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16 16 F eb 20 eb T 12 alent cam alent pus Welcome to the Berlinale Talent Campus 350 Talents from 99 countries

Berlinale Talent Campus #10 We would like to thank our international network for its support Contents 01 Introduction 06 Editorial: Dieter Kosslick 07 Editorial: Matthijs Wouter Knol, Christine Tröstrum 09 Words of welcome 02 campus anniversary 12 Interviews with alumni and experts from the past decade

03 2012 topics 22 Focus 2012: Changing Perspectives 24 Distributors at the Campus 25 The Co-Production Prize of the Robert Bosch Stiftung 26 Campus alumni at the Berlinale 04 programme 30 Meet the Expert 34 Campus programme – Timetable 40 Day 1 | Sat, Feb 11 41 Day 2 | Sun, Feb 12 43 Day 3 | Mon, Feb 13 46 Day 4 | Tue, Feb 14 48 Day 5 | Wed, Feb 15 51 Day 6 | Thu, Feb 16 05 Hands-on training 54 Score Competition 55 Script Station 56 Doc Station 57 Campus Studio 58 Talent Project Market 59 Talent Press 61 Talent Actors Stage 62 Berlinale Residency 63 Berlin Today Award 2012 06 Service 66 Berlinale Talent Campus website 67 Talent Campus International 68 Index of events 69 Index of experts 75 Index of participants 77 Note of thanks 78 Team and imprint 79 Partners

Berlinale Talent Campus #10 Introduction | 01 Editorial Page let the campus change 06 your perspective Dieter Kosslick FestivalBerlin Director, International Festival Film

Up-and-coming filmmakers with all possible cultural, national and creative back­ also becomes evident in the brief interviews later in this grounds joining the Berlin International Film Festival and learning from seasoned film magazine with former experts and Talents from the last professionals: When we prepared the first edition of the Berlinale Talent Campus in decade. 2003 this idea sounded wonderful, desirable and forward-looking on the one hand – Our ability to celebrate this 10th edition is first and and totally crazy on the other. How could the complex system of one of the world’s foremost due to a group of true partners whose tireless leading film festivals stand another 350 accredited guests, and how would all this be support has become an indispensable backbone of the financed? Campus. We express our utmost gratitude to all our sponsors Today, as we celebrate the 10th edition, we can easily say: The Berlinale Talent and supporters but especially to our main partners, the Campus is one of the best things that has ever happened to the Berlinale! The Festival MEDIA Training Programme of the European Union and our and the Campus interact efficiently on many levels. While the Talents profit from the founding partner Medienboard Berlin-Brandenburg. Further­ input of distinguished Berlinale guests, the Festival itself is refreshed by mingling in more we kindly thank our third main partner, the Robert young filmmakers from all over the world. In addition, the official Berlinale selection Bosch Stif­tung, which has extended its long lasting com­- is regularly enriched by Campus alumni‘s films. In the 10th edition of the Campus, for mit­ment to the Berlinale Talent Campus this year. And last example, we are proud to present 40 films made with the major involvement of 44 but not least: thank you Bernd Neumann, Federal Govern­ former participants. Among them is the Competition film POSTCARDS FROM THE ZOO ment Commissioner for Culture and the Media, for the on­­- by Indonesian director Edwin who was part of the 2005 Campus. Forming such a strong go­ing sup­port of our ideas. global network of filmmakers is at the core of the Berlinale Talent Campus and its Let the Campus #10 help us all to change our per­­­- five regional editions worldwide: in Buenos Aires, Durban, Guadalajara, Sarajevo and spec­­­tives – I cannot imagine a stronger driving force on film­ – since 2011– in Tokyo. makers‘ creativity. Another important impact on the Berlinale and its filmmaking guests is the Talents’ ability to contribute new attitudes, fresh opinions and ideas to the Festival’s Have an exciting Campus week and, dear Talents, feel invited routine. So, this year’s focus, “Changing Perspectives”, is also perfectly in line with the to come back one day with your films in tow! character of the Campus itself: it is a centre for exchange, it provokes and questions structures, and is a laboratory for the world’s future film generation. In this way, the Campus has lived its motto “Changing Perspectives” from the very beginning, which

Berlinale Talent Campus #10 Page Campus is a place to reconsider, open up to new input, share industry, you may feel the need to refresh the your mind in and the decades many for worked you’ve if even or career, your in crossroads a at you’re or you, taking is future your what you thought you already on knew. Whether perspective it’s clear your where change to opportunity exciting the hope new collaborations sprout from your meetings in we Berlin. and motion in things set to opportunities many litate other’s work. Yet,enough. not is Wetalking filmmakers fa­ each by inspired get and thoughts exchange to you of all for space a createto is aim primary our and – screenwriters production designers, score composers, sound designers to producers, critics, film editors, distributors, matographers, cine directors, actors, from ranging – industry film the in makers. For us, filmmakers are all those working professionally film­ among engagement encourage to out sets firstly that everbefore. than moresense makes people new 499 meet to chance the has filmmaker ding atten every where platform real-life a offering that believe strongly we before, ever than world the of rest the with easily more connect today us specific of most though Even reason. very a for year every do we something is Berlin in experts 150 with filmmakers emerging 350 Gathering 07 In the tenth edition of the Campus, we‘re offering you offering we‘reCampus, the of edition tenth the In The Berlinale Talent Campus is a broad-ranging event broad-ranging a is Campus Talent Berlinale The Matthijs Wouter Knol Christine Tröstrum Programme Manager Project Manager ci­ ­ ­

