it artist an be to choice the make you when that feel I notes here ofsomeconversations aboutit. to make90,000 Euros outofoneuser. So, that’s my bitonCreative Commons. Ihave acouple of than people million a of out Cents 99 make to better It’smoney. more some make can writers the paymentsmicro with that say simply writers.I normal than living,better good a make They business. of out lawyers the put nonsense. to Youspeak don’tmean weknow,I say will People similar.very on “YouTube.com”.movie your of something upload to TryYou it. choicesyouthe see havecan Creative a with Commons try license, is which you suggest I and state-of-the-art, is this think I and tells you when you upload do you go on to use a certain form of up Creative Commons license.comes “YouTube.com”on menu content a your put you When Commons. Creative simply is have they license creative the And else. anybody by but us by just not uploaded being is us by developed being is which videos Google on have they content the that thinking were they video Google by bought were they when know, you coincidence a not It’s Dollars. billion 5 for of license mons is the single type you work on earth. “YouTube.com” Com Creative of is a company future that was sold the that out find to way only principles. the flexible is blogging on Videoblogging. based at Look works media new this all how about bit little a talk to going I’m yet continue working. and certainly require attribution. This is where Creative Commons allows people to attribute and absolutely can you copy.And single of issue the about brings which uses, non-commercial for micro-payments for all the people that are using it.”receive to free.” Or youlike for can make yourwould purposes work Or available “I educationalstrictly for it use to you allow Or “I is. it as it like you that say plainly Youcan work. your download they when work your upon improve to anybody want not classifications. do other you are that therethis, clearly beyond state can You but work it’sa your so “CC.” accompanies copyrightworks. This double it how somehow is This a Creativeis Commonsmind. in future the of technology the with designed is it because ment, know.Let’s Manage CreativeRights it.Digital realisticwell about workswith be Commons also you it, let’sreplace So years. ten next the for have we that system broken-down best the is] [it tion has addressed this issue with Digital Rights Management. And, yes, D.R.M. doesn’t work, but bureaucracy.TheWorld other Trade Organisaany or Union European the with have you ment agree of kind what matter no remuneration any see not will you me, believe then in Thailand, The distributed media of worldthe virtual is universal. So if somebody can download your work You’re allasleep, Itake it. singly accepted that you are unregulated and do not have collective bargaining. No responses it’sexample,Franceforsurpri in think, I about, people ask to – table the on put to want I issue collectively.”don’tbargain we because authority, competition an the is with This about talking authorities tition recently email collectively bargain youan Do asking, “(A)around sent we that know F.S.E.will from emails the get who you of those collectively bargain anymore. So the business of collective bargaining is quite complicated, and cannot we that us of all people. told with prices fixed They’ve on go toallowed not arewe And barristers.or solicitors of association an as same wethatarethe us told has countries our in rity Netherlands all of us have come up against something of [a] crisis where the competition autho the and Spain Ireland, In on. so and broadcasters with contracts into enter they union trade as but union, a trade officially they’re that basis the on operates bargaining collective UK the In the caseanywhere else. operates – that it not only allows you collective bargaining, it actually requires it – but this is not Germany in law copyright the understand I as area, our to particular laws either usually are us almost none of us are employees. And as a result, from to country country, the laws that govern ?” And a surprising number came back saying, “We don’t know what you’re what know don’t “We saying, back came number surprising a And ?” ? and (B) Have you had any problems with the compe the with problems any had you Have (B) and ? ; “I’ll be an artist and I’m going to tell my story.”my tell to going I’m and artist an be ; “I’ll ? ------

89 Show Me the Money / Panel Discussion

; - - - - - ; the unions were dealing with the ? ? for each and every contract as they had to do before they had this collective bargaining. It works works It bargaining. collective this had they before do to had they as contract every and each for very in practice. nicely In the Nordic countries you can negotiate collectively. They all have fixed prices. prices. fixed all have They collectively. can negotiate you In countries the Nordic a have trade union, so will we trydon’t We to say that if done the comes problem to us it hasn’t have buying We agreements like have collective in don’t agreements. We so the yet. UK. If they would come, we would choose like not to It’s say prices. of that standard minimum a all have could laws You are unique, something. or doors and selling like not you It’s can’t compare them. unique works. It’s selling doors. nobo reason The producers. movies the with and television with agreements process we like It’s raised the dy’s question is the simple thing that they usually benefit from not havingto haggle mercial broadcaster in our country, is in a real mess at the moment. And we’re fully expecting for for expecting fully we’re And moment. the at mess real a in is country, our in broadcaster mercial with agreement an had We Murdoch. Rupert or Disney possibly somebody, by over taken be to it them in which the is terriblyall 1990s, now the out channels digital because of it date predated that they’ve now got. So trying we’re to negotiate that with them, but the people nego we’re tiating with don’t know if they’ll be in their jobs next week. So it’s impossible. There is PATCH, the producers' organisation, which we also negotiate with and have a deal also with that we’re trying update. to Maybe I simplify it too much, because there were contracts public broadcasters And they said that it was also for broadcasters writers came up to in simplify Germany, and they the didn’t accept system. this system. Private They just pay buy-out, and the public broadcasters can’t pay buy-out service through private companies they found, anymore. system their own want so they don’t Yes, what we have in the Writer’s Guild is MTAs, which is Minimum Term Agreements. Certainly, Certainly, Agreements. which is what Guild Term Minimumwe is have in Writer’s MTAs, the Yes, we And moment, the at buyer major the really is which past, the in them had we’ve BBC the with agreed with them – a minimum which writers must be paid and any writer who is more expe floor a in startputting by though, out, You that. above well go can agent decent a with rienced and I think incredibly that’s useful, because it means writers have to be paid at least this much and there really isn’t a not ceiling been above We’ve that. affectedby this law or interpretation and do it all the time. collectively can bargain We of it. BBC. and ITVWith com the ITV, because complicated, more is situation The ITV. with can we is, that ITV, with do We sible, sible, but it can be Theproducerdifficult. unionsare part of the federation and so could refuse an agreement. sign to The situation in Germany changed four years ago. We had a change in copyright, which very hard was work and it’s not very satisfying. But we have the possibilities for three or four years to negotiate as a Guild with other a Guilds, producers or pretty It’s broadcasters. hard business, and I think we will take many years to sort out something. It’s necessary because the fees are and lower. getting lower Guild Britain of Great is in probably a position stronger than most of the Writer’s I think that the with some people. agreements contract because it has formal guilds, European In France, it’s difficult. difficult. it’s In France, prices fixing from you prevent Does law the Not but exactly, it is not as easy as we are a trade union belong but to don’t one of the big fish. have five ofconfederations We the unions andFrance, inwe are pos not Maybe a it’s member. Participant Participant David Kavanagh Participant Katharine Way Katharine Participant Katharine Way Katharine David Kavanagh Participant Participant Participant David Kavanagh

Show Me the Money / Panel Discussion 90 Participant KavanaghDavid Frédéric Young David KavanaghDavid dually. that’s So my littlerant. Thank you allvery, your muchfor clothesoff taking very indivi than rather collectively producers the against pushing be all should we that and tively bargainingbe collectively,weall which should – basis prices fixing collec be thatweall should absolute an is bargaining collective that me to seems It them. screw to out set who producers the from get they position the improve to push and group a in together get vely.should They collecti operate should producers, with negotiating are they where point that at writers, that they have no power, and the producers have power. And it seems to me absolutely fundamental where relationship power a in relationship.are inequitable They an at are they producers, with negotiates with them, and that’s what they have in common. At the point where they negotiate They work on their own. But then every writer takes what they have written to the producer and [notion]. contradictory completely [a] be to seems togethergrouped be can they that idea The film. other any like film No script. other any like is script No unique. themselves [in] are which createto things, capacity haveunique who a beings separatehuman and areindividual writers add to more Anything be interpreted. and issue to possibly explanatory note or like they did is, on advertising – howthere you think that European competition lawensure should to them ask and authorities competition the to convey to which in process consultation the open to try will that Paper Green a is which – sed their agreements, and hopefully some of those directorates will on produce what they havecollectively promi negotiate that guilds cracking in interested not are that institutions European the within areas arehope. There of glimmer a is areas. Therelabour on not monopolies the on way this in law Competition European interpreting be to seem countries three these it is why and months, twelve last the [in] emerged suddenly has problem this why is surprising and strange The problem is not actually the Director-General for Competition in European Union. What I find a me. for not crisis complete it’sa So do. should moment it the for way least at law, the European with work problem doesn’t countries national our in the that law are problems competition national three The countries. own our the within with authorities problem a it’s competition competition, European with problem a not it’s is – here a as problem it raise big don’t we why is this and – problem the have that countries three the of each For of work the and guilds or societiesare ofthesecompetitioncollecting more authorities. andmoreunions underthesupervision of work the both that competition clear it’s the think with I because problems authorities, have to seem that countries those about information morehave to like I would unions. trade official by negotiated contracts collective the from distinct is which agreements, collective have to capacity the have we Belgium, in Guild Authors the At ? Whatcommunication I’ve for Director-General the Competitionwith had thatfocusesis it ? No ? ? Okay, in my opinion [and] exactly as our Swedish colleague said, colleague Swedish our as exactly [and] opinion my in Okay, ?

; so I don’t raise it here even though it’s though even here it raise don’t I so ; ! - - - -

91 Show Me the Money / Panel Discussion

; - - - - -

; ; our

? What ? What can

? ? Yes we do.

? ? The answer was,

system, whether we whether system, droit d’auteur droit ? Screenwriters ? have Screenwriters been leaving

?” Who else ?” could answer this if not the writers

; help them to understand that they must trust the talent. We are not not are We talent. the trust must they that understand to them help ; ? We ? We all love what why we we That’s are why are doing. here, that’s

; the publishers – get real screenplays published and not transcriptions of and not transcriptions published – screenplays get real ; the publishers

; ; but, as we are but not like projects all So by made know, by people. I’d institutions

So, So, let what me conference, this to ask invited be should who discussed we When the screenwriters. question again Europe’s We’re : do we have a common European we definition were identity going to use for –a so it’s screenwriter because writersdifficult often so do There’s so much we need to do : save the levies, help the collecting societies stay in place, persuade persuade place, in stay societies collecting the help levies, the save do : to need we much so There’s of terms in policy their rethink to and development for funds more aside set to governments the to money the give they who of consciousness the raise to need We money. with deal can We it. put Koljevic Srdjan as children, our the through festivals, profession places where everybody is on concentrated the directors of lots in us films teach schools, Film the thing. damn who wrote forgets everybody] and [where in philosophy with a need We the to next educate different generation and schools universities. of screenwriting terms the of part which and is really screenplay a what understand to start people that so films, finished screenwriter. the by conceived been has film We are definitely at a crossroads – And while because other – professions the “-isations”. the of distributors, cinema owners, who knows digitalisation,who globalisation and all the other else, are an species – endangered we are later. now than needed more than sooner is Content us ever. needed to listen to have They power. have we So needed. are stories the fact that the writer is kept away from production and post production. We haven’t really dis really haven’t We production. and post production from is away kept the the fact writer that might we how And medium. awriter’s is television why and television in different it’s why cussed learn from the this and shiftdiscussed fromconsu bring it We to over haven’t the field. cinema etc. etc., actors, the with writing narrative, the with experimenting media, creating to media ming long. is list The Writers are in fact the subsidising filmas industry, Way put Katharine it, yes,because, we write and write and write for very little money indeed – treatments, exposés, first third and drafts. We actually second subsidise production and because companies, we subsidise their develop ment department. But how long can we continue this way What if the for now cinema they years in also start television most leaving countries. we do to stop the bleeding we to But continue work we as also and screenwriters. have families, we need to make a living. before. ever than threatening more is which environment an In practice of rewrites without our consent being just one aspect of that reality. We found out that found We just being one of our aspect consent without that reality. of rewrites practice they or or the system rights the copyright we have of whether moral our irrespectively waive to allowed are we whether Europe, Eastern or Europe Western screenwriters in We are same. the is line bottom the theory in least at creators, as us from inseparable are We other have from all Which makes no have us other writers. in moral rights different practice. We have to with credit the share our screenplay things in screenwriters. we common, European even when net they just profits their share directors, ideas get We with never us. the producer’s dif But too. colleagues, American our with common in have we something probably is this as now – scripts spec write to position a in never able, never are we colleagues, American our from ferent we course of And high. as remotely not are does, film the well however fees, our in Because are do. they Europe over all Screenwriters esteem. low our of terms in identity European common a have identity. European common a have do we Yes, esteem. low so There’s much we haven’t even touched : the way we work, the so-called “step contracts”, First of First all I would like to thank you all and to thank the people who helped make this happen. finan and supporters the thanking by ago days two conference this opening of honour the had I cing bodies of the managers as the as well Board, V.D.D. the at and Board F.S.E. at the colleagues my thank to in this so supportive who were Mercouris, and Pyrrhus helped Uppenbrink who Katharina two organisations, Vergou, Angeliki especially and team Fund Balkan the thank to like also I’d endeavour. so out worked all it that Amazing time. preparation much without event massive this organise us like looks it and minute, last the in everything do to manage somehow they Greece in here – well Games. Olympic the remember – wasn’t it but easy it’s “Dowe have offbystarted asking, We let me of get discussed. to we what Now, have the results not are we way : a following common identity European the in described be can identity common our that seems It do”. we “Yes, – our rights the guard put it. And we cannot Kavanagh as David fortune,” fucking “a paid getting Visionary Closing Session Closing Visionary Closing Statement of the Adoption Christina Kallas

92 “ 7. 6. We callon : 5. 4. 3. 2. 1. We that : assert and intheircraft. cinema the screenwriterssupported. in keep and attract to ways find to need industries Europeanand film The encouraged trusted, be should talent writing European time. our of rytellers heritage. cultural sto diverse the are Screenwriters our storytellers. by times new of forreinterpreted and retold told, aredepository They the are and humanity of heart the at are Stories It’s called the makers in all these institutions, which influence our creative work. I’m now going to read it to you. We want a document, which we can give to the press, to the colleaguesredraftingandtingstatement conference.athis emergebackoftoout importantveryhome,thing. a This is to the decision While we have been discussing these past two days, the F.S.E. board worked in the back room draf But probably it won’t last until I get home…” Well, we want this to last. That’ssometimesovertly the cynical vision.Mogens Rukov is…wow said, awaygofrom I“When morewillherebe proudI self-confident.”and Now, this coming from workever,bestour whichhaveandstayed un-produced own.MogensRukovour faultof nofor And our filmographies do not even include the at…universitiesun-produced teach the made, we we films studies, thescreenplays,our of us, ofproud feelwhich pant’sI book we often consider you that’sSo, need to change that way of looking at things too. And we will. ownscreenplays. Whataretheycalled directors, of course. Some of them are more writers than directors. screenwriterwritesalsoscreenplayspersonwhoa a They isotherpeoplebe : direct. Therewriter- areare writers who direct their become directors in self-defence, especially in Europe – we decided that the right definition would the ConferenceThessaloniki of European Screenwriters 2006andscreenwriters around Europe. F.S.E.Presidentof Boardthe bysigned Manifestothe The is and of participants the bywell as as into national andEuropean law ofthelegalchangesdemandedby thismanifesto. transition the manifesto, seek this by defined agenda the of implementation the for campaign We will distribute this manifesto tomembers and the pressindustry in our respective countries, 10. 9. 8.

Scholars and film critics to acknowledge the role of screenwriters and universities, acade universities, and screenwriters of role the more acknowledge to critics film and Scholars focusing by screenwriters support the development stage of film and television production to and by funding the writers directly. agencies energy and resources, and whether in the form governmentsof subsidies, tax-breaks or Nationalinvestment schemes, on log, produc data festival including the accordingly, publication magazines andreviews. in to invited involvement be work. should such an for he compensated author be to to As and film entitled the of promotion be in as well as should process tion screenwriter the author, As The screenwriter shouldreceive fairpayment form for ofexploitation every ofhiswork. fully and inalienable integrity be should the misuse, maintain or distortion to from honoured inpractice. it rights protect the to and especially work screenwriter, a of the of rights moral The credit isunacceptable. useofthepossessory Indiscriminate The creator screenwriter oftheaudiovisual isanauthorofthefilm,aprimary work. country and to seek means to facilitate the freecontract movementcollectively of writersin order to encouragein organise, and negotiateand screenwriters and between can thatmaintain ensure shouldtheall distinct law Europeannations. cultural andNational identities of each National andEuropean that law thewriter isanauthorofthefilm. shouldacknowledge andcountries.actors directors, in to theirpro do they as just screenwriters, to tributes thescreenwriters film screen make and plan and to grammes institutions other and museums film Festivals, ofscreenwriting. andcraft to ofthemediumandwithrespect theart borative art mies and training programmes to educate the next generations in accordance to the colla European Screenwriter’s Manifesto

ta’ Erp’ srewies I ut el o ta we I ok no ht Partici that into look I when that you tell must Europe’s that’s screenwriters. I ; European Screenwriter’sManifesto

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93 Manifesto Well. That’s it. That’s Well. (Big Applause) your appreciate would We this is This is work, your the of result too, this conference. Thank you. individual signature on this piece of paper and indeed as many signatures you can assemble. believe the time We for Not and only not screenwriters from European only from screenwriters. rolling. dice the set will manifesto this and conference this that hope we and come has change a you. Thank folks. all, That’s start signing.) People (Big Applause.

Visionary Closing Session 94 AMBROSCH (Mr.),Martin oftheSCREENWRITERS member 1998. director, screenwriter and producer. He is active as a producer since ),operatorthe cinema of (co-founder Votivcinema, Vienna), as a distributor (co-founder of the Filmladen distribution company, worked has He 1979. since industry film the in active been has He supervision. projects individual the Filmproduk of charge Aichholzer in is of he where tion director the also is He Screenwriter. GUILD ofAUSTRIA Josef AICHHOLZER,(Mr.), oftheSCREENWRITERS member AUSTRIA “The Gate to Hell”“The directed by Gruber). Max (TV, Glawogger), Michael by (directed “Kotsch”Koepping), Helmut (dir : coproductions such as “Ein Spezialist and Viehjud Levi”, international “Slumming”least not last and Haussmann) Leander by (directed Liebe” Und Morgengrauen” “Kabale and Im “Spiel like TV-films lity Death”, Man’s qua “Working Liebe”,high as “Tierische Lage”,well “Megacities”and “Zur as as such documentaries feature-length and “Antares”, Moon” “Nordrand”, “Blue like feature-films include credits Her Film. Lotus company production Austrian of lopment deve of head the and producer a is WolschlagerProducer.Ursula Ursula media issues in Eastern and South-Eastern Europe. on EuropeexpertvariousoccasionsCouncil ofOn 1995). art. (Mag. Vienna in Music of Studies parallel and 1998) iur. (Dr.Luxemburg and SaarbrückenVienna, in Law of Studies co-author). (2002, Act E-Commerce Austrian the on commentary a and berrecht” (2001) Urhe AbrufdiensteInternet,unddemand. one.g. law,“Music tion UniversityDanubeKrems).Publicationsinforma severalofareas in Vienna, University Webster Administration, Business and nomics University,Contract(ViennaandLawLaw Vienna UniversityEco of in Copyright Law, Unfair Competition Law, Industrial Property, Media creators. University Lecturerother screenwriters, and directors film representing frequently Vienna, in Attorney-at-Law expert. Legal Dr. Albrecht HALLER(Mr.) Scheel). Mathias (with “ Theatre plays : 17”,“Vienna “Sareparts Collection Pendler”,“Der Stories “Das Schlüsselkind”. as well as “Patient” and Messiahs” “The novels : Ghetto”. Books digital “The remem life”, from vegetative attended”,his school in brance”, “Walterhigh “Saved “The support”, “They “Hangman“, Virgin”, “The of market crowded a thru chase Cairo”.Dreams”, “Sidecar Screenplays : kill“, car “Cameras “Whispering“, “a writes whatit he knows he when means his screenplays in so industry, film the in Diego tion Egypt. posi every and almost in producer Greece to from in worked Donnhofer shot was which virgin”, feature “The length Film full first his and Guinea New Papua, and Africa in shot documentaries of series a directed and written chan and has He TV nels. Japanese various Vienna for correspondent war in as School, worked Film he Vienna lives the finishing After globe. (1961) the around works Donnhofer Diego Screenwriter. GUILD ofAUSTRIA DONNHOFER,(Mr.),Diego oftheSCREENWRITERS member channel and TV for German-French the Austrian forstate channel tät” ORF. Majes Ihrer Auftrag “Im documentary /You BetYour Life” (2005).recentlyMostdirectedwroteand hethe / Still Waters”(1995), co-author of “Kaltfront” (2003) and “Spiele Lebenseries, Austrian successfullike of“Soko Kitz”. number a He is foralso the written writer has of featureScreenwriter. He film “Stille Wasser GUILD ofAUSTRIA WOLSCHLAGER, LOTUS FILM ------

In 2003 Pieter also wrote and directed and wrotePieter also 2003 “AIn Cake”Pieceof (Cinelight), (CineTe). featureThijssen Willem producer winner original Oscar double an for Meer’, script Nimmer “Het wrote He cinema. in ter 2001, Pieter De Graeve immediatelyto started work as a screenwri in RITS school film Brussels the at graduation After Screenwriter. GUILDBELGIUMSCRIPTWRITING (Mr.),Pieter DEGRAEVE oftheFLEMISH member as prepare for generation aswell oftheMEDIAprogramme. thenext funds ofMEDIA management efficient more and quicker smoother, a achieve and process decision and streamline management to the are reorganisation this reports) of objectives final The controls. reports, beneficiaries with (intermediate information and Communication projects of Monitoring projects and cants tenders) (or proposals calls for launching and Preparing : following the include EACEA the of unit MEDIA the of the tasks The 2006. January 1 of of theMEDIA as programme of head management the operational the over taken officially is (Mr.) has which Agency”Executive Daskalakis Culture and Audiovisual “Education, Costas manager. Fund Costas MEDIAPROGRAMME DASKALAKIS, BELGIUM ning of professionals trai the with : dealing measures support of series a with industry audiovisual European the of competitiveness the strengthening at Audiovi aims and - 2001 January in EAC force into entered for which Policy, sual General Directorate Union, European the of Programme Media the of head the is Silver Aviva manager. Fund Aviva SILVER (Ms.), MEDIAPROGRAMME language filmboard. l’AudiovisuelFrenchBelgian the of member a wellas as Belgium in de Scénaristes des Association the of president is and scripts lates trans also She film. feature her for location short doing while several subjects shooting for Syria to went she Recently, France. in film short a shot then mission, peacekeeping a with Iraq to went of whichwas one Russia, in films Underground”,“The in Cannes selected in 1992. Before the war she and three Poland in film one made She Brussels. in scriptwriting then Strasbourg, in Arabic and Polish Russian, studied She nationality. French acquired later and France to went she French, and psychology in degree a receiving After (US). Buffalo in born was Montondo Catherine Screenwriter. DES SCENARISTESDEL’AUDIOVISUEL, Belgium Catherine MONTONDO (Ms.), oftheASSOCIATION member 2002. November F.S.E.since the of manager is He 2004. May since sion CommisEuropean the by funded BYZeISproject, the for manager Borough of Harrow Londonfor one and a the half years. He and is a project assistant years half a and two for London of Museum for the years,for years, three eight for Commission forEuropean the of bureau unit Culture funded the England of Council Arts an IIoC, the for independent an as worked He F.S.E.. the of Manager MERCOURISPyrrhus (Mr.), F.S.E. Europe. in Screentwriters of Federation the and Fund Film Flemish the in Board Consultation the in representative the is he which for 2005, in Guild Scriptwriting Flemish the of committee the enteredPieter writing team of “Witse’,the of the number one part detective series also in Belgium. is and Niemand” “Rosalie bestseller the on based mini-series a developing is he Currently U.K. the in development production further in now and Els Vandevorstducer(Isabellafilms) started to work on “Soap’, a project originally in order for Dutch pro and abroad, and home awards and selections got that film short a ; Contracting and Signing project agreements project Signing and Contracting ; Participants ; the development of production projects and ; Evaluation and pre-selection of appli of pre-selection and Evaluation ; O te spot the On ; ------; ;

95

- - - - - ; director of nume of director ; ; Scripts : “The Deepest

; “Kamikaze” magazine, “Kamikaze” editor ; TV & RADIO SCRIPTWRITERS ; Theatre plays : “The “Punktir”, play is cal

; Musical : – “Yesterday”

CHOUCHKOV VIKTOROV ?”. Director of theatre plays : 2006 “Uncle Vania” by A. P. Chehov Chehov P. A. by Vania” “Uncle 2006 plays : theatre of Director ?”. Viktor Chouchkov Jr. received a for diploma received main special child Jr. role for his Chouchkov from the in performance International the “Yo-ho-ho” pirate movie Film in Festival Moscow in 1981. He has been pursuing his dream being by – camera the of side other the on time this only since, ever a He director. got a degree form the National Academy of Theater He his has talent used TV directing. in and in Film Bulgaria and Film in a variety of ways. TVHe has directed music commercials, TVvideos for most numerous of top documentaries, performers, Bulgarian shows, including the Bulgarian version “Who of wants to be a mil wasHis part short “Obsession” of film lionaire”. the program in the Film of International Festival Film in Universities Student’s Munich. “A.T.M”. is film short latest He’s Work experience : free-lance translator (Awarded the prizes for Best for prizes the (Awarded translator free-lance experience : Work from the English and Translation Language), Best Translator Young - editor magazine Maria” (“Ah, editor in chief), director (co-wrote and co-directed the short “Reflec film Festival Film National the at Award Debut tion”), rous TV shows, TV ads, live and 2002 between recorded Television concerts, MM of director artistic music documetaries), and videos published evening” to morning “Lora novel the of author 2005, and “The directing), (script, film short “Reflection”, Filmography : 2004. in (script), shortfilm “ATM”, documetary(directing), Children”, Invisible “Lora – morning to (in evening” pre-production), (script, director). D.K. Kotzev is currently directing the TV documentary series “The Other Bulgaria”. MAVRODIEV Stefan Screenwriter. His musical “Yesterday” audience success. He is also achieved a stage director, who prefers to an work impressive on plays by distinguished classical authors. One of the most popu lar actors in Bulgaria having participated in numerous theatres films plays. Author : Poems and – 2005 “Life - – what a leaky barrel” - “Woman “59 poems or or my the tender Weedy Paradise”, witch”, “Poems” “Change”, “One Scar”, simple thing “Put for the understanding”, curtain and remember the dream” led : in the National Youth theatre (Sofia). “Emigrants” Other (Slavomir “Police”, stage Mrojek), “Easter productions wine” (К.Iliev) : and others. Has put on the stages of : theatre, National Youth National and Blagoevgrad. Plovdiv of towns in the (Sofia), theatres Theatre Director. Introduced to cinema at the early age of 10, Viktor and Film Direction at the Academy of Dramatic Arts in She Sarajevo. began as a puppeteer in the Vermont. Bread She and founded Puppet Theatre the in Deblokada where art she produced, association wrote in and 1997, directed short films many and videos, which screenedat prestigiousfestivals documentaries, and “We (short After” doc.), 1998 “After, exhibitions. 1997 Filmography : Light (short(shortthe “Red Night” Rubber doc.), doc.), 2000 Boots” (short Corner” the From “Images 2003 film), (short Fro” and “To 2002 doc.), 2005 “Birthday” (short doc.) from the film “Lost andFound”, “Grbavica”. 2006 BULGARIA member of the BULGARIAN Dimitar DERELIEV (Mr.), OF FILM, ASSOCIATION Screenwriter. From July 2003 Bulgarian National he Film Center is and a from also November the legal Board 2003 expert. Between he 2002 till Member October is 2003 he was of the director the of the Bulgarian National Film 1999. Center He and was again the 1991- Film Author Copyright Society-President 2000-2001. from 1982-1991, Vreme Film Studio / 2000-2003 MEDIA plus Scriptwriter, Committee-National representative, Editor, 1991- 2002 AV EUREKA-National author the is representative, He representative. National – Observatory Audiovisual 1993-2003 European international and national with awarded documentaries, 40 over of 1993, BBC prizes award “Neon for / Light best Tales”, documentary Tampere. Prix in Grand year, film of the - SHOSHO KOTZEV Dimitar KOSTANTINOV Writer-Director. Education and : Literature; 1996, Masters Masters in TV in and Film Directing; English 1998. Philology Jasmila ZBANIC Jasmila stage studied and 1974, in Sarajevo in born was She Writer-director.