Berlinale Berlinale TalentCampus,Campus. it’s At the latetochange! too never the at than exploration this for place better no is there films, make to ways new and around you and discovering an array of new options, new people to collaborate with, world the at Looking experienced. or haven’t seen we yet what see and life own our yourwork. improve intensify and further to you help will and others, of craftsmanship the of aware you make horizon, your others have done will generate new ideas for your own work. We hope it will broaden will be able to amaze and inspire fellow-filmmakers. Seeing, reading and hearing what and films great on worked have year’sCampus this for selected were who you of all guaranteed. offers to everyone attending: encounters life-changing and mind-blowing events are Campus Talent Berlinale the opportunities the increases Festival Film International Berlin experience. bustling your from the of learn proximity The others let and ideas, We’reyou’ve glad us! tojoin come jour. du capital Berlinale The Talentedition. special a tobe promises #10 Campus Europe’s – creativeBerlin to it made have you applied, who filmmakers 4,382 of Out attitude. international an place to connect, to find new film projects and to find eager and talented people with the most promising filmmakers gathered together. The film knows industry this is the and energy fresh aspirations, many so find you where world the in places many not Film Festival. International Berlin the during spot hot secret There the are as Campus never too late to c to late too never This This also applies to seasoned filmmakers who have discovered the Berlinale Talent Films move people. Films make people feel and think. Films helps us to reflect on that think we because all, of First perspective? your change to want we do Why h ange Introduction |01 Introduction Editorial Congratulates the Berlinale Talent Campus On Its 10th Anniversary

Get Involved In The $200,000 FOCUS FORWARD Filmmaker Challenge Celebrating the Power of Human Innovation and Invention

www.focusforward€lms.com Page Partners 09 Words of welcome

Costas Daskalakis Head of the EU MEDIA Programme at the Education, Audiovisual and Culture Executive Agency

Dr. Ingrid Hamm CEO Robert Bosch Stiftung

“I wish you an exciting Campus week and vibrant collaborative filmmaking adventures.“

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

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

“Be part of it and have a great time!“

Costas Daskalakis Ever since its inception in 1991 the of the Campus. From this year on we extend our contribution and become one of the MEDIA Programme has devoted a substantial amount of its main partners of the Talent Campus; a fact we are very proud of! By establishing budget to co-finance training initiatives developed by pro­ international co-productions and cooperations we enable young filmmakers to explore fessionals for professionals. More than 1,500 professionals the views, the methods, and creative styles of partners from other countries. from coun­tries participating in the MEDIA Programme are The support of international film festivals, co-production markets and film edu­ trained every year through more than 60 MEDIA funded cation projects is crucial for our idea to support international cooperations. We are training initiatives where they have the opportunity to very happy that many former participants of the Berlinale Talent Campus or its “little acquire new skills, learn from others’ mistakes and successes, brother” the Sarajevo Talent Campus managed to receive one of our three Co- fine-tune their projects with experienced tutors, explore Production Prizes – maybe you might be the next… Just visit our website www. new tech­nologies, and expand their network of contacts. coproductionprize.com, learn more about our prize and go for it! But first of all enjoy In line with our objectives, we‘ve been the main financial the Campus, and conquer this wonderful festival in one of Europe’s most exciting cities. partner of the Berlinale Talent Campus since it began. We strive for the same goals: training professionals, fostering Kirsten Niehuus, Elmar Giglinger Each year, around 350 young filmmakers from all projects, connecting people across Europe and inter­nat­i­o­ over the world travel to Berlin to become part of an international creative community nally. Apart from training activities, the MEDIA pro­gramme sharing the same language and passion: film. also offers young filmmakers support by way of: project In spite of those common grounds - when an ensemble of creative talents meet, development, international distribution, net­working and many different visions, approaches and positions are confronted with one another, access to global key markets and co-production fo­rums. bound to clash and inspire. Learning how to “change perspectives” – this year’s Campus motto – is a virtue for any human being, especially within a creative process. We want Dr. Ingrid Hamm Based in Stuttgart in the very south of to encourage you to step out of your world into someone else’s, surprise yourself by Germany but with strong connections to our capital Berlin, turning the tables, by thinking the unthinkable, imagining the unimaginable! See the the Robert Bosch Stiftung is one of the major private foun­ world, your ideas and yourself in a different light, dare to take a fresh look! Within the dations in Germany and has managed the philanthropic next six days the Berlinale Talent Campus will offer you the perfect environment to do bequest of its founder Robert Bosch for almost 50 years. just that! You will have the opportunity to be inspired by top-class professionals. And We support the Berlinale Talent Campus since 2005, with you’ll have the chance to enjoy the capital of creativity itself: Berlin, a city rich in our main focus directed to the Eastern European participants diversity, constantly re-inventing itself and beaming with vibrancy & inspiration!