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; and sup !” !” (director, of June 1959. He studied Political Sciences th ; the promotion of cinematographic works and ; the distribution of cinematographic works and audio BELGIUM SACD (Mr.), YOUNG of of Filmmakers member Association of the TATARAGIC, regional off program, regional documentary programme and Cine and documentary programme regional program, off regional market. Link Coproduction screenplays screenplays for shorts and is currently “SNOW”. She preparing is a a feature programmer film for the Sarajevo international Film film Festival, festival an focusing on the cinema Europe with South of its competition East programme for features and shorts, Elma Bosnia and Herzegovina Screenwriter. Elma Tataragic is Sarajevo teaching Academy of screenwriting Performing at Arts. She the has written several script workshop) 2003-2005, , New York 2000 works (screenwriting Orleans New of University course), (directing course). (screenwriting of Sarajevo 1997-2002, University hop) Chart Of (director, Surrealists” political comedy series for TV course) (screenwriting Sara Prague FAMU, the at teaching is He YU). jevo, 1995-2006, HFF fiction dept., Munich 1997-2006, Mediterranean Film Institute (script workshop) 2003-2006, East of Eden (NbyNW, Marriage” Marriage” (director, screenplay, short) 1985, “Rainbird” (director, story, short) 1983, “Before Your Own (director, documentaryEyes” series for Czech TV Nova) 1995-2002, “IMF Godocumentary) (director, 2001, documentary)1997,“No “Top Trace” Home awarded “Borderline Lovers” (director, documentary(director, “Borderline feature) 2005, Lovers” awarded “La Paloma Blanca” (screenplay) awarded 2004, 1990, (screenplay) “Johnny Telluride House” Is The In Gone” Tree “A 1997, (screenplay) “Walking On The Water” (director, screenplay) 1988, “Workers” University, University, New York 1983, Fulbright fellowship 1981-1982, (world literature, B.A. dramaturgy) University of Sarajevo, Bosnia and Ljubljana. and Sarajevo in Mandiclives Miroslav 1980. Herzegovina 2006, (screenplay) much & Rock’n’roll” Love “Tractor, to-date :Films UNICEF. Last not least he has written the theatre play “Three Firs”. play the theatre Last not least he has written UNICEF. MANDIC Miroslav Columbia screenwriting) (directing, M.F.A. EDUCATION Screenwriter. “George”, “Saturday “George”, and “Such Sunday”, is Life”, and well-known “Days and Hours”, directed by Pjer a “Black TV Žalica. Chronicle”, serial, and he He was a writer has for the Sarajevo also written, Mine awareness programme in Bosnia and Herzegovina of Namik KABIL (Mr.) Screenwriter. Apart from several written short a number films of feature films, Namikamong them Kabil “The Last has Day”, BOSNIA & HERZEGOVINA scriptwriters (ASA). In 1994 he founded PRO SPERE, the federation of associations professional in the field of audiovisual creation and until federation this of secretary permanent the was He production. Spere. of Pro 2004 he is a member of the board 2001. Since Supérieur de l’Audiovisuel of the community SupérieurFrench in de Belgium, l’Audiovisuel at first an advisor and later as a member. He is anexpert in Cultural Policy and Management of authors´ rights. From 1991 until 1996, he was the permanent secretary of the association for audiovisual national national authors' societies : Société des auteurs et compositeurs dramatiques (SACD) and Société Civile des (SCAM). He auteurs is multimedia also an active member of several sional associations. creators' Since profes 1988, he has been active at the Conseil Belgium Belgium on the 17 at the ULB (Université Libre de Bruxelles). At first, heworked as a journalist and as an author of books, theatre plays and radio dra mas. Since 1993 he is the general manager in Belgium of the inter pean audiovisual works. pean audiovisual Frédéric General Manager of the SACD. Frédéric Young was born in Uccle, budget of 513 M € and co-financed training initiativesfor audio visual industry professionals, the development of production pro jects (feature films, television drama, Euro of documentaries, promotion and distribution the as well as media), new and animation companies visual programmes audiovisual programmes (including support to festivals) port for pilot projects. In the period of 2001 to 2006 MEDIA had a

Participants 96 Recorded” amd Melon Route”,“The Iva both directed by croatianhas direc for“What screenplays the wrote He scriptwriter. a as king wor also is Svilicic Ognjen Festival. process. postproduction Film in is Sarajevo film This the at program Cinelink in participate to has been selected among many screenplays from southeast Europe project next “Armin”France. His and Germany, USA in release trical thea severalfor sold won been Fu”has and Kung For festivals, awards.“Sorry film international 30 0ver on screened been has It Cinema. New of Forum International Festival, Film Berlin 55th at premiere world Svilicic’s had which is picture motion (2004) feature-length Fu”second Kung For “Sorry Festival. - Film 49th Haidelberg at premiere world a had Shark” a Were I “Wish Yugoslavia.former of countries all in TV for sold been has It 2000. in office box top Croatian was It critics. film by Pula in festival film national the at picture motion Croatian best awarded was (2000) Shark” a were I postproduction. “Wish in is one third the pictures, motion feature-length three made has He Zagreb. of in the Academy Arts in Drama faculty directing Croatia. film the Split, from in graduated He 1971 in born was Svilicic Ognjen Screenwriter. SVILICIC(Mr.)Ognjen CROATIA ting, to managing the national film archive and the Cinematheque. marke and distribution over films, documentary and short films, feature of production and extend development the operationsin participation Institute’sfrom The interest. national the in these conserving for and culture cinema and film encouraging and ting The Danish Film Institute. Institute is the national responsibleagency for Film suppor Danish the of Executive Chief manager. Fund Henning DANISH CAMRE, FILMINSTITUTE DENMARK Academy. thesis. onherdoctoral Sheiscurrently working FilmEuropean the of member also is She Biennale. Mediterranean lection, and delegate of Cyprus in the New Artists in Europe and the Col StateArt the Worksof of enrichment the at aimed Acquisition Art of Works of Committee the of chairperson also is she cinema, for bodies other and European in Cyprus of representative official body responsible for consulting thegovernment onfilmfinancing, the of Committee Advisory Cinema the of chairperson is she alia, Inter Department. Cinema the of charge in A´, Officer Culture Cultural and as Education of Ministry the of Services Cultural the working in been has she 1994 Since Europe. and France in cinema of industry the to dedicated program a at Countries, Union pean Euro new ten the from professionals other with together pated, partici she government French the from scholarship laborato a With and ries. programmes scriptwriting various organised and participated has she Contem 1998 since Arts and France”(Fresnoy) des de porains National “Studio the at work, artistic modern and production film short on programme specialised a in cipated parti she 1998 In the newspaper.“Simerini” in critics and reviews cinema publishing been has she 2000 until and time, mentioned afore the During (RIK). TelevisionState Cyprus the on cinema on Nicosia. programme specialised of a presenting was Museum she 1998 to Levention 1996 From the by funded Revolution”, nal Natio Greek the of Visionary Early an historical Diassorinos, “Iakovos study the published she 1994 In France. in Archaeology and Art of History by followed History of studied She Cyprus. Ministry of Culture the of Committee Advisory Cinema the of President CHRISTODOULIDOU,Ellena MINISTRY OFCULTURE ofCYPRUS CYPRUS withslovenianking director DamjanKozole onhisnewscript. wor is Svilicic moment the In directors various series, episodes TV wrote “Bumerang”,15 also a He Hamburg). (Mannheim, Europe in festivals many by invited also is film croatian This Schmidt. Branko director by Route” Melon “The is screenwriter as work latest His Mannheim). (Montreal, festivals many on screened been has awards, and international a several won film This Radic. Tomislav tor ------

Parsa, Lone Scherfig, Anders Gustafsson, Pernille Fischer, Dagur Fischer, Pernille Gustafsson, Anders Scherfig, Lone Parsa, W.Michael Reza og Horsten, Genz Ruben hr.Henrik Hansen, Bo og Fly,Per Madsen, Christian Thomas VinterbergOle Rezazadeh, Amir Kjeldsen, Klaus Christiansen, Lars Arden, Niels Olesen, K. Annette von Trier, Lars others, among by, films graduation especially 350), 300- together (all films short on develop mainly postproduction and on ment consultant a been has he Furthermore, London, Stockholm. München, Berlin, York, New Aviv, tea Tel Jerusalem, guest in a cher been also has He Manager. Department’s maturgy of Copenhagen. Dra and Scriptwriting the been has he University 1988 from Filmschool and 1975 Danish since National the the at professor at a as film worked has He of aesthetic and his literature, tory and language Nordic studied has Rukov Mogens Celebration” “The on (“Festen”) and co-screenwriter Jacobsen’s onSøren Kragh Vinterburg “Mifune”. Thomas with Idiots”,co-screenwriter Trier’s “The von Lars for doctor script was He of Dogma. birth the the in particular, in and, Cinema Danish of revival the in Also Dramaturgy. as the Dogmaknown Doctor, RukovMogens has played and a vital role Screenwriting of Professor Screenwriter. RUKOVMogens workshop Maia programItalian (VR). the MEDIA supported program Scripts & Pitches for 2007 and in the is put to practice in the Danish film business. She is also a partner in development (script) how on Institute Film Danish the for report a public platform for script writing issues and scriptwriters, the other a create to Copenhagen in festivals film biggest 7 the use will that Relay Script a is one - projects different 2 for fundraises currently and to build a stronger betweenbridge them and Europe. She also scriptwriters Danish/Scandinavian for forum first the create to aim the with set has was company Thefocus. international which and local both company a Relay, Script company development and Manager. Valeria Richter (Ms.) is a partner in emerging Danish script Valeria RICHTER, SCRIPTRELAY ture and writing. and ture litera in studies to addition industries. in MBA an and capital (econ.) Sc M. a venture has He and entertainment and game positions the management in Union, the orga to Prior cultural Finland. non-profit in several nisations of member Board 2005. since Union Dramatist’s Finnish the of Director Executive Screenwriter. Vironkatu Markus PYHÄLTÖ, oftheFinnish member Dramatists' Union various filmproductions for several years. in scriptdoctor a as later and consul Foundation Film Finnish the script for tant a as worked has Asikainen cinema. and television both for scriptwriter lance free a been also has he 1980 From tre. thea for adaptations stage and plays written has Asikainen School, Jukka Theatre Finnish the from graduating After Screenwriter. Vironkatu oftheFinnish member ASIKAINEN, Dramatists'Jukka Union FINLAND Prize Competition. Screenwriting International Merill Hartley the in Prize 3rd won he 2005, In production. in are features theatrical more two and tures fea TV two He’swritten write. to started he time same the at but Estonia,EstonianPublic in topmanager workedas he Departments Television2005, until to returning After Development Pictures). Phoenix and Hollywood’s Regency (New a in had La he internship III Then Paris (USA). longer in University Ohio studied and Raag Nouvelle Ilmar Sorbonne 1968, in Born Screenwriter. RAAGIlmar (Mr.), oftheESTONIAN member ESTONIA sion for goodstories, cigarettes, women, art, cinemaanddeath. a about documentary him was made, Recently,where he talks about his pas Klem. Flemming and Strange-Hansen Martin Petersen, Krag-Jacobsen,PeterFog, Schønau Munch- ChristofferBoe, Lauritz Søren Bovin, Maj og Bovin Piaog Tom Golzen, Kainz Kenneth Kári, WRITERS' UNION ------

97 Participants

------SCREENWRITERS the Ver.Di. of member (Mr), VULKAN FILM BAUERMEISTER, BOSCH STIFTUNG ROBERT W.ALBERS, with the “”, the “Adolph Grimme Preis mit Gold” (the (the Gold” mit Preis Grimme “Adolph the Award”, Film “German the with success prices. world other TV a for so several German and had called Oscar) nominated he days” final the – Scholl “Sophie Movie the With coproducer. and writer as – member of the SCREENWRITERS (Mr.), FALKENROTH Christoph GUILD OF GERMANY Screenwriter. Has been working for several nies and broadcasters mostly production for serial formats. He also frequently compa adapts English scripts for the includes German music, academia, and market. several years of His being a freelance- background Manager. Head of Manager. unit (culture and art) of the German trade union media and culture for Responsible 2002. since ver.di, confederation policy within ver.di on the European level. Vice-President of Euro- MEI, the European federation of trade unions, and member of the UNI-Europa Executive Committee. Bleicher-Naglesmann was the of the Vice-President German 1997 Council to Cultural 2005, Mem ber of the Programm Council RTL from 1998 Welle. to Deutsche Board 2003 a member of the Broadcasting 2003, and since member of the SCREENWRITERS BREINERSDORFER (Mr.), Fred GUILD OF GERMANY grew 1946, in born was Breinersdorfer Fred lawyer. Also of Screenwriter. universities the at sociology and law studied and Mainz in up and He Tübingen. finished his with education the degree doctor’s (PHD) in and 1975 to at started of Tübingen practice the University law and adminis on constitutional specialized at law, as an attorney first his published Breinersdorfer Fred 1980 In . in law tration The crime novel. Others books followed. (and later also films) with a guy with a Jean Abel as French called main character, an attorney plays theatre scripts, Film success. a remarkable became background, now contains His work out in came the years. next stories and short four and stories short of row long a awarded and them games of theatre lots two – novels, 12 movies TV time prime 55 than More plays. radio he wrote since 1983. was Fred the Breinersdorfer of president the (VS) and Association he Writer’s is German of member the German In 1994 Fred Breinersdorfer and Filmakademie”. “Deutsche the P.E.N the of candidate as a Parliament Federal German the for office for run he says Fortunately, He closely. the failed SPD, party Brandt. of Willy licence) his not (but job law his dropped he elections the After today. and run are painting His hobbies writer. a and became professional YorkHe ning. thethe City Newfinished Marathon BerlinMarathon, awarded others) (among He was Marathon. Chicago the in 2004 and which took place in Strasbourg in 2004. Strasbourg in place which took GERMANY Frank Director of Manager. arts and culture at the Robert Bosch Stiftung Foundation which is one of the major German which foundations and pursues its Productions Film Joint for Prize a runs objectives it where in Culture” and “Society six departments, filmmakers. among European Eastern Eastern/South them and German young by (Mr.), BARG Werner Screenwriter. Born in 1957. Studied German Literature and guage, Sociology Lan and Pedagogics in Kiel, Marburg and Freiburg. Since 2001 of the dffb screenplay academy in Berlin. Director of Studies of the dffbfocus of activity screenplay/produc tion. Also film journalist, scriptwriter and dramatic Directs advisor. short and produces films and documentaries. Thomas GUILD OF GERMANY Screenwriter. Degree in German language philosophy and and history. Traineeship literary at Eric studies, Rohmer’s und Claude Member Board 1997-2005 From 1982. since Screenwriter Chabrol’s. of the German Screenwriters Guild. Since 2004 holding a profes sorship for screenplay and dramaturgy at the Art College of Media (KHM) in Cologne. (Mr.), BLEICHER-NAGELSMANN Heinrich member, Elizabeth has also worked on struggles for writers at Euro at writers for struggles on worked also has Elizabeth member, pean and international level. She is a RISE, former the festival, F.S.E. president Screenwriters European first and the of director artistic