Introduction | 01 Sources-TalentCampus_2012:Layout 1 11.01.12 16:53 Seite 1

PROFESSIONAL DEVELOPMENT & TRAINING SOURCES 2 Script Development Workshops

Three-month process coached by experienced script advisers for European screenwriters and teams of writers, producers or directors: Seven-day session, coached development period, follow-up session.

Application date: 1st March 2012 for the workshop at FilmCamp/Norway, 14th – 22nd June 2012, with the support of FilmCamp AS. Requested: Feature film projects and creative documentaries

Application date: 1st July 2012 for the workshop in Bucharest/Romania, November 2012, with the support of Artis Foundation. Requested: Feature film projects and creative documentaries SOURCES 2 at Berlinale Talent Campus

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

Please visit the SOURCES 2 stand at HAU 1!

SOURCES 2 • Köthener Straße 44 • D-10963 Berlin Tel. + 49.30.88 60 211 • [email protected] • www.sources2.de campus anniversary | 02 Campus anniversary Page 12

Berlinale Talent Campus #10 Page Campus anniversary 13 the first ten years

Over the past decade the Berlinale Talent Campus has become a stunning network of nearly 4,000 creatives from more than 130 countries.

Networking, exchange of know-how and experience, sharing a unique passion for film: every year the Berlinale Talent Campus is animated by the strong motivations of its visitors – the Talents and the experts. When thinking about the past ten years of the Berlinale Talent Campus, the hundreds of people who annually bring it to life come to mind. We contacted 12 of them, Talents and experts from all corners of the world, to share some thoughts.

This page Left page, first row Middle row 2003 | Antonia Neubacher 2004 | Antonia Neubacher 2007 | Double Standards 2005 | Rosendahl Berlin 2008–2009 | Sonja Jobs 2006 | Antonia Neubacher Third Row 2010–2012 | Sonja Jobs

Campus anniversary | 02 Campus anniversary Page

“I try to be a nice man and still make good films. 14

it’s difficult.“Mikkel Sandemose, Norway | Campus 2006

You have been at the Campus twice – in what Do you think it is important for an artist ways has it been enriching for you to meet with to con­stantly question one’s own perspective a new generation of filmmakers? on things? The Campus is a very inspiring experience be­ Nothing is more vital to a filmmaker, but this is cause it is a two-way route. It is a place where probably true of any artistic form. Godard once film lovers from different cultures and different said that filmmaking is for the young directors generations come to discuss cinema. In fact, I who don’t know everything yet, and thus need learned a great deal in the two experiences I had to keep searching. To constantly re-evaluate at the Campus. one’s work, to question it – this is the only way to renew one’s understanding of cinema. You have often worked with people having very different cultural backgrounds – how Do you have a wish for the Campus’ next does this effect your work? ten years? Walter Salles The Motorcycle Diaries may be the film in The Talent Campus is a unique experience where Filmmaker | Brazil which I experienced this situation most pro­ young, upcoming filmmakers can not only ex­ Expert in 2005 and 2007 foundly. The crew came from all different lati­ change ideas and discuss cinema with more Brazilian director of CENTRAL STATION (nominated tudes of the South American continent. We were experienced directors, but they can also ex­ for a Foreign Language Oscar®, and winner of the Golden Bear in 1998) and MOTORCYCLE DIARIES. faced with the challenge of finding a common change ideas between themselves – it is a very In 2002 he also co-produced the acclaimed language, a common denominator that would generous concept, and one that is essential for CITY OF GOD. His most recent project is an adapt- ­ation of Jack Kerouac‘s On the Road. allow us to collectively tell a story about our the future of cinema. con­­tinent. Little by little, barriers fell and a family was created. I now have many friends in Argentina, Chile, Peru, Mexico and Cuba… “ Life is more than realism – film is the key to it.“ Dorothe Beinemeier, Germany | Campus 2006

Did participating in the Berlinale Talent Campus lots of people. Will this change my perspective in 2007 influence your views on filmmaking? on making films? I don’t think so. I think the way I remember well walking down Potsdamer Platz to do it is keep my perspective and charge for­ look­­ing at all of those movie posters of films ward. Personally, if the perspective changes or that got invited and thinking: what sort of film gains from personal experiences or from a great doI want to make? I asked the same question mentor, that’s healthy. But changed by an award to myself when sitting in the auditorium and or recognition is very dangerous. looking at all those Talent Campus participants. Nothing makes it easier to make film, especi­­ally I don’t have the answer to that, to be honest. if you are in the far corner of the world, like New However, I ask this question still to this day and Zealand. think about the vibe and the energy on that day I walked that street. I think this constantly re­ Are you still in touch with fellow Campus minds me what is unique about my story and alumni? Do you use the international network Stephen Kang how to tell so that it stands out. platform the Campus offers? Filmmaker | New Zealand One of the great things about the Talent Campus Talent in 2007 Your latest short film BLUE has won the Critic‘s is the networking with people that you never Born in South Korea, Stephen Kang moved to New Week at Cannes in 2011. Did this change your knew before. I met a few people at the Berlinale Zealand as a teenager. After studying at Elam his first feature, Korean down under tale Dream Preserved, perspective on your own work? Talent Campus and I am still in touch with a won a New Zealand Screen Award for best digital Do awards open doors and make things easier? couple of people from that year. It’s great to get feature (2006). In 2011 Kang‘s short Blue – the tale of a fallen TV mascot – won the Critics’ Week section The awards certainly gave me a bit of confi­ in touch with them and get inspired and even at Cannes. Kang’s second feature Desert began dence and a reason to keep me going. Because encouraged by them. screening in local cinemas May 2011. sometimes making films can be a very lonely ex­perience even though you are surrounded by

Berlinale Talent Campus #10 Page Campus anniversary

15 “ Cinema is a team effort; you want people with fearless eyes and humble hearts to be with you along the way“ Juan Diaz B., Colombia | Campus 2009

You've participated in the Campus as an expert This year's Campus theme is “Changing Per­ for several editions. What propels you to return spectives”. In what ways is constantly re­newing year after year to work with Talents? one's perspective a crucial ability for editors? The invigorating atmosphere as well as the Well, “perspective” is kind of saying that one has Talents that come, their visions, their ambiti­- to look in a certain direction. Editors have to be ons. It's very inspiring. There is a point in editing open to what we don't see, and what we don't when you have to surrender to what is, and it know is there. We might be looking in one di­rec­ takes a lot of courage. It's beautiful to be a part ­tion, but it's actually behind us. Just the aware­ of that. ness of the different facets of reality, in German it's a beautiful word – Wahrnehmung – the per­ As an editor, writer, director, producer, and ception of that reality is so multifaceted in film. professor, you wear many hats. Films are wake dreams. They are dreams that are What advice do you have for Talents who are created in a wakeful moment, but they touch us Susan Korda unsure about whether to focus in one role, where our dreams touch us, and there are no Film editor, writer, director and producer | USA or continue to develop skills in all aspects of rules on that, right? There's no logic except an Expert since 2004 filmmaking? emotional logic, and a capacity to experience Editor of the Oscar®-nominated and Sundance-crown­ It's a combination of both. You need to go with on these valences of existence. In a way, the per­ ed FOR ALL MANKIND and Teddy winner TREMBLING BEFORE G-D. She also writes and directs, and was your gut and go with where you can constant-­ s­pective is about letting go of the idea of per­ most recently a producer on WILLIAM KUNSTLER: ly be involved with the making. So, if you find spective, letting go of the idea of knowing, and DISTURBING THE UNIVERSE. Her own work includes VIENNA IS DIFFERENT and ONE OF US. yourself in an editing room not to think: “I'm just knowing that something else knows in this She teaches at Columbia’s Graduate Film Program here and I don't want to be here”, but to really process. Of course we learn discipline, we train, and Binger Film Lab, Amsterdam. see what you can learn. And certainly from we have a craft, but there needs to be room for, editing you get to learn from other people's and the guidance really comes from, creative im­ mistakes – it‘s where the chicken comes home ­provisation. Responding to whatever is at hand, to roost. It really is about creating magic by whether you're on set or in the editing room. accepting what is, and not being defeated by it. If you have no awe or excitement about what you're doing, then don‘t do it.

Did participating in the Campus change Your film Wagah garnered many awards after your views on filmmaking? winning the Berlin Today Award 2009 – what I had a certain vision about life and cinema be­ were the reactions like in India? fore attending the Campus but three conse­­ Wagah received immense international suc­ cutive years of involvement in different Cam­pus cess. The film won 32 international awards and programmes helped me to broaden my vision screen­ed in more than 150 film festivals. The to the horizon! It helped me immensely to tell reaction in India was also great. Especially: It got my local stories with global significance. People huge appreciation from the young audience say, “Film is a collaborative art“. The Campus ex­ during its screenings in the educational in­sti­ perience made me realize the truest meaning of tutions in the country. this saying! Do you have a wish for the Campus’ next Are you still in touch with fellow Campus ten years? Supriyo Sen Filmmaker | India alumni? Do you use the international network The Campus should grow young!!! Talent in 2009 platform the Campus offers? Journalist turned independent filmmaker, Supriyo has I worked with my editor Szilvia Ruszev (Campus produced and directed feature and short docu­men­ 2008) in my next project also. I am still in touch taries like Way Back Home which was commercially released in India, Hope Dies Last in War and Berlin with a few other friends from the Campus. We Today Award winner Wagah. His latest documentary regularly keep in touch and share information is Game and Peace about a “Play for Peace“ work­- shop with Kashmir students. to help each other.