------December 2006, th member of the UGS (Ms.), VERRY animation. animation. She has also been a feature filmworkshops organizer. union and an active board screenwriter’s Co-founder of the French Elizabeth also Elizabeth Verry, Screenwriter. known as Elizabeth RIO. She is a screenwriter for TV dramas for the last 17 years and lately for fea ture movies and she is a specialist in historical subjects, youth and developed “on spec”, in English), “Paris / Paris”, (Musical, written with with written (Musical, / Paris”, “Paris in English), spec”, “on developed Fidélité). : Producer Méhouel, Aline Mon premier festival 2006 : Prix du Public.), “Dorothy Mills”, (Director : (Director : Mills”, “Dorothy Public.), du Prix 2006 : festival premier Mon Agnès Merlet, in Shooting Ireland : March 2007, in Shoo Produ English, Villiers, Aruna (Director : Synthira”, De Secret “Le : Fidélité), cer ting : September 2007, (Psycho-thriller, Producer : “Link”, Eskwad), Brizé, Brizé, San 2005 Film Sebastien Festival - Prix des et scénaristes des Guerdjou, Bourlem (Director : De L’Atlas” Cavalière “Zaïna, critiques), 2005 - Festival Film Locarno Beaumarchais, de la Lauréat Fondation film, feature (Animation Compagnie” Et Saxo “Piccolo, public), du Prix written with Isabelle de Catalogne, Release : 20 Screenwriter. A Screenwriter. former producer at UGC, Juliette Sales started wri from ofstyles films, in ting She scripts 2000. to likes tackle different filmography Her comedy. romantic or thrillers fantastic to animation includes : “Je Ne Suis Pas Là Pour Être (Director Aimé” : Stéphane rouge“ (1985). rouge“ member of the UGS SALES (Ms.), Juliette Ronssin, memberUGS of the Jean-Pierre (1994) Jean-Pierre Ronssin Irrésolu” Screenwriter. is the “L' writer of and “La Discrète“ (1990). He has also written the TV series “Souris (1987) as “Sortiewell as the de “Bâton noire” films bain“ (1987) and teral relations with foreign authors' with teral relations societies foreign and of the promotion of the model of collective administration of authors' rights in the field. audiovisual sents sents 41.000 authors in the audiovisual field (cinema, radio, television, animation, interactive creation, performing still arts images) (theatre, and dance, in music, bila of development the of charge in specifically more is Géraldine stage the direction, circus). SACD (Ms.), LOULERGUE Géraldine Deputy Director of International Affairs ofThe SACDFrance. SACD (the French society of Dramatic Authors and Composers), repre He has published two Star TPS prize the novels, won “Guratik which Laffont) (Robdert Anilor” 73” hiver (éditions “Idaho, and Séguier) art. the seventh for Carthagena, “Après l’amour”, (“Love after l’amour”, Carthagena,“Après Love”) directed by Diane Kurys, “Morasseix”, directed by Damien Odoul, “K”, by Alexandre Arcady, and is currently working with Joffé, directors Olivier such as Torrès, Arthur Jean Christophe Klotz, Oelhoffen. David Screenwriter. Screenwriter. Born in 1957, a graduate of the French Film School IDHEC, Antoine Lacomblez has written over twenty films, among which “Oriana”, directed by Fina Torres, which won Camera at the the Cannes Golden Film Festival and the Best Script Award at Ouest” (1999), “Himalaya” (1999), and “Un homme sans l´Occident”. “Un homme (1999), sans and l´Occident”. “Himalaya” (1999), Ouest” TV films and series. a number of He has also written memberUGS of the (Mr.) LACOMBLEZ Antoine member of the UGS GARDEL(Mr.), Louis Screenwriter. Louis Gardel is the writer “Est- (1992), “Indochine” of to to screenwriting, with one comedy thriller broadcast by France’s second channel and several other projects optioned. Is currently writing a screenplay about Down’s Syndrome. Board member of union. screenwriters the French memberof the UGS (Mr.), BESSERGLIK Bernard Former foreign correspondent for an international press agency and occasional film critic. Bilingual, French-English.latecomer A and films for television : “Mis “Quatre copains“ (2001), (2001), “B.R.I.G.A.D.” bouteille“Kiné, en La” (2000) TV château“ au (2005), Series, “Mirage noir“ (1998), “Micro climat“ (1998), “La Guerre des (1996). moutons” FRANCE member of the UGS (Mr.), AUCLAIR Jean-Marc Jean-Marc Auclair Screenwriter. has written a big number of series

Participants 98 Wdw” 19) Voo : one b te os (03 and (2003) Dogs” the by Mounted : “Voodoo , (1998) “Widows”, the dffb inBerlin. Her films include Films “IIrren ist Männlich” at (1996) screenwriting Teaches Academy. Film 1992. German the since of Member Screenwriter magazines. German and American for journalist free-lance as worked she 1986 From Sydney. Uni of the versity at Philosophy in Degree Arts, of Bachelor Screenwriter. GERMANY Kit HOPKINS(Ms.), oftheSCREENWRITERSGUILDOF member turgy at theInternationalFilm Cologne School (ifs). andthe screenplay/drama for (udk) Professorship Arts Berlin. Workshop the Screenplay of University Berlin dffb, the at positions Since Berlin. Workshop then working as director, Screenplay writer, cinematographer. the Several teaching by Stipend (dffb). Berlin Academy TV and Film German the at Studied sociology. and ture litera sciences, media in degreeMaster’s 1956. Screenwriter. Born OF GERMANY Peter HENNING(Mr.), of theSCREENWRITERSGUILD member of Guild Drehbuchautoren). Deutscher Germany (Verband Screenwriters' the of board the of member a is he 2003 Since publishers. and computer-magazines several for journalist 2005 with the publication of “Der Schachautomat” with Piper inbreak-through Verlag,camebig published.His been have them of two plays,theatre ten written has he 2005 to 1996Competition. From awards. In 1997 he won the award of the 6 receivefestivalseveralto on wentAlbrecht, andNicolai b directed wroteprogrammes.he 2004 “Mitfahrer”other InTV and was which Berlin, which he finished in 1998. He the has written for of the Sesamstrasse graduates first Screenwriting Faculty the of the German Film to and Television belongs Academy Löhr in Robert Screenwriter. OF GERMANY LOEHRRobert (Mr.), oftheSCREENWRITERSGUILD member catalogue Their films. includes several festival winningfeature filmsandanimations. qua arthouse of independent sale and and European promotion lity the in specializes which company sales world a İNT, MDC at Sales of Head the is Marta agent. Sales LAMPEROVA,Marta MDCINT. trical release. He also works as a and story editor.among them “Tell”, “Flush”, andmovies. TV “Kilimanjaro”,Since 1997 hewrites screenplays for both “Howtelevision to - Spell Love”wrote - andand directedthea several documentaries, 1987-1995 he Angeles. Frommusic Los Institute (AFI), videos, Film American the commercials Screenwriting in MFA from aTübingen,University of Germanyand from Sciences Social in degree Masters a earnedScreenwriter. He GUILD OFGERMANY Jurgen (Mr.), LADENBURGER ofthe SCREENWRITERS member “Creative Screenwriting” 2007). (uvk, of invention and narration in the cinema” (Nefeli, Athens 2006) and coproductions in film and television” (Nomos Verlag, 1992),“The art (2001-2003). Christina Kallas is the writer of three books : “European Starck”& series “Edel TV-awarded German Best as well as 1998, in Festival Film Berlin the of competition official the in Mueller-Stahl, Festival in 1997, Film Commissioner”,“The Munich and Armin John starring Hurt the at Award Film Lies”, First “Love 1994, in Festival Film Thessaloniki the of films competition “i.d.”,international the feature in a.o. include Credits Thessaloniki. of University Aristotle the of Department Cinema the at 2004 since and Berlin, in demy Aca Televisionand Film German the at 1998 since screenwriting teaching is She Germany. of Guild Screenwriters the of presidium the of member a Academy,Filmand German the of and Academy FilmEuropean the of member voting a is She development. script of financing the the of for Commission member FFA Board a Film Federal and German 2003, in Rikaki) L. Film with Thessaloniki (together the Festival for created director she which artistic Fund, the Balkan the also of is She of (F.S.E.). Federation Europe the in of Screenwriters president the and producer Screenwriter, SCREENWRITERS GUILDOFGERMANY (Ms.), F.S.E.Christina KALLAS President, ofthe member the Volkswagen Screenplay Award inSilver 2006. and 1997 Screenplay Best for Award Film Bavarian the them “A Wedding at any Price” (2006), she has won several prizes, among th Berliner Youth Literature ------

Board FFA. Lives andworks inLos Angeles andinBerlin. Film German The of Commission European the of Member Berlin. dffb at Screenwriting forGuest-Professor TV-. a also one novels, published Award-winningTwoTwo-Part-Miniseries.Egger, Urs Eichinger,Director : Bernd by ProducedConstantin-Film, Ball”) 1995. “Opern-Ball”,in (“Opera FilmHit, 1997, German grossing highest Box-Office - Wortmann Sönke : Director Eichinger, Bernd Producedby Film, Constantin 1995, , Superwife”) (“The Superweib” “Das : (selection) Screenplays Produced LMU. University, at Munich Literature and Drama in Arts of Master Novelist. Screenwriter. GUILD OFGERMANY Leni OHNGEMACH (Ms.), oftheSCREENWRITERS member copyright. film law,constitutional sion, copyright,particular lawand in media succes of law law, contractual of field the in publications Various Konstanz. of University the of Society and FoundationSciences for the by awarded contracts and copyrights cinematographic about in Bielefeld, Law Strasbourg and Konstanz. Conferral of and a doctorate : thesis Media Romance, Studied 1971. in Born expert. Legal Eva OBERGFELL Ines (Ms.) media law, law. real estate andproperty and press law, copyright and cinematic in on activity (VDD) of Focus 2004. Germany of Guild Screenwriters the of lawyer became and 1998 in firm law own his founded He 1993-1995. University, Humboldt Berlin at Law European and International for Institute the at Assistant Scientific Berlin. Münster,and Parisin law national Inter and European German, studied 1964, in Born expert. Legal Henner MERLE(Mr.) than 20 publishing houses all over the world. screenplaya turnednovel, published whichbewentto moreon by taeak o nwoes n h fl bsns. anr Werner Rainer business. film the in newcomers became for rapidly trademark a name department’s The directors. and authors young for workshop ZDF/ development a 1963 was Fernsehspiel in kleine Das beginning the from Right Editor. Commissioning Joerg SCHNEIDER,ZDF/DAS KLEINEFERNSEHSPIEL Guild ofGermany. for Screenwriters the produced of board the scripts of Member 30 cinema. and television of total a with 1991 since Screenwriter shorts. several directed and produced Wrote, Munich. in losophy phi and science theatre literature, German Studied Screenwriter. GUILD OFGERMANY ROESKAUBenedikt ofthe SCREENWRITERS member (Mr), : style and “Grbavica”, originality “Lights In The Dusk”, statement, “Euphoria”, and story “Half Moon” andothers. established through distinguish themselves films both Factory’s Match by The talents. vision new and and directors signature of works new sents repre Factory Match The company sales film World Agent. Sales Tobias PAUSINGER, (Ateliers duCinéma Européen) ACE of FilmAcademyand German the of member a Paulis Roman Cycle”July,CremasterBarney. Miranda Know” Matthew by “The by We Everyone and You and “The as “Me Weingartner, Hans such by Edukators” films discovering for responsible been has Roman career acquisitions long his year’sFestival.Film this In Thessaloniki at screening also is which Akinci Buelent by Empty” and on “Running 2006 Globe Golden the won which Assad, Abu Hany by ted Dreams World Sales. productions include His “Paradise Now”, direc Celluloid for Advisor Acquisitions the recently until was GmbH and Berlin Produktion Film Razor of Director Co-Managing the is he 10/2003 Since 2002. to 1999 from Angeles Los and Berlin Film, tor Sena Acquisitions, International of Head the be to later year one sitions as assistant with Prokino Filmverleih, Munich and moved on University,careeracquihis in began he Frankfurt.studies his After Japan. Goethe Takamatsu,from distinction with degree and M.A. his received he Paris 1997 In York, New Frankfurt, in Literature studied Theater, Film and and American and German has West-Germany.He Frankfurt, in 1968 in born was Paul Roman Roman PAUL, Films Razor THE MATCH FACTORY ------

99 Participants

------member of the SCREENWRITERS' WEINGES (Mr.), (Mr.) WOLFF member of the SCREENWRITERS GUILD WILHELM (Ms.), tional Supplement. He is the editor the of “Brainstorm,” creativity now available as newsletter, an Internet e-bulletin. He still devotes most of his time to writing for television and film. States, he In wrote theand for “Family United Ties,” sitcoms including “Benson,” Spitz,” “The Real Howard film, the feature He wrote “The Boat.” Love starring Kelsey Grammer and directed by Vadim Jean. He has also written a number of TV movies, including two starring the Olsen Twins, and been a script doctor for films and TV“Mannequin”. He films, co-created including the German comedy series, “Lukas,” which ran for 65 episodes, the animated “Norman series, Normal,” which airs in Germany, Spain, France, and many other countries, and contributed to many series, “Die including “Nicola,” Camper,” Uwe OF GERMANY Screenwriter. He studied at the J.W.Goethe furt, University German in Literature Frank and Philosophy. He graduated Folkwang-Schule, from Essen the as an actor and worked from as 1984 an to actor 1987 at he the Stadttheater Hannover. Essen He and wrote two Staatstheater theatre play, “SOS,“ and “Mayday“, both and on went Verlag to write more published than by 120 S. Fischer Screenplays for TV-Series Marienhof, Auf Achse, Wolfs Revier and from 1986 to 1993. Trotzki Since then he a TVwrote big number of and some cinema films,“My among directed Girl them Rosemary”, by Bernd “Die Eichinger, directed Halbstarken”, by Urs Egger and directed by Nico Hofmann. He also Tag“, “Es geschah am hellichten wrote Bandits, directed by Katja von Garnier “Gebrüder and Sass”, novel. finishing his first Rola. Carlo He is currently by directed Jurgen Screenwriter. He is also vity a expert. teacher, His hypnotherapist courses include and “Beyond “Hypnotic“Create and Brainstorming,” Your Writing,” “The Future,” creati Creative Breakthrough and have been presented at the University of Southern Workshop” California, the University of Barcelona, the Skyros Institute, many films schools, and groups organisations and including demy The Aca for Chief Executives, bia-Tri-Star. His Egmont, books Grundy-UFA, include and “Do Something Colum Business Different” Books), “Successful (Virgin Scriptwriting” (Writers Digest Press), “Top Secrets : Screenwriting” (Lone publica many for Eagle written has He Press). Press), Martin’s and (St. “Successful Writing” Chronicle, Francisco San the Times, Angeles Los the including tions Educa Times the for column Coach Life a and Magazine, Broadcast with director Lars Büchel, “Solino”, which was directed by Fatih Akin, Fatih by directed was which “Solino”, Büchel, Lars director with and directed for by the TVHermine “Romeo”, Huntgeburth, movie she received the Adolf Grimme award as well as the award. German For TVher latest screenplay “Emmas Glück“ which she wrote together with novelist Claudia Schreiber, she won Filmfestival. of the Hamptons the Award “Starfish“ GUILD OF SCREENWRITERS (Ms.), UPPENBRINK Katharina GERMANY Managing Director of the Screenwriters Guild of BornGermany. in 1965. After training and studies in Berlin and London, she worked for various publishing houses licensing. In 2002 she in became Managing Director of distribution, the German been also has she 2004 Since PR. on focussing marketing Guild, Screenwriters' and responsible for the national guild’s and international political acti vities. Philipp GUILD OF GERMANY Screenwriter. Born 1960. Weinges worked a few years in different jobs as cleaning man, tourist guide and griller. In the late ‘80s he started writing German -versions his sold for he structure” “Story American seminar McKeesRobert attending sitcoms. After which“Alone becamefirst among a script women”, major German dif Knarr Günter with together created he ‘90s the In hit. office box ferent scripts for screen and TV. In 2000 they decided to produce their scripts The by company themselves and “rome-film”. entered produced four TV-movies and one sitcom-pilot. In 2004 they left rome and founded a new which “Crazy company produced Film”, inte Main productions. other two prepares now TV-Movieund one Thrillers. and Comedies are rest for which she received the German screenplay award together with together award screenplay German the received she which for director Rolf Schübel. She has received further screenplay awards, for the films,for the “Erbsen screenplays auf halb together sechs”