Campus anniversary | 02 Campus anniversary Page 16

You've participated in the Campus as an expert This year's theme is “Changing Perspectives”. for several editions. What propels you to return Have there been moments in your career when year after year to work with Talents? changing your perspective on your work The quality of the young filmmaking Talents has prompted an important discovery or shift? whom we select for the Campus is of a very high It sure has! It's inevitable in this business. We standard. I work especially with the writers and work in an industry in which technology has actors. I'm always impressed by their enthusiasm changed a great deal. My generation used to and determination, and the joie de vivre that's think that old-fashioned film would always be among them. I'm always keen to see how they the focus of our activities but now look how so will develop. many films are being shot digitally. Secondly, the pressure on budgets has meant that we‘ve What advice do you have for Talents on how to had to become far more imaginative to do more get the most out of their Campus experience? with less. That’s a very important factor of what's

They should prepare well and come prepared happened in my career over the years. And I had Alby James not to have much sleep so that they can do never expected to work with so many creative Script consultant, produce and teacher | UK as much as possible and meet as many people people from different parts of the world. Okay, Expert since 2007 as they can while they are there. Those who most of them share the common language of Former head of development at EON Screen­writers’ Workshop, he continues to work in the film business are fortunate enough to get into one of the English, but nevertheless, it means that people as a producer, script consultant and trainer of hands-on expert sessions should take that very are bringing different perspectives to the work emer­ging talent and as a teacher. In the first 15 years of his career he was mainly in the theatre and he seriously, and they always do. Taking it seriously because their life experiences are different. has produced, directed and written a large number means arriving as prepared as they can be for of notable theatrical and radio plays. doing their best work, because this will always Do you have a wish for the Campus' next benefit them. One, it will benefit the project that ten years? they are working on at the time, and two, they That it survives and is able to continue to add will come to the attention of the experts they value to young filmmakers’ lives. Actually, I think are working with, and because of the quality of the Campus will continue to be a model for the their input, they will then get recommended for kind of partnerships and collaboration that other projects because we all know lots of needs to happen for this business to thrive as people in the industry so that helps. we go forward.

You will participate at this year’s Berlinale USA, Argentina, Czech Republic: you have a lot Talent Campus. What are your expectations and of international experience. what especially are you looking forward to? How does that affect your work? This will be the first international film event I‘m By living abroad I've learned to observe and to attending. This is a big step for me since I will abstract things into absurdity. I also learned to be able to learn a bit more about film tendenc­ hate picturesqueness and to admire the mystery ies and production procedures outside the film of every person I've met without fitting anyone school context. I want to learn as much as pos­s­ in a cultural stereotype. I've tried to portray this ible. feeling in my work by going deeper into the characters' emotions rather than behaviors. You study both anthropology and film – in what ways are you able to connect them? The Campus turns ten this year – what are your Studying anthropology helped me to be more own goals for the next ten years? aware of the relation between film language I hope I’m still making movies without losing the Maria Daniela Delgado Viteri and its cultural context. It gave me a broader passion for it. I hope in ten years I'm still able to Filmmaker | Ecuador Talent in 2012 per­spective during the creative process and it laugh at myself. I also hope in ten years I've allow­ed me to question myself about the way I grown so much that I can see my work back Maria Daniela studied anthropology and film in Buenos Aires and participated at the FAMU was conceiving the film. I believe this is really from 2012 and think it's abominable. And over­ International Programme in Prague. important since (I think) film is always a political all, I hope my work contributes in someway to Three of her short films were shown at festivals, and she is currently working on her bachelor act. somebody. thesis about Montuvio Cinema in Ecuador.

Berlinale Talent Campus #10 Page Campus anniversary

17 “ I guess you can say that at the Talent Campus I found the right people to guide me to my destination.“ Nicolas Entel, Argentina | Doc Station 2007

As a founding partner in 2003 you know the Films debate how to get accepted. No bribes Berlinale Talent Campus from the very as yet but they think I have special access they begin­n­ing. Are you happy with its development want me to apply. over the years? The Campus has gone from strength to strength. “Changing Perspectives” is the Campus theme It has weathered changes of venue, a digital re­ in 2012. Isn’t this one of the most vital capa­ volution and at least two economic crises. And cities of a successful film producer like yourself? still the brainchild of Dieter is alive and kicking! We have to change as producers and cultur­- In fact, I believe that its reach and importance al en­trepreneurs all the time. Our audiences, to the Berlinale has grown every year and I am which are our lifeblood, demand this more than so proud to have been at the founding and ever. And if we ever became so complacent funding of this unique happening. to think that we know better, I fear our future would be in real danger. The chall­enges, the