------! (Ms.) TOMA November 2006, “Bye Bye Blackbird”, 30th November 2006. 30th November Blackbird”, Bye “Bye 2006, November th among them the most celebrated and successful “Gloomy Sunday”, Sunday”, “Gloomy successful and celebrated most the them among Munich, state examination. From 1992 to 1994 she studied at the just established study course class “Film“ First Steinbach. Peter at of scriptclass the in Bohm, Hark the direction university Hamburg, honours. She has written nine TV movies and seven feature films, 16 Ruth Screenwriter. Studies at the “Akademie der Bildenden Künste“, duction of feature films,for the international and german market, of Hol of the feature second Development Productions : 2006 (Co) ger Ernst - preparing a slate for MEDIA Europe. Preparation of the 2006 feature, Wenders “ThenextWim Releases : House is Burning”, cinemas. cinemas. The shooting for the new feature film “The house is Bur took place in the ning” USA and was finished in summerThe 2005. project from the highly talented author and director Holger Ernst will be released in November Germany, 16th 2006, Activities : Pro tional has coproduced the “Landfilm ofby Wenders, Wim Plenty”, with Indigent/IFC, USA. The movie was shot USA, it´s in world Festival was the premiere Film held Venice at the in fall 2003 in the official selection in 2004. In fall 2004 the film opened in German SIEGEL, REVERSE ANGLE PRODUCTIONSKatja Producer. She produces for Reverse Angle International, based in Angle Internatio 2003. in Reverse the year founded was Hamburg, Interna Angle Reverse coproductions. international on focuses nal der that Tobias Siebert is now in the managing committee of the German screenwriters guild. His motto : Fight for your right Mister brighter will shine even on you and the light Writer writers in Germany. He wrote 15 comedy movies for television with television for movies comedy 15 wrote He Germany. in writers for the cinema and “Schwabinger Girls” about 80 the reruns, movie the “HenryHis play and MA thesis Fortuna”. was about the under valuation of the screenwriters work in German cinema. No won OF GERMANY Screenwriter. Master of Arts in communications, psychology and economics. Tobias Siebert is one of the most successful comedy “Rio Rita” was selected “Rio and “European ScriptRita” promoted in Mar the ket“ 2005. in Cannes member GUILD of the SCREENWRITERS SIEBERT (Mr.), Tobias great great success in German cinemas. For the German-Turkish Direc tor Buket Alakus he wrote the “Kein drama Weg zurück“ (“No way back”). Daniel’s latest project is the screenplay “Rio written Rita”, with Christian Blümke, for the Finnish Director Mika Kaurismäki. Florence Florence and Istanbul, he obtained his Hamburg MA in 1995. at Subsequently he the studied screenplay-writing at University of the AFI. He has written among other an screenplays “Süperseks”, with released was which Pamuk, Kerim with ethno-comedy written member SCREENWRITERS GUILD of the (Mr.), Daniel SCHWARZ OF GERMANY Screenwriter. After studies in Turkology, Literature and Film in “Blauäugig“, directed by Reinhard Hauff, in competition in Venice in Venice in competition in Hauff, Reinhard by directed “Blauäugig“, 1989. Since then she has written more than twenty TVand movies including several episodes for the famous German TV crime series “Tatort”. (München), Filmakademie Baden-Württemberg (Wien), ZDF-Auto Drehbuchforum (München), Drehbuchwerkstatt (Ludwigsburg), conti formation de Fondation the at and renförderungsprogramm, nue pour le cinéma et l‘audiovisuel (Lausanne). In 1988 she wrote GUILD OF GERMANY Screenwriter. She was a student at the Hochschule für Fernsehen und Film (HFF) in teaching screenwriting Munich, at the at Hochschule für the Fernsehen & documenary Film class. She is 3 international fiction 3 international films. member of the SCREENWRITERS (Ms.), SCHOEN Dorothee In cooperation with arte they coproduce international first feature by Jasmila Žbanić.“Grbavica” filmsEach year like theycommission 23 new german to up coproduce and productionsforms hybrid and pieces experimental essays, covering fiction, documentaries, are are just some of the many filmmakers who haveworked with the Kleines Fernsehspiel. In more recent times talented new German filmmakers began their careers there, including Christian Petzold, Fatih Akin, Oskar Roehler, Hannes Stöhr and Angela Schanelec. Fassbinder, Fassbinder, Jim Jarmusch, Theo Angelopoulos and Agnès Varda

Participants 100 nars for screen writing with John with forwriting screenSouthwest,Trubybynars South the in semi attended He (1984-87). FilmSchool LykourgosStavrakos the at directing film studied He 1966. in Athens in Born Screenwriter. of Greece Nikos (Mr.), APIRANTHITIS Guild oftheScriptwriters member GREECE Screenwriters' Guild. Germans the of Director Managing Assistant 2005 Since Berlin. in Journalism Studied films Berlin. in youngsters of integration short cultural on Various Pedagogics. Media in Diploma 1974. in Born Andrea ZEITINGER(Ms.) new comedy for series Germany. a and writers, for management time about book new a novel, first time his on hisworking currently is and Angeles divides Los and London between Jurgen London. and Angeles, Los York, New produced in plays had also he’s and Berlin, in Theatre Gorky the at Mother,”produced play, “Killing was His Department. Programme Children’sBBC the to consultant a been Atze,”has “Allesand and ting, direction & photography). In some of these films, also com also (scriptwri films, these of full length some In and photography). & direction ting, short in films cinematographic Shot daily & periodical press : articles, satyrics, chronographs and essays. in Published documents). poetry, (prose, published been have his of books and operas) light & (prose plays theatrical mounted and ofPhotography.of Cinema&Direction Direction Since 1945,wrote Superior School Commerce, (harmony-composition), Music of School of Drama, of School School of Graduate Rome. and Athens, Screenwriter. Born in Thessalonica in 1927. Studied in Thessalonica, ofGreeceNikolaos Guild oftheScriptwriters BILILIS,member Maria to concentrate on promoting and directing all three projects. allowing writing, the over taken now has who Katsaros Stathis by Script Workshop (Budapest), but then turned intoKatapult a proper comedy the through comedy romantic a initially as was Maria Water”,by of developed Out “Fish one, third Talent The year. New last Media Award the won Treasure” “Judas' second, the while was commissioned by the GRAFI program of the Greek Film Centre, City”,first, “Beautiful The them. direct eventually to hoping scripts awards. and Since 2003 Maria has been developing three ET1, feature length TV Greek on shownFestivals,Film quality whereIsland” various two awarded was “The were (50´) Island” “The and (30´) Bridge”“The films, her of Twocommercials. of lots and mentaries, docu two films, fiction length medium and short of number a ted Film and Television of School England. has writtenMaria and direc Athens University, studied film direction and writing at the National from History Byzantine of graduate a Writer-director.Douza, Maria (Ms.) DOUZA Maria theAthens on wasbased (2005) Olympics. Athens” “Planet the film by last chosen His was 2001. for films best millennium, 10 the among Mosoulis the B. cineaste Australian on “2000+1 based feature (2000), fourth Shots” his while FF, Thessaloniki International the at Award Actress Best the won B&W, in also Devil”(1997), The For Sympathy film,“No second His . Greek in film Berlin” cult a became and “Addio mentions national B&W, feature three in gained (1994), first His architecture. and he cinema where Athens,studied in born was Athanitis Dimitri Writer-Director. ATHANITISDimitris (Mr.) for script 2000. Best theyear 1998. TV Came Late (“LoveOne Day”television etc.). Best for adaptation for written Drama TV for the also year has He 2003. director), the with collaboration in written (script Thomopoulos Andreas by directed with Panagiotis Pashidis), “Love me Do” (Na M’Agapas), Feature film collaboration in written (script section 2006 Films Greek the at IFF directed byand presented Savvas Karyda at this year’s Thessaloniki since Board the 2002. His filmography includes of “At the Limits” member (Sta oria), feature film 1998, since Greece of Guild twriters Scrip the of member a is He since1993. scriptwriter a televisionas in works He (Rome). Union European the of Programme II Southwest, Media by South in Vogler Cristopher with script seminars and editing (Athens) Union European the of Programme II Media ------

cenrtr Bt lo rdcr n drco. ersnaie of Representative director. and producer also But Screenwriter. of Greece Alexandros KAKAVAS (Mr.), Guild oftheScriptwriters member ALPHA TV, 2002-03. Kimoulis, 2004. K. by directed episodes TV, 26 series, Patra-Venetia,comedy ANTENNA Papakonstantis, D. by directed episodes series, comedy 20 carrier, Sole 2003. since Greece of Guild twriters' since copywriter sinceoftheScrip 1994 andatelevision 2001.Member scriptwriter advertising an as and works She Psychology Paris. Studied in Sociology 1967. in Greece, Thessalonica, in Born Greece HATZIGRIGORIOU,Maria of Guild oftheScriptwriters member 2003, KinitroAward, Greek Film Centre, 2003. of Ministry Greek 2003 Culture, the of Award Quality 2003, Nikoleris, Christos 2004 Culture, of Ministry 2004 Kechagias, Vassilis by directed 2005 Kechagias, Vassilis by directed short, Cut”,“The 2005, Nikoleris, Christos by directed fiction, short, (Protec tion), “Prostasia” includes of filmography His Guild 2005. Scriptwriters' since Greece of Member Journalism. and & Archeology History studied He 1970. in Thessaloniki, in Born Screenwriter. Greece Panajiotis of Guild oftheScriptwriters IOSIFELLIS,member of Greek &foreign Newsreels. TV correspondent & director occupation : Main cinema. of technique & history the to related television in shows of hundreds presented cinema, drama of & journalism from schools 1949 till in nowadays. Produced teaches and still & taught Has festivals. film foreign and Greek from distinctions honorary & prizes Won music. the posed in riig rm ATO Porm f E. rt atce for articles Wrote EEC. of Program CARTOON from Training tion Anima (“Chicken-Town” and Script-writing ) for support financial Awarded EEC) the of Program (MEDIA REGIONS THE AUDIO IN VISUALS projects the in Participated Athens. AEGOKEROS, Editor Dinosaurs”, and “Cinema Publications Friends”,etc. - his and “Joey City”,the of Tales”,“Truck Pearl cartoon-series. “The TV of duction director Angelos Rouvas in the creation of ten concepts for the pro cartoon with collaborated and Company Animation TOONSBAND BIG Founded Animation Festival Film Thessaloniki research, and script for Prize FirstERT. Producer : Documentary Valley”(30’) rine Special Mention, ECOVISION Festival of the EEC, Birmingham “Fluo Caretta” (52’) Documentary, Producer : ERT (Greek proRadio-Television). Independent Festival), “Carretta,Film (Salonica Feature (75’). Best Prize, First Desert” duction. the of Cathedral “The radio. : and Awards cinema TV, Greek for producer and director Director, Uni PanteiosHND.FilmLondonSchool,Film Political versity,Sciences in Degree at Studies 1956. in Athens in Born Writer-director. Stathis KATSAROS which was stagedin Teatro Technis, London. Sexual Immortals, FemaleHuman Harassmentthe on etc.) playsand Mary’s foras Choice Place A : Olympus Mount Monachus, pius Greece, Aegy in MP woman first the (E.Skoura, documentaries ten writ and research done also has He Awards. GreekTV 2001 the in series drama best for award audience the won Circle”which Red “The series TV mystery of Writer ) Merit of Mention a received he where Poland in Buku & Ismailia Asolo, Aarau, Shorts, Hollywood IFF) CyprusCorto Arlon, USA, “Cross” CA, & Tiburon,NY (Ifct, of Festivals Film Int’al FFF,TransilvanianBioreykjavik, DaKino, Festival,Foyle,Taormina,Voladero, at Film Prize Fantastic (Direction Athens Doll” 2004 the “The Foyle) Olympia, DaKino, Tehran, Montpellier,of FestivalsFilm Awards.Int’al State 2005 the at Merit of (Mention Promise” “The shorts the of writer/producer/director Tasks”and me”Hazards etc. love & “ArduousNovember”, you “Say City”,of the “Stream”, Secret over “The “Wind Also 1995. in Award State the and Festival Thessaloniki 35th the in Award Screenplay Original the him Era” won an of “End which of of films Writer feature long Directors). Film “micro”(Short of president vice ex and Committee member), AIDAA (ex member of the Board of Directors) ber of SAPOE (Independent Producers of Greece), INCD (ex Steering society). (Collective Mem FERA. in SADAGuild Directors Greek the of representative of Elected Directors of Board the of member Elected Scriptwriters Academy. Film European the the of Member of Greece. of Guild President etc.. Media Eurimages, in Greece ; “Izabel”, short, directed by Arsenis Polimenopoulos, Arsenis by ; directed“Izabel”, short, “rkma (tr) sot drce by directed short, (Storm), “Trikimia” ; Qaiy wr o te Greek the of Award Quality ; ; “Cheap-dayz”, short, short, “Cheap-dayz”, ; !Porto, ------

101 Participants ------member the Scriptwriters of (Mr.), TATSOPOULOS magazine. Television magazine. A Television greek coffee please,comedy series direc ted by St. Fasoulis, scriptwriter in 7 from 18 episodes, ANTENNA, Rallis, ANTENNA, St. series by comedy directed “Barbarities”, 1995. comedy series the “At directed Psychiatrist”, 1993. by K. Kimoulis, ANTENNA, 1991. Petros Guild of Greece Screenwriter. He was born in Rethymno-Crete, Greece in Writer 1959. of novels such as “The 1989 since Association Heart Writers the of of member a the is He Beast” and “The Appearance”. First RAPTIIoanna (MS.) Legal expert. In year 2000 she graduated from the Law school of Athens, in 2002 she completed her MBA-Audiovisual & Multime dia Business Administration (Media programme) in Athens and in year 2003 the LLM (Intel.Property) programme of University of Heidelberg, Germany. Since 2003 she cooperates with the legal department of the Greek Collecting Society of authors-directors Guild Greek of advisor legal the is she 2005 June since and (SADA) F.S.E.. at of Scriptwriters and representative member the of SANDERS (PANAGOPOULOS), Andreas Scriptwriters Guild of Greece Screenwriter. Born in 1963 in Athens. He started his career as journalist a in 1980 working with daily logy and Sciences press. Political in the US. He worked in Eleftherotypia He studied Socio newspaper (1988) as an editor while in play the theatrical the meantime wrote he 1990 he In shows. wrote radio several for scripts Odos Koutoponiron, which was played in Atheneon theater and He Chronopoulos. directed studied by D. Acting (1989-93) in Akis workshop Davis' and and he Roula has Pateraki’s been one of the cornerstones of the Arodon union and Alkmene theater. During the period between 1990-95 he wrote play scripts for TV shows, and from 1998 to 2002 he taught in the Industrial Design Center (CAID) and the New Technology and Media Lab of sity of the Athens. In Univer 2000 wrote the theatrical comedy Europolites, which was played in the Ancient Theater of Delphi, directed by Katranidis. D. In the meantime he worked as a journalist in news theatri essays, several wrote he and radio and magazines papers, cal scripts, articles and worked with the translation of books and Thessalonica theatrical He and plays. lives he in is the chief editor of the newspaper Aggelioforos and the director of the Sunday member the Scriptwriters of Guild (Mr.), PASHIDIS Panagiotis of Greece Born Screenwriter. in Serres, Greece in 1964. He studied architec ture and worked as a theater set designer. He has written plays, feature films and TV series. Μember of the Scriptwriters' Guild of Greece since 2003. His filmography“At includes the Limits” (Sta this at Savvas presented Karydaby and directed film feature oria), writ section(script 2006 Films Greek the at IFF Thessaloniki year’s Poor “TheVery with in Nikosten collaboration 2006, Apiranthitis), (Pamptohi Inc.” A.E.), feature film directed Antonis by Kokkinos, script by Yorgos Kotanidis. Drama supervision as 2 short2000, as well films. and dialogues, RAISIS, screenwriter Vassilis BSc in Screenwriter. (University of Ioannina), BSc in Philo sophy (University of Ioannina), PhD in History and Philosophy of Sciences (University of Athens). Scripts for feature films (co-wri ter) : 2006, “The Son of the Director D.Koutsiampasakos; Guard”, shortfilms for Scripts Director S.Niziris. , God” like Chef, “Like 2004, “What, Director M. Makris; “Dry2003, Cleaning” (co-writer) : 2005, Two”, for “Table Director E. Fragkiadaki; 2002, Swims and Laughs”, Director C. Psomadelli; “Wrong Director S.2000, Century”, Niziris; Director S.Niziris. Theatre “Miracles Avenue”, 1998, on Alaxandra’s plays (performed) : 2006, “Stories about Direc Marriage Threat”, tor M.Kalbari – “Theatro Tehnis - Karolos Kuhn”; 2005, - Theatro Adios “Ethniko 2003, Horos”; Director M. Zeibel - “Human Beans”, Horo-roes”; - T.Abazis Director Pot-Man”, the and Sisters Three “The “In 2002, old Director – fashioned P.Kapsalis Bar glass”, theatre in Director D.Sklavos problem”, “Grammes”; “Polite – “Costa’s 1999, “Stoa”. – Th.Papageorgiou Director : problem”, “Costas' 1994, hno”, Miroslav Miroslav Mandic, Professor at FAMU, Prague, & HFF Munich, Germany.