Paul Trijbits Did you encounter Campus alumni in the past movements, the variations make our films Producer | UK years or did you work with some of them when worth making. Expert in 2005, 2006 and 2011 you started producing again? Producer of award-winning films such as THE MAGDA­ Over the years I have seen a number of CV‘s and Do you have a wish for the Campus’ LENE SISTERS, THE WIND THAT SHAKES THE BARLEY approaches from talented people in the UK who next ten years? and TOUCHING THE VOID. He was head of the New Cinema Fund of the UK Film make great importance of the year in which KEEP GOING!! Dieter wanted a 1,000 Talents each Council before he joined Ruby Films in 2007 as partner they at­tended the Campus. I can tell you that all year for 10 years, so we have only reached half and executive producer. With the UK Film Council he was co-founder of the Berlinale Talent Campus in 2003. the up-coming producers and assistants at Ruby our ambition.

“ The Berlinale Talent Campus is like a huge live film database with an easy interface. “ Giorgi Mrevlishvili, Georgia, finalist | Berlin Today Award 2010

You will participate at this year’s Berlinale Your films travel to a lot of festivals. Tal­­­ent Campus – what are your expectations How important is international recognition and what especially are you looking for your work? forward to? International recognition is an important factor Being part of Berlinale Talent Campus is a great of success in our business, especially since we opportunity for me to learn, listen and discuss do not have a film industry in our region. But I all our business matters. The Berlinale is a great believe that a good film that is made from the festival and in the past ten years the Campus heart will always succeed internationally. helped thousands of filmmakers to connect with each other. The Campus turns ten this year – what are your own goals for the next ten years? As an independent producer and filmmaker I am planning and hoping to start producing you constantly have to change perspectives. feature films internationally. And I am planning Heba Abu Musaed Is that a blessing or a curse? to direct my first and second feature films as Producer and director | United Arab Emirates It is a beautiful blessing to be able to change well. My biggest goal in the coming ten years is Talent in 2012 your perspectives. Films are created to make to mark my name in the film industry as a After graduating in mass-communication, Heba work­- you dream, live and understand different point successful producer and as a brilliant director. ed for years in the field of production before she wrote, produced and directed her first short film Nafaq of views. in 2009. She produced three other shorts, above them the Oscar®-shortlisted Bahiya & Mahmoud, before recently realizing her second short film cell #13.

Campus anniversary | 02 Campus anniversary Page

“ Making films is a wonderful excuse to make 18 a living out of day dreaming.“ Melinda Jansen, Netherlands | Campus 2006

At the Campus in 2011 you met with emerging You have worked in different countries around actors from all over the world. How important the world on a broad array of independent do you think international exchange is for an films. What is your feeling about a new actor? generation of actors getting a chance to enter It is a kind of keystone for how I work, because the industry nowadays? sometimes when you come in from the out­- I think that actors have to be responsible for side you get an entirely different perception of their own work. So, work with people you like, people and of the culture – you have more ob­ collaborate on stories and be responsible for the jec­­tivity. I often find myself playing charac­ters path your career takes. You have to find direc­ with different cultural backgrounds – which tors, producers, writers who excite and inspire means for me, coming from a different per­­spec­ you and then work together on something. ­­tive. Is luck involved? So, like the Campus theme this year, “Changing Yes, but what is luck? Luck is being ready. There Kerry Fox Perspectives”. Is this one of the abilities an actor are lots of opportunities – you have to be ready Actress | New Zealand Expert in 2011 needs when preparing to embody a character? to take them, you have to be brave enough to The reason that I work is so that I can broaden take the risks. That’s what luck is. Her film debut was Jane Campion’s AN ANGEL AT MY TABLE, for which she won, among others, the Best my own understanding. So that I am not stuck Actress Award at the New Zealand Film & TV Awards. in my perception of how people are but that I Do you have a wish for the Campus’ Fox starred in WELCOME TO SARAJEVO and won the Silver Bear for INTIMACY at the Berlinale 2001. learn about the way different people think. So next ten years? In 2009 she performed in Hans-Christian Schmid’s that I learn more empathy, get more compassion I wish for the Campus to become a really solid STORM, and will soon appear in P.J. Hogan’s MENTAL. and can see people’s actions from different per­ place of learning, that its base is broadened, and spectives. That is quite essential for an actor. I it continues to be a body that gains year after leave a job having a broader understanding year. than when I went in.

Lake Tahoe was screened in Competition in 2008. Winning awards with this film in Berlin You participated in the very first Berlinale and elsewhere, did this change your views Talent Campus in 2003. on the opportunities the Berlin International What is your most vivid memory and what Film Festival offers in its programmes? is your impression of the Campus having Supporting programmes as the Berlinale Talent returned several times to Berlin in the past Campus does is an invaluable investment in the years? future of cinema. My most vivid memory was begging for en­ trance (with no ticket) to see Ozu’s Tokyo Story. Can you tell something about the film you The guard let me go in with no ticket and I saw are working on now? How difficult is it in the film from the last row of the palast. In that Mexico to make independent films? moment I fell in love with Ozu and with the The script is finished, we are looking for fin­

Berlinale. ancing and I hope to shoot it in summer 2012. Fernando Eimbcke When I returned to Berlin with Lake Tahoe I was Fortunately, we have government funds for Filmmaker | Mexico invited to do a Q&A with the Talent Campus par­ films but an independent film is difficult to make Talent in 2003, expert in 2010 ticipants and I was shocked and very nervous anywhere in the world. Mexican director, his feature debut Temporada De Patos won the Ariel Award for Best Film, (so nervous, that I was unable to speak in Eng­ and Lake Tahoe was screened in the 2008 Berlinale lish) but at the same time very excited thinking Do you have a wish for the Campus’ next Competition, winning among others the FIPRESCI ten years? award. The Campus alumnus is one of the directors that a few years ago I was part of the participants of the omnibus film Revolución which ran who asked the questions. Continue, for the new voices to come, continue! in the 2010 Berlinale Special.

Berlinale Talent Campus #10 Page Campus anniversary

19 “Everything I know goes into my films. i need to know more.“ Padraig Trehy, Ireland | Campus 2004

You joined the Berlinale Talent Campus’ second “Changing Perspectives” is the Campus theme edition as a special guest – what did you take of 2012; have there been moments in your back home as a filmmaker after meeting such career when your perspective on filmmaking a large group of filmmakers from all over the changed drastically? world? Being part of the creation of the 5.1 sound for­ Cinema is the lingua franca of our time. mat in 1979. Moving from the Moviola to the KEM in 1972; from the KEM to the Avid in 1995; You belong to the few people still working from Avid to Final Cut Pro in 2002; and now – in both the editing and the sound department from Final Cut Pro to … what? although these have been strictly separated nowadays. What are the advantages for you Do you have a wish for the Campus’ next to continue working like this? ten years? On the contrary, I think that the development of To be able to continue along the same lines, and digital technology is pushing all of us toward a to expand appropriately! Walter Murch convergence: audio/vision. Picture editing and Film editor and sound designer | USA Expert in 2004 sound editing are flip sides of the same coin, all­ ­owing us to tell stories and craft emotions from Walter Murch is a pioneer in modern sound design and has shaped numerous films of Francis different perspectives. Ford Cop­­­pola (The Godfather) and George Lucas (THX 1138). For Apocalypse Now he won an Aca­demy Award for Best Sound. Anthony Minghella‘s The English Patient earned him one each for Best Sound and Best Editing. “ The Berlinale Talent Campus was a standout few days in my filmmaking development.“ Ken Wardrop, Ireland | Campus 2004

As a filmmaker, what did you take home after or­tunity to meet with hundreds of film­makers being at the Campus in 2004? and learn about their production experiences In 2004, I was just transitioning into my role as and enable them to share their experiences with a producer/director and the Campus was a per­ others. These interactions have helped in my fect opportunity to meet with other like-minded own work as a producer/director as I now take people from around the world. The coaching a more holistic approach to filmmaking. we received at the Talent Project Mar­ket was in­­- va­l­uable and helped in my ongoing fund­rais­- What does independent filmmaking mean ­ing process for my first feature film, Play­­ing in your part of the world? War­r­i­ors, which I completed last year. On re­ “Independent filmmaking“ is all about inno­va­ tur­­n­ing to Zimbabwe, I made it a point to en­ tion and about ownership of our work and our courage as many Zimbabwean filmmakers as intellectual property as filmmakers. It is about possible to apply for future editions. telling our stories fearlessly, with fresh eyes and ideas. Our industry is not that big in Zimbabwe, Rumbi Katedza By working as a filmmaker, producer and but we have seen a surge in production, parti­ Filmmaker and writer | Zimbabwe Talent in 2004 festival director you intrinsically look from cularly from younger filmmakers, in the past few different angles at film – how do you benefit years. This is encouraging and exciting. Award-winning writer, filmmaker and a prominent figure in the Zimbabwean film industry who served for from this? several years as the Festival Director of the Zimbabwe When I ran the Zimbabwe International Film Do you have a wish for the Campus’ next International Film Festival. With her own production company Mai Jai Films she is producing and directing Festival, it gave me the opportunity to look at ten years? fiction and documentary projects for television the end product – the film – and examine the I hope it continues to grow and to empower and and the screen. needs of the filmmaker in terms of exposure, nurture fresh filmmaking talent from around the marketing and promotion. It gave me the op­p­ world.

Campus anniversary | 02 IDFAcademy Summer School

IDFAcademy is an international training program for young up-and-coming talent eager to learn about the documentary industry and develop documentary projects.

Would you like to meet and work with highly esteemed filmmakers and film professionals? Would you like to strengthen the narrative structure of your documentary project (script or editing), over a period of one week? Would you like to be part of individual coaching, group sessions and an inspiring cultural program?