; ------; Jan Fleischer, Head of Screenwriting Department, Head of Screenwriting UK NFTS, ; Jan Fleischer, draft, through a process of workshops that emphasize story and the dramatic components of the screenplay. Some of the most established teachers of screenwriting and dramaturgy from the USA and Europe are engaged as trainers, advisors and lecturers in this intensive program : Professors Lewis Cole, Nick Proferes & York, New at Division Film University’s Columbia of Jelinek,Milena USA screenwriters screenwriters and directors from Europe and the Mediterranean region, teachers of cinema and accomplished professionals from the U.S. & European film industry. Activities MEDIA the of initiative training : MFIscreenwriting advanced an is Scripthops Works PLUS Training Programme. Essentially a script development and writing program, it consists of 4 Its primary the participating fully develop objective is to projects, intensive workshop sessions. from extensive outline or treatment or rough firstdraft to final directed by S. Rallis, ANTENNA, 1994. “Taurus vs Sagitarius”, series directed by vs “Taurus S. Sagitarius”, Rallis, ANTENNA, 1994. directed to by “Talk my lawyer”, M. Manoussakis, ANTENNA, 1993. ANTENNA, 1992. Papakonstantis, D. series by directed Institute Film Mediterranean PAPAIOANNOU, Apostolia Manager. The Mediterranean Film Institute (MFI) is a audiovisual European training organization. Established become in a 1998, it center has for activities that bring together talented sion. Television : “A smile”, sion. teleplay, Television : directed “A smile”, by N. Grammatikos, adaptation, the from by novel “The of women ET3,her Life”, 2003. “Dream ET1,2001. Palligiannopoulos, Ch. by directed Divani, Lena a little dream of episode me”, of Erotic Tales directed by A. Kok teleplay, kinos, directed “Exodus”, 1997. by N. Grammatikos, ET2, documentary, direc “Reflections ofAthens, an 1996. inside view”, ted by A. Kokkinos, ZDF/ARTE, “A 1995. life series for direc Elsa”, ted by V. Tselemengos, ANTENNA, 1994. “The Holly series Four”, ber of Scriptwriters' Guild of Greece since 1997. His filmography includes the feature films “The Wake” which won by the 2nd Prize for Best Nikos Film in the 2005 Grammatikos, State Awards, “Totally Married” by Dimitris Indares International Competition (Best of Thessaloniki Screenplay IFF) 2003, at “The King” the by Nikos Grammatikos, (Golden Pyramid Award-Best Film at the International Film Festival of Cairo) 2003, “My Brother and I” by Antomis Kokkinos 2002 and other feature films, short andtelevi TV & Film Production company (1992-93). He also worked as an assistant trainer at the MFI screenwriting seminar (2000-05), as a script Grafi,editor a offor script the program Greek development Film Centre (2001-03), and a trainer at the nars screenwriting semi for Microfilm (a program for short Greek film production National Television) 1999-2004. by the He works as a free screenwriter-novelist lance since 1993. He also teaches Screenplay at Stavrakos Film & Television School of Athens since 1998. Mem (1983-85). He participated in several scriptwriting seminars such as Script Craft (Athens 1993), EAVE Europe 1993, Script develop ment & writing program of MFI (Mediterranean Film Institute) at Kalamata (1998) and Athens (1999). He worked as a journalist in the Arts Section of the newspapers Eleftheros Tipos tis Kiriakis and Tipos (1989-92) and the theatrical magazine Ekkiklima. Co- host of Vivliorama (weekly book review for National Television, 1991-92), and in-house writer and script editor for POLLUX, a lege, lege, Athens. Member of the Board of the Scriptwriters' Guild of 2004. since Greece Member of the Scriptwriters (Mr.), PANAYOTOPOULOS Nikos Guild of Greece Screenwriter and novelist. Born in Athens 1963. He studied Civil Engineering at TEI Piraeus (1981-85) and ski’s Drama System at on the Stanislav Hellenic-American Union with Conrad Eure Born in Athens in 1960. Drama He School studied and Drama at at the script-writing Pellos seminars by Athens Jan Katselis Fleischer (MFI, 2001) Conservatory. and by Irakli He has He 1984). Center, attended Film Greek the and Center (Script Kvirikadge been acting in the theatre since 1981 and participating in more than forty plays. He has also acted in a variety of short and fea ture films. He taught dramaat the National University of Athens, Theatre Studies Department and Scriptwriting at the AKTO Col “TRAM” “TRAM” magazine. Wrote lyrics for composer Dimitri Papadimi the of member a is He music). and (lyrics songs Greek Wrote triou. Directors. of Greek Association member the Scriptwriters of Guildof (Mr.), MAKRIS George Greece

Participants 102 Greece Dimitris by for afeaturestory filmdirected by G. Panoussopoulos, 1995. directed film feature the for Markos Holevas, 2001, and “Love novel Knot” Katadissi), (Eleftheri original name his of adaptation includesfilmography “E-mail”, His Greece. of Guild Scriptwriters' of Board the of PeriodicalSecretary General of 1992. since member Union Press Electronic also is he and 2001 since Scriptwriters” Greece of of Guild member is He 1986. since magazines in mostly and newspapers in writing been has Athens.He in Colleges at tion Geology, studied He at Media the Athens University, Film Journalism, Arta. Writing and Direc in 1961 in born was He Screenwriter. Greece Dinos directed by Yorgos Panoussopoulos, 1981. film feature (co-scriptwriter) Apenandi), Love” (I Foolish “A1983), Festival,Film International Award, Thessaloniki Director New (Best 1983 Doxiadis, Apostolos by directed film feature (co-scriptwriter) diadromi), (Ypogia Passage” “Underground : includes mography fil His Greece. of Guild Scriptwriters the of member founding and organizer of the Central European Pitch Forum. Activities : script script : Activities Forum. Pitch European Central the of the organizer also is FadeIn training. and consultancy related and scrip twriting television and film feature with dealing initiative pendent inde an is Consulting Script FadeIn of manager Screenwriter.And KRIGLER Gabor “Beautiful (documentary),Wild Beasts” Cinema” film). “Unwanted(TV : Releases 2006 Turkish-Hungarian), Özgentürk, Ali (by Guilt” German-Autrian-Turkish), “The Hungarian- Pejo, Robert : dog” (by rescue the “Duke, : production pre German-Austrian-Romanian-Hungarian)is Features a Gabrea, Radu (by Rooster” Beheaded Serbian-German-Hungarian), “The a (Hungarian-German),DettreGábor Trap” “The Golubovic,Srdan(by Festival,inPanorama Section. 2006 (Co) Productions : “Romacop”by HungarianFilm Week,andlater wasselected atthe 2005 Berlin Film (2005),feature Pashamende”film by Róbert “Dallas Pejó were Török, both Ferenc awarded at the annual by film feature “Eastern (2005) : Sugar” works recent Their festivals. organising casting, talent cialsand TV-films feature films, documentaries, experimental and short films, commer developmentthe scriptsfilm of activity are : documentary films.of fields and ture main three Their Filmstudió,dozenfeaahave already ofparticipatedmaking the in in 2001. The owners, who were among the crew of the old Budapest Producer. He produces with the Új Budapest Filmstudio was founded KANTORLaszlo HUNGARY oftheromantic comedy.book onthehistory second her on working currently is and Greek) in Athens, editions, Literature”(Aigokeros Met Film “When of author the is She loniki. Thessa of University Aristotle the of Studies Film of Department October 2005, she has been teaching film andat history theory the conferences in Greece and abroad, with papers on filmsemiotic theory.in Since participated also has She 2005. to 2003 from Carré Fix and Exostis magazines cultural Greek the in articles theoretical as well as reviews film wrote Kaklamanidou Dr. 2005. May in ratureLite and Film on Ph.D. her completed She journalism. as Despoina well as Dr. Greece, Thessaloniki, Frenchstudied Literature Kaklamanidou AristotleUniversity,the at in Born Theoretician. Film Despina KAKLAMANIDOU wonderfully” etc) (“Judaskissed television and shorts as well as 2003 YorgosMakris 2005, “What a Wonderful Day” co-screenwriter in collaboration with Film Best AwardStateFilmthe wonthe Awards which at of Makris, George and Karantinakis Grigoris collaborationwith in scriptwriter co- Choir” “Chariton’s includes filmography His 2005. since the Board of member and 2003 since Greece of Guild Scriptwriters the of Member 1993. since scriptwriter a as advertising and films sion, televi in works He (1984-87). School FilmLykourgosStavrakos the at directing film studied He 1965. in Athens in Born Screenwriter. YIOTIS (Mr.), of Guild oftheScriptwriters member VAKIS (Mr.), of Guild oftheScriptwriters member

; as wellco-production,as ; post-production works,

; the productionthedistribution ;and of ------derness, Early, short stories, 1979), “Csutkajutka meséi” (The Tales (The meséi” “Csutkajutka 1979), stories, short Early, derness, (Wil vadon”“Zöld 1977), poems, Materials, of (Study tanulmány” “Amígbuszravárunk”a forBus, the poems, 1970), (Waiting “Anyag Arany 1996, (Tisztikereszt); János Prize; Prize works : Main 2002,Literary oftheArtisjus. order state 1994, Prize; 1993, Attila Prize; Greve József Prize;1992, IBBY 1990, Prize; Milán : Füst Prizes 1985, Alliance. Writers' Hungarian the of member presidential a is she 1990 Since Union. Trade Writers the of general secretary and was fromUnion its in secretary Hungary 1987 to 92, from 1992 Hungarian of Union Writers'the Tradecreating of initiators the the of one was She Writers. of Secretary General the is She Writer. WRITERS Katalin MEZEY(Ms.), oftheUNIONOFHUNGARIAN member movie portal “magyar.film.hu”. the firstScripTeast workshop. He is also the editor of the Hungarian at“Rundown” script feature latest Europe. his Central developing is HBO he Currently, for written TV-series a Lose”, to “Born was team FadeIn the with work latest year.His this movie a into made was “Konec”screenplay His produced 2005. second in released His “Bedlam”was script Week. Film Hungarian 2003 the at Award Screenwriter Newcomer film Best won he which featurefor“Bro” released was 2002 In Contest. Screenwriting International Merrill Hartley- the of round national the of Hole”prize second Own won “Your script his 2001 In Festival. Film International Pécs 2007 the at Forum Pitch European Central FadeIn also first the is of organizer the He education. and television consultancy related and and film scriptwriting feature with an dealing Consulting, initiative Script FadeInindependent of founder the is He Screenwriter. LOVASBalasz (Mr.) ducer attached to be invited top the Central European Pitch Forum. of interest : Seeking projects from the Balkan regions without a pro Territories organization. event training, screenwriting, consulting, galactic pirate in the film “Space Truckers”. He is a member of the of member a film “Space Truckers”. is the He in pirate galactic inter an played and Fire Big A Light band rock for the fronted He t.v. opera soap and sit-com sketches, and [Germany] W.D.R, and New London, York Edinburgh, and Dublin Belfast, and written radio in plays for producedB.B.C. R.T.E plays [Ireland] stage had has He went to university in England and America and now lives in Dublin. Belfast, in reared and born was McLaughlin Screenwriter.Thomas PLAYWRIGHTS &SCREENWRITERSGUILD Thomas MCLAUGHLIN (Mr.), oftheIRISH member pean Film Academy. Euro the and TelevisionAcademyand Film Irish the of member a Review Group of the International Affiliation ofWriters Guilds. He is Policy the of member a and Europe in Screenwriters Federationof Exhibition and Distribution Company. He is a board member of the pean Script Fund. He is a board member of the Light House Cinema Institute Film Irish the of Executive Council Arts the of Officer Film been has Kavanagh David Guild. Screenwriters and Playwrights Irish the of Officer Executive SCREENWRITERS GUILD David KAVANAGH (Mr.), IRISHPLAYWRIGHTS & IRELAND Screenwriter. oftheIcelandicJonasson, member Dramatists Union ICELAND stories from thechildhood, 2003). short Fence, kerítés” (Demolished kidöntött 2002), “A poems, new “Párbeszéd”2000), (Dialog,világ” (children’s“Furcsapoems,1999), denn im Lande Geht-ja-nicht” (German translation by Hans Skirecki, 1994), plays, Same, “Paule the are lyfi”(Two who Werbiste Princes, kirá egyforma két “A1991), poems, selected Winter,(Continental 1987), “Levelek haza” (Letters to Home, novel, 1989), “Szárazföldi tél” Nemlehet-országban (Paulet Whowas in Impossibleland, tale-novel, Palkó 1986), “Kivala Classregister,novel, the in lykönyvben”(Holes 1984), novel, (Livingfilm, osztá az 1985), “Lyukak poems, Again, “Élőfilm” újra”and meg (Again “Újra 1983), tales, Csutkajutka, of ; General Secretary of the Euro the of Secretary General ; ; Chief ; ------

103 Participants - - - - - ; ; 2002,

; 2001, “Money Isn’t Everything”, Everything”, Isn’t “Money 2001, ;

, 2006. 2006. , th ; 2004, “Holiday Weekend”, screenplay ; Weekend”, “Holiday 2004,

; 2005 “Sushi” part of “Solidarity, solidarity” feature feature solidarity” “Solidarity, of part “Sushi” 2005 ;

ASSOCIATION ; ; and many In television screenplays. 2004 Mr. Jarosław

at Carlos III University. He a worked for while in 3 at Carlos Antena television III University. in the Spanish film department. He hasworked in the production of several spots and short films in Spain and Romania. Heworked at Film Strada inin 2004 his “Ryna” andfirstfeature in film 2005 he Way startedI spent the End“The to produce his of firstfeature film the together World” with Catalin Mitulescu and Les Films Pelleas. Daniel Mitulescu in Romania. is also distributor Bogdan MUSTATA Screenwriter. Bogdan Mustata was born Romania. in He graduated 1975 in 2002 in from the Bucharest, UNATC Bucharest, the Screenwriter. Selected Screenwriter. filmography as a scriptwriter: “Taranthriller” - TV feature (Nursery film; “Wyliczanka” Rhymes) – TVfeature film; 2002 – multi-awarded EDI – feature film –P.Trzaskalski, dir. 2004 – “Time lies in the street” – polish episode in for series ARTE Monuments TV – dir. P. Trzaskalski; in 2005 –“The “Solidarity, feature Solidarity…” Ballpen” film – episode dir. – Trzaskalski; P. 2005 – “Mistrz” (The Master) – 2006 Vega; TV Patryk feature series – dir. “Criminals” film – episode in “Hip-Hop” P.Trzaskalski;– dir 2005 – Vega. Patryk TV series – dir. “Criminals” – episode in “Chat” – SOKOL Jaroslaw Depart in the Screenplay Born in He 1960. graduated Screenwriter. 2006, Filmography : Łódź. in School Film National Polish the of ment screenplay “Extras”, filmseries, screenplay actor screenplay, “Superproduction”, screenplay the at Weekend”) (“Holiday Screenplay Best the for a Prize got Sokół for Prize the got Sokół Jarosław Gdynia. in Festival Film Feature Polish Festival Film Feature Polish 31st the at (“Extras”) Screenplay Best the 16 September at Gdynia in ROMANIA Daniel MITULESCU Daniel Producer. Mitulescu was born in 1979 in Bucharest, Roma nia. He graduated in 2002 from the of Faculty After sociology. that he went to Paris where he got a career his change to decided He Sorbonne. 5 Paris at Consumption Master degree in Sociology of and he went to Madrid where he got a MBA degree in Audiovisual sity at Amsterdam Willemiek Seligmann worked as a solicitor at two two at as a solicitor worked Seligmann Willemiek Amsterdam at sity Rechtshulp voor at Buro asa andlawyer a lawfirms private different (legal aid office funded by the Dutch government), specialized in of magazine a been has She legal law. security social and labourlaw more a in work to wanted she decided she point one At law. social on line of “artistic” work and creative, and environment – – preferably not only doing individual cases. In 2000 she got the opportunity working people to artists, for as work union a the for largest lawyer in the sector and audiovisual and printing sector publishing in the secu social and labourlaw from Apart KIEM. FNV called Netherlands, rity law she treated cases on intellectual property law (copyright). of April the 2001 Netwerk she Scena became director/coordinator has she then since and of ( scriptwriters) Guild = Dutch rioschrijvers she is 2002 also Since law. property in intellectual specializing been (Vereniging of of and co-director the writers translators association a is Scenariowriters Netwerk the which of Vertalers) en Schrijvers van since F.S.E. the of advisors legal the of one been has She department. 2001. June in foundation the NORWAY member of the NORWEGIAN (Mr.), Eirik ILDAHL PLAYWRIGHTS” Screenwriter. Norwegian-born writer who is best known comic for book his stories in Scandinavia name. he uses his real under Nowadays his alias “Idi Kharelli”. POLAND LEPIANKA Wojciech Scenarioschrijvers (MS), Netwerk SELIGMANN Willemiek Univer the at 1988 in law in degree her finishing After Expert. Legal ------Wildschut & de Vries. In 2003 Paul Jan received the Dutch Academy Academy Dutch the received Jan Paul In2003 Vries. de & Wildschut Award for best screenplay for the featurefilm “Van God a.k.a.Los” Recently Paul “Godforsaken” Jan wrote the screenplay for the fea 2007. released in march will be that P.’, “Dennis turefilm for for various music productions. After that he worked a number of years as a copywriter for he HCSH advertising-agency. Since 1992 Paul Jan has been active as a scenarist. He has written for sion-series televi as Fort Alpha, In Voor & Tegenspoed, Koefnoen and Scenarioschrijvers NELISSEN, member of the Netwerk Jan Paul 1974-1988 From Jan Paul composed and Screenwriter. wrote lyrics “Fantesstic”(a strip “Fantesstic”(a soap for the mobile phone). Marc studied thea His play second two plays. trical and wrote and science philosophy was performed in April and May in old and happily married. 38 years Bellevue, Amsterdam. He is gen”, gen”, the second soapseries and was one “Goudkust” (Goldcoast), of the the third developers soapseries. of He (co-)developed also “Westenwind” (drama series) “Trauma 24/7”(hospital series), “Het Glazen Huis”(weekend soap), “De Erfenis” (telenovella) and department the scripts of several soap and drama series are writ some ten by Marc 40 Linssen writers. started writing professionally in 1993, (Good as dialogue Tijden, “Goede Tijden” writer Slechte of Times, Bad Times) the first and still most successful soapseries in the Netherlands. He became “Onderweg of Naar Mor Scenarioschrijvers LINSSEN, memberNetwerk of the Marc Screenwriter. Since 2003 Marc Linssen ScriptStudio, the writers' is department creative of Endemol manager Drama. In of this comedy’s, soaps and law series for television. He also teaches screenwri teaches also He television. for series law and Het of soaps treasurer he's comedy’s, 2005 Since Amsterdam. at Guild. Institute SAE the at ting Screenwriters Dutch the Scenarioschrijvers, Netwerk Scenarioschrijvers member of the Netwerk BLAAUBOER, Wim for written has he then Since He at studied 1997. the screenwriting Screenwriter. Film in en Nederlandse graduated and Academie Televisie ket. Scuola Holden teaches Narration Techniques since 1994. since Techniques Scuola Narration ket. Holden teaches NETHERLANDS Manager. Manager. Savina Neirotti is the Head of International Studies and the Director of Media-funded which Workshops, Script&Pitch aims at educating experienced screenwriters for the international mar ITALY Scuola Holden NEIROTTI, Savina The Irish Playwrights and Screenwiters Guild. Has lectured on scrip on lectured Has Guild. Screenwiters and Playwrights Irish The twriting at University College Galway. Helps develop new writers writing workshops. gives occasionally And “Ros na Rún”. for Co-wrote Co-wrote English language feature film with“Conamara” director Eoin Moore in 1999. Produced by Boje/Buck productions. Nume rous other scripts for film and TV, including afeature film adapta tion of a novel, currently assembling financing.Board member of & SCREENWRITERS GUILD Screenwriter. Senior writer for the “Ros Irish na Rún” since language it’s inception in serial 1996, Helped dráma to intial develop idea and the has written well over a hundred eipisodes to date. books for schools and has lectured on Drama for a number of col leges and institutions. memberIRISH PLAYWRIGHTS of the (Mr.), O’BRAONAIN Greg Irish Playwrights and Screen Writer’s Guild of which he was Chair until stepping down last He year. has been a full time script writer TVstage. and radio for also primarily but in nearly twentyyears, for He has written and edited a number of extremely successful text & member of the IRISH PLAYWRIGHTS (Mr.), Sean MOFFATT GUILD SCREENWRITERS Screenwriter. Sean Moffatt (born 1959) has instrumentalbeen in the last number of years in bringing about the formation of the Guild, and was vice president of the Federation of Screenwriters in Europe. executive committee of the Irish Playwrights and Screenwriters

Participants 104 and Dough” (dir. Cristi Puiu), followed by “Nicki & Flo” (Dir. LucianFlo” (Dir. & “Nicki by followed Puiu), Cristi Dough”(dir. and of Cazane”.Ilie 1999, In his career as screenwriter with started “Stuff Deeds and novel “Life his for Guild, Writers Romanian the Debut of Prize the obtained he 1997, In stories. short several publishing by and magazines literature to collaboration regular by field, ting wri the in mostly active became Radulescu Razvan Bucharest, in Academy Music the of section directing Opera the and Literature, and French Romanian in studies his finishing After Screenwriter. (Mr.) RADULESCU Razvan “A ShapedBalloon” Heart together withCatalin Mitulescu. Cur of script the co-writing Commercials.been has he where Dubai Tvin lives he rently and games TV shows, TV several directed also has He 2005. in cinemas Vietnamese in released was editing hours two A HTV9. television Vietnamese the by broadcasted and Love”produced of Degrees “39 Series Drama Episodes 16 a from episodes 12 directed and written 3 has he for where Vietnam worked in years has He editor. and assistant production manager, production director, , screenwriter, a as worked also he since, Ever School Bucharest. Iubit FilmCinema Vary, Karlovy Festival, Munich at awarded internationally documentaries and films short several directed He Section. Directing Film and TV ic is onain Mme o te egae em n Cultural board. and team Belgrade the of Member foundation. its since party democratic National of Member carrier : Political times. two arrested activities these to Due Milosevic’sGovernment. Slobodan against protests numerous organized and third Participated mandate. his in president a for elected Recently institutions. cultural 78 from members 2,000 around represents moment this at which “Nezavisnost”Culture and Arts of Union Branch founded Government. 1997 the In by financed institution an in union trade dent 1995 at the National theatre of Belgrade, at that time first indepen organization “Nezavisnost”in union trade Founded carrier : union organizer. performance a Tradeas Belgrade of theatre National at : Employed organizer. - AFL-CIO studies union trade for University cultural-organizer, school, transport Urban : Education Manager. NEZAVISNOST Zoran andCulture DJURICICBranch UnionofArts –GSKIU SERBIA also screened at the Balkan Survey, “Mihai and Cristina”, 2001. Cannes),Story”,screenedinBlockalso was “Cwhich was 2003that 2006(shortthatscreenedwillbe BalkantheatSurveythisyear and co-writer to all other shorts that Cristian directed : “Marilena from death, P7”, his “California before Dreaming” shooting which was was also Balkana Fund project. Cristian wasHe film last the to co-writer as credited is He Nemescu. Cristian of CollaboratorScreenwriter. Tudor Telluride, Montpellier and Cottbus. feature “The TubeHat”witha justfinished– alreadywas selected in VilaCondedo andwasawarded BestFeature MilanIFF.in or The Tellurideshort Edinburgh, Molodist Thessaloniki, as festivals tigious pres 15 overother in as well Internationalas CriticsWeekCannes national partners. Her production “Marilena from P7” was selected in currentlyisdeveloping andfeature US 2length projects interwith founding Hi Film, Ada managed already to co-produce with France & in Romania, though designed for the world. In this short period since tioncompany2004, aimingindeveloptoproduce & projects made produc own her opened Ada Irons. Jeremy or Caranfil Nae Jones, Zeffirelli, Quincy FrancoRampling,Charlotteinvolving projects on courseRomanianofworldandco-productions. She’s workingbeen the around all commercialsfrom & series features, TV & mentaries Producer. She is working in the industry for the last 13 years on docu Ada SOLOMON Karlsruhe. Gestaltung für Hochschule Drama Staatliche at on Time workshop Fictional yearand turgy a time four a giving is he 2005 Since Romanian Television,National the called for series “Hacker”(2002). episode six a Puiu Cristi with cowrote also He 2005. – Munteanu) Mr. Lazarescu” (dir. Cristi Puiu) – 2004, “Paper will be blue” (dir. Radu of Death “The 2003, – Danquart) Didi 2000, “Offset” (dir. – Pintilie) (Mr.)VOICAN ------

a Babe” by Rasa Andric. That was the biggest box office hit in hit office box biggest the was That Andric. Rasa by Babe” and a Punks Two for Palms “Three produced he 1998 In Producer. Goran RADAKOVIC Festival. “Escape” was broadcasted inUSAandEurope Film Chile de Santiago – SANFIC and International Belgrade FEST- FilmFestival,East Go Documentary, International Leipzigmentary, Docu International Amsterdam including : festivals international FilmHamptonsInternational Festival. screenedwasnumerous at It mentary “Escape” won the Audience Award at its world premiere at docu feature his 2004 In career.freelance a started and back Serbia to moved Darko 2003 In projects. independent numerous on collaborated also Darko period same the During University. Island Jones). At the same time he taught film production courses at Long (most documentaries of notably Sonic Convergence – music documentary featuring director/co-producer Quincy as Institute Pictures/ Ross Spiral company production the at worked has he Belgrade, 2003 until 1997 From New York. of College from City from video and film in originally Lungulov, Yugoslavia, moved to in 1991 where he obtained Darko BFA Writer-Director. Darko LUNGULOV He is one of the most screenwritersactive and the region. in Serbia himself. directed Truck”he Grey Colouredwhich with “Red earned the box office in successful were and festivals, international various on awarded 2004) mentary (2002) People” “Normal (1996) HaveMe” “Why films : Left ture (1993) You fea eight co-wrote or wrote He today. screenwriting teaches he where Belgrade, Arts, Dramatic of Academy the at Screenwriting and Playwriting in graduated (1966), Koljevic SrdjanScreenwriter. Srdjan KOLJEVIC (Mr.) second feature film “Ruins” (RUŠEVINE), receives 13 Slovene film 13 Slovene receives (RUŠEVINE), “Ruins” film feature second his shoots box he 2002 In admissions. Slovenian 60,000 than more with hit a office was It presentations. festival 60 than more had and Milan) Brussels, Trieste, Moscow, Cottbus, Montpellier, Kyiv, (Portorož,awards 20 got 1999, in FestivalFilm Vary Karlovy at tion Jan Competi the co-writer a in premiered internationally with was film The Cvitkovič. first 1999), (V LERU, his directs Running” “Idle He film (1997). feature Burgerteater group theatre own his establishes he where Slovenia to returns He direction. and for script Fund Literary Czech of award received has he which inscenation CAT, for TV half-hour-long a and Film in with the Counterpoint thesis 1996 October in graduates He films. documentary and short more makes he studies the During Republic. Czech Prague, finishing After in at FAMU studies Ljubljana. to accepted 1990 in in film is “Door”, he short his working and living Železniki, in up 21 March on Slovenia Kranj, in Born Writer-director. Janez BURGER SLOVENIA miere inBelgrade onNovember 14 pre its have will it and and completed just Bulgaria been has Film Austria, Eurimages. Germany, Serbia, between production has co International successful a is Deluxe which Trumpet” “Distant film the on working with been together DAKAR years three company past the production For Theodora. Empress - Niš : Role Female Best The Mimosa, Golden - Novi Herceg Screenplay : Best ThePrize, Audience ThePrize, Jury Festival, : Palic Movie : including Best The prizes many won It Morocco. Vienna, Petersburg, St. Thessalonica, Barcelona, Sofia, London, - Festival Raindance Vary, CarloveGermany, Prague,Tubingen, - Cottbus including : festivals numerous in screened was movie“Titanic”. It the than Yugoslavia in viewers more had It viewers. 400,000 over with year that lavia in hit office box Babe” Yugos biggest the Andric. was ThatRasa by a and PunksforTwo Palms produced “Three DAKAR 1998 In 1992. of in Company,founded“DistantTrumpet”. Production a is DAKAR premiere the from straight toThesaloniki arriving is Goran mages. co production between Serbia, Germany, Austria, Bulgaria and Euri successful a was It film completed. “Distant later Trumpet” is years Trumpet” (AKA “The Love Fair Gucha”) as work-in-development. Two presented Milic “Distant Dusan author the with along Fund,Goran Balkan 2004´s At viewers. 400.000 over with year that Yugoslavia ; “The Hornet” (1998) Hornet” “The ; ; but widest recognition (11 international awards), he ; “Red Coloured Grey Truck” (2004). The films were films The (2004). Truck”Grey Coloured “Red ; “ubr ol rjc” faue docu (feature Project” Soul “Rubber ; ; “Sky Hook” (2000) Hook” “Sky ; th 2006. ; Murder”“Premeditated ; “Natasha”(2002) ; st 95 grew 1965, ------;

105 Participants ------UNION THE SWEDISH PLAYWRIGHT BAUMGARTEN VON Didem ERAYDA Faculty, Arts Fine University, Marmara from graduated She Director. Cinema and Television department and got master degree in art in the same University. She worked as an assistant director while she was a student. She directed five short films thatare shownin many festivals and won many national and international awards. Her latest short film “The visit” has beenin Antalya, selected Ankara, Izmir, awarded and Istanbul, London, Rotherdam, Orlondo, Ljubljana festivals. filmfestival screening aprox 450 films to an audience of 115,000 persons with each Together the year. Swedish International Deve lopment Cooperation Agency GIFF manage a film fundjects from for emerging pro economies. Activities : Film festival and film (Ernest Abdyjaparov, fund. “Pure 2006 Coolness” (Co) Productions : (Lav “Heremias” Kyrgyzstan), Diaz, Philippines), “To Get To Heaven First You Have to Die” (Djamshed Usmanov, Tajikistan), “Requiem of Inter interest : Territories Indonesia). (Garin Nugroho, Java” from national-emerging economies. Genre(s) of interest : Features and length documentaries. feature Marietta Screenwriter. Head of Development at AUTOMAT LTD, a produc tion company for Film, Art, Music, Theatre. MOTHEROFSONS is of and development a on mainly focusing Automat, under label new documentary and short feature, films. scripts for TURKEY ARMSTRONG Munire She Producer. has graduated from Istanbul University Technical in computer engineering department, worked as an engineer manager and for eleven years in telecommunications sector. She has in master completed Marmaraprogram University GSU Cinema-TV (Istanbul) department in 2002. The short filmbeen shot as “Snowa master thesis. She directed and White”edited a number of has She London. and Istanbul in documentaries independent and short has been working as a pro she producer that documentaries three in are There commercials years. four and last for films co-operate producer. freelance a as work to continues She hour. an over duced producer, before co-founding an independent production company, company, production independent an co-founding before producer, produced company The 1998. in Weiss Maja sister her with film, Bela fea first Their and short films. documentaries award-winning many of “Guardian byture thefilm, Weiss MajaFrontier” (2002), made as on 70 than more inter participated co-production, an international national filmincluding Berlinale 2002 festivals, (Manfred Salzgeber producing currently is Ida film). innovative most European for Award which is of “Installation second in Love”, Maja feature, Weiss” post- Academy. Film European the of member a is She production. SPAIN Spanish Guild of Screenwriters CAMA (Mr.), Toni Antoni Screenwriter. Cama (Catalonia – Spain) has worked as a TV writer since 1999 in very different kinds of from shows, daily series to talk shows, both in Catalan and Spanish. the For last three years and broadcast Lunnis”, “Los been writing the for show children he’s TV).TVE (Spanish public by produced SWEDEN (Ms.), Mari ASTROM Legal expert. She finished law school inStockholm 1994 and has worked as a legal adviser in advertising organisations and at workingas is she 1998 Since the Policies. Consumer For Board National Union. Playrights Swedish the a legal adviser at FUND LARSSON,Asa GOETEBORG FILM FESTIVAL largest Scandinavia’s is Festival Film International Göteborg Funder. Ida WEISS Ida Ida Weiss Producer. worked as production manager and executive

------?) ?)

?) (2005) by Sašo Sašo by (2005) ?)

get out of here?” (Kaj boš počel ko prideš ven od tu od ven prideš ko počel boš (Kaj here?” of out get lenght). (medium Podgoršek Fantasticus” by Janez Burger (in development), “Driving School” by School” “Driving by Janez (in Burger development), Fantasticus” “On the Janez Sunny Burger Side (in (short) of development), Alps” (Odgrobado “Gravehopping” by Janez (in Burger post-production), you when do to going you are “What Cvitkovič, Jan by (2005) groba) “On the Sunny Side of Alps” (Na sončni strani Alp). Also developing (Na “On Alp). Also the strani sončni developing Side Sunny of Alps” “Driving and Fantasticus” “Circus films feature Burger’s of Janez slate School” and Jan Cvitkovič third feature film“Block of Selec Flats”. “Circus (in development), by Jan Cvitkovič of Flats” “Block ted Films : has been internationaly premiered at 2006 Rotterdam International International at Rotterdam 2006 premiered has internationaly been docu the of presentation the on works 2006 January In Festival. Film bykožo)Vlado (Pod njihovo Škafar. “Undertheir Skin” mentary film At the moment he is in of pre-production Janez Burger short film 2005 “Whatare you 2005 dance he length medium film going produced tu od ven prideš ko počel, boš Kaj here?” of out get you when do to Slove Best for Award an received film the 2005 In Podgoršek. Sašo by It Portorož. in festival film national the at film medium and short nian international awards on festivals in San Sebastian, Warshaw, Cottbus, Cottbus, Warshaw, Sebastian, San in festivals on awards international selected also been has It Sofia. and Mansysk Khanty Portorož, Torino, Awards Film European for nominations obtaining for shortlist the on by With EN-KNAP the Dance in Company Film European Academy. International Film Festival, where the film received the Altadis Award Award Altadis the received film the where Festival, Film International for best firstand second film. Best festi film film Torino and national in 2005 Cottbus at film film Slovenian best awarded and festivals and domestic 13 received “Gravehopping” now Until Portorož. in val by award winning slovene directors Janez Burger and Jan Cvitkovič, Cvitkovič, Jan and Burger Janez directors slovene winning award by In 2005 works he where director. and as works managing producer Cvitkovič. byJan (Odgrobadogroba) “Gravehopping” film on feature It was premiered in official selection of Donostia San – Sebastian events events and performances. He collaborates for 5 years where he with dance EN-KNAP, known company contemporary Slovene most performances dance contemporary of production into work his focus and dance films. In 2004 he established Production joins Staragara RUTAR Jozko Born in in Faculty atSlovena studies 1970. After finishing Producer. for Economics in Ljubljana starts to work as producer of cultural demy of Dramatic Art (2001), at workshop Palunko (2004-2005) and (2004-2005) Palunko at workshop Art (2001), of Dramatic demy for Writing Creative in MA (2004). USA Seattle, Forum, Film Northwest of member Voting of Sheffield. University The at Television and Film Academy. Film European the interfaces on the web and mobile phones applications. Screenwriter Screenwriter applications. phones mobile and web the on interfaces of 2 filmsand feature winning award writerand of director 2 short films. Teacher of Aca writing Croatian at for lecturer film visiting at (1999-2005), Slovenian narration Show Your Tongue film of School Miha MAZZINI (Mr.) Miha Screenwriter. Mazzini, writer, author of 19 published user for specialized books consultant Computer in 5 languages. translated script “Lara” he won the “MEDIA New Talent of the Union European Talent “MEDIA New he won the “Lara” script which was to presented him at the Festi Cannes Film 2006” Award 2006. Award the CineLink won also “Lara” project The val. Writer-director. Blaz Kutin graduated in Ethnology and Sociology of Sociology and Ethnology in graduated Kutin Blaz Writer-director. had itsHisCulture. world short premiere “Principessa” in com film petition at this year’s Sarajevo Film Festival. The shooting of ano film feature his For November. for planned is 33”, “David, short,ther and executive producer for “No Man's Land”, and Oscar “No executive producer for Man's for foreign film Land”, and about 60 other awards. Blaz KUTIN Tempetred Corpses”, where she was producer with Bosnia and Her and Bosnia with producer was she where Corpses”, Tempetred cegovina, France and Italy. And German –Slovenian coproduction which “Warchild”, is screened at this year’s Thessaloniki IFF at the Balkan Survey section. Her success greatest was being coproducer Dunja KLEMENC (Ms.) coproduc them of most films, feature producing is Dunja Producer. tions with European countries and also giving services for those “Well who lookingare locations for in Last Slovenia. two were films and “Circus Fantasticus” and preparing to shoot a short film “On the “On shorta film shoot to preparing and Fantasticus” “Circus and of the Alps”. Side Sunny In 2003, together with Jan Cvitkovič, he establishes his own pro duction house Staragara, and the At (ODGROBADOGROBA). “Gravehopping” film produces feature winning Jan Cvitkovič’s award- School” “Driving projects film feature two developing is he moment awards and is internationally premiered at the IFF Rotterdam 2005. Rotterdam IFF the at premiered internationally is and awards

Participants 106 2004. Hehaspublishedonebookofstories andtwo novels. in film “Istanbul Istanbul) Tales”feature (Anlat second his directed Turkey for the 2003 Foreign Language Film Oscar. He wrote and co- of Entry Official the was and festivals film various in awards many first 1987). His feature film as a director(Nine, is 9 2002) which won You,and Love My Dreams, (My Sen”ve Askim “Hayallerim, 1986), “Teyzem” including films Aunt, feature (My Turkisheight for writer screenplay the is Ünal Ümit Turkey,in 1965 in Born Screenwriter. SCREENWRITERS GUILD Umit UNAL(Mr.), ofSEN-DER member Policeman). Healsowrites songlyrics. İstanbul Masalı” (A Tale of Istanbul) , “Hırsız Polis” Bir (The Thief and Leyla),“Zerda, The sorry am Leyla”(I “Üzgünüm written scripts : has TV several he 2000 Since DDB. Turgul Medina and Adam Lowe Manajans/Thompson, as such agencies advertising severalleading at head group and writer copy as worked he 1990-2000 Fromtor. direc assistant Radio an as Televisioncompanies production several and Turkish the for worked he 1990 to 1985 From dentist. a as University Istanbul from 1985 in graduated has He Screenwriter. SCREENWRITERS GUILD Nese SEN(Ms.), ofSEN-DER member voice in cinema andbelieves it is essential to maintain astrong and distinct European also teaches screenwriting at the Broadway MediaalternateCongressUni-Mei.Euroan boardmemberGraham andofCentre, European Writers'Nottingham the of board the currently on is years, three for co-production. He served as Chair of the Writers' Guild of Greatnovel Britain “The Chain Bridge”, which is being withdevelopedseveral British credits. asTV aCurrently UK/Hungarianwriting thescreenplay hisof Screenwriter. A fiction prose writer, radio broadcaster and screenwriterGUILD OFGREAT BRITAIN Graham LESTERGEORGE (Mr.), ofthe member Fund oftheBalkan since the beginningsber ofthejury in2003. mem a Air”,been “Solid Lennyhas Miles Thomas. May by directed by Metzstein, Saul Callar”,“Morvern directed by Lynne Ramsay, and Hayman, the executive producer of “Late Night Shopping”, directed Room”,Near David of byproducer “The directed the also is Crooks Sisters”.Lenny Magdalene “The and Sixteen”“SweetZentropa, by “Youngco-financed Adam”, Films,“Wilbur” Nimbus by “Skaggerak” industry the the forand Glasgow Westdevelopmentagency Office, Scotland, which of Film Glasgow the of director the 1997 since been also has He Films. Rivers Three byMirth” of House “The and Joe”is Name “My ParallaxbyPictures, “Orphans”FilmsAntonineby and “Carla’sSong”Productions, North/Umbrella Palace Picture by Films, Faces”“Small Films, Skyline/Easterhouse by AcidHouse” “The Film Fund, which in his time co-funded “Shallow Grave” by Figment agency for film in the UK. He thus continues his work at the Glasgow strategic government-backed the is which Council, Film UK the of Fund manager. Lenny Crooks is the new Head of New Cinema Fund Lenny CINEMA CROOKS,FUNDoftheUKFILMCOUNCIL NEW UNITED KINGDOM

; telling our stories our way. TURKISH TURKISH WRITERS' - - Atlantic Monthly, the Los Angeles Times, Salon.com, Variety, The Variety, Salon.com, Times, Angeles Los the Monthly, Atlantic the for writing years, fifteen over for journalist film and literary a as worked has David Chronicle, Francisco San the for editor book and critic book Previouslymovies. their of authors primary the are directors, than ratherscreenwriters, that case the makes he where Schreiber“The book, Theory : A Radical Rewrite first of American Film his History”,published House Melville 2006 In life. American of center the at role rightful its to restorereading to tiative,designed National the NEA’srun at toini helps Read he Big where Arts, the forEndowment Director Literature the is Kipen David Manager. David KIPEN,National Endowment for theArts USA years. As ofMay 2006sheisChairoftheGuild. five for Committee Guild’s the TV chaired and years 10 for writers) been involved has with the Writers' Guild of Great She Britain (the trade union for organisations. writers' and universities UK’s the number a of at screenwriting teaches Katharine writing, as well As ning series. She now has three original projects in TV development. long-run “soaps”and of assortment an and dramas medical and BBC’spolice the top-rating on working 1994, since drama of ter TV of 16 but her main love is drama. She has been a commissioned wri Screenwriter. age atthe published Katharine Waystory short a had BRITAIN Katharine Sian national like co-productions, “Puffball”. recent being Christopher Smith’s “Severance”, as well as many inter most the films, British of number a producedhave they then Since Kiss. Winterbottom’s Butterfly Michael with 1994 in started Films Dan Films. Dan of Development of Head is Potter Keith Producer. Keith POTTER (Mr.), DAN FILMS others “Stoa”. among Journal, Policy World and Box-office, Reporter, Hollywood WAY, ofthe member WRITERS' GUILDOFGREAT - - - -

107 Participants IRST Con erence

of EUROPEAN creenwriters

Thessaloniki, Greece, 21/22 November 2006

The Federation of Screenwriters in Europe (FSE) represents since 2001 8,000 film and television screenwriters throughout Europe. The FSE consists of :

/ Austria Drehbuchverband Österreich / Belgium Association des Scénaristes de l’Audiovisuel & Scenaristengilde vzw / Bulgaria Bulgarian Association of Film, TV and Radio Scriptwriters BAFTRS / Denmark Danske Dramatikeres Forbund / Finland Suomen Näytelmäkirjailijaliitto - Finlands Dramatikerförbund ry / France Union-Guilde des Scénaristes / Germany Verband Deutscher Drehbuchautoren e.V. / Greece Scritpwriters Guild of Greece / Hungary Hungarian Association of Screenwriters / Iceland Félag Leikskálda og Handritshöfunda / Ireland Irish Playwrights and Screenwriters Guild / Italy Scrittori Associati di Cinema e Televisione / Netherlands Netwerk Scenarioschrijvers / Norway Norske Dramatikeres Forbund / Poland Union of Polish Screenwriters / Portugal Associacao Portuguesa de Argumentistas e Dramaturgos / Spain Federación de Asociaciones de Guionistas del Audio-visual FAGA (+ Asociación Galega de Guionistas + Escriptors Valencians de l’Audiovisual + Euskal Herriko Gidoigile Profesionalen Elkartea + Guionistes Associats de Catalunya) & Autores Literarios de Medios Audiovisuales ALMA / Sweden Sveriges Dramatikerförbund / Switzerland Scénario / Turkey SEN-DER The Scriptwriters Association of Turkey / United Kingdom Writers’ Guild of Great Britain

www.scenaristes.org

The First Conference of European Screenwriters was made possible thanks to the following organizations :

Organised by Hosted by In association with

Supported by