Then come to the IDFAcademy Summer School. We look forward to meeting you!

IDFAcademy Summer School, Amsterdam, June 2012. Submissions accompanied by a project are now being accepted, until the deadline of April 1, 2012.

More information on www.idfa.nl/idfacademy

IDFA, November 14 – 25, 2012 One of the leading documentary events in the world. 2012 topics | 03 Focus 2012 Page in search of change 22

Dates

sun 12 | 11:00 HAU 1 Changing Perspectives (p.41)

SUN 12 | 14:00 HAU 1 The Other Side of Reality (p.41)

sun 12 | 17:00 HAU 1 Directing Scripts, Editing Stories (p.42)

SUN 12 | 17:00 HAU 2 Rimini Protokoll: Staging Reality (p.42)

SUN 12 | 17:00 HAU 3, Top Floor Greening the Film Industry (p.42)

moN 13 | 14:00 HAU 1 FOCUS FORWARD – Short Films, Big Ideas (p.44)

“In my professional life, there will be definitely a ‘before‘ and an ‘after‘ the Campus.“ Yves Heck, France | Campus 2010

“Changing Perspectives“ – that‘s not only the theme of The Berlinale Talent Campus #10 wants to enhance filmmakers’ perspectives and the 10th Berlinale Talent Campus, it‘s also an important freshen their minds. impulse for ideas and creativity. With a wide range of This year’s programme focuses on the ways film professionals from different events the Campus helps you change your perspective. disciplines can help improve each other’s work by working closely together. Col­la­ You know the feeling of suddenly having an amazing new boration is an essential and ongoing concept of the Berlinale Talent Campus, yet it’s idea, the moment things start shifting in your mind and a even more important for filmmakers to have the opportunity to change people’s new road of possibilities unfolds before you, and suddenly, minds through their work. This Campus edition will focus on seeing one’s own work the day looks much brighter? Don‘t you wish you had that from a new perspective, adapting to a rapidly changing industry, audience demands more often? and ex­pec­tations, as well as using film to make a difference and change people’s Get geared-up for six days of a “changing perspectives“ views. roller coaster ride. Being able to change your point of view Filmmakers from all over the world will talk about searching for new creative and surprise yourself with new opportunities is an asset directions at some point in their career, how collaborating with other talented people every artist is aiming for. You need it to develop your work. challenged them to find new and better ways of working, how filmmaking broadened Emerging filmmakers of today are lucky to be able to de­ their view and helped them develop essential skills. Some of the filmmakers will velop this skill more and more, living in times when the elaborate on their very specific and autonomous working style that has resulted in industry seems to quickly evolve into new directions every an amazing body of work, or even created a new genre of filmmaking. Most of the year, and open minds are required to connect to each other. speakers won’t just highlight their own work, but share insight on how the input

Berlinale Talent Campus #10 Page Focus 2012 23

Dates

moN 13 | 14:00 HAU 2 Building Narrative Worlds: Digital Design for Cinema (p.44)

moN 13 | 14:00 HAU 3, Top Floor The Indie Filmmaker‘s Guide to Cross-Media I: Storytelling in the 21st Century (p.44)

TUE 14 | 11:00 HAU 1 In the Limelight: Nuri Bilge Ceylan (p.46)

TUE 14 | 14:00 HAU 2 Audience Wanted: Producers Reaching Out (p.46)

TUE 14 | 14:00 HAU 3, Top Floor The Indie Filmmaker‘s Guide to Cross-Media II: Engaging 21st Century Audiences Across Multiple Platforms (p.47)

“The Berlinale Talent Campus broadened my horizon. informal meetings and casual chats turned, a couple of years later, into project collaborations.“ Sabine El Chamaa, Lebanon | Campus 2007

of others, and joining forces with several professionals in­­ new equipment at their disposal to shoot footage, and use wed 15 | 17:00 volved in film production has inspired them to push boun­­­ new digital workflows during post-production. In vari­ous HAU 1 daries and come up with new ideas. Also, integrating the sessions you’ll be challenged to rethink your own preferred The Thousand Sounds of Ryūichi Sakamoto work of theatre directors, visual artists and novelists at this ways of working – allow yourself to be inspired by others. (p.50) year’s Campus will help to put the art of storytelling in a Don’t be afraid of comparing your working style with that wed 15 | 17:00 broader cultural context, as we learn from experts from of others, maybe even from different art disciplines like HAU 2 other fields of work. theatre, literature or photography. Killer/Hope Crossing Borders (p.50) At the same time, new developments in the film in­dus­ How can filmmakers contribute to sustainable film­ try redefine the ways stories can be told. Especially screen­ making in the near future? How can filmmakers increasingly THU 16 | 14:00 HAU 1 writers, directors, producers, and production de­sign­ers are make films that aren’t just picked up by festival folks, but will Changing Perspectives: all directly affected by new digital oppor­tunities to imagine be seen by broader audiences? How can film­making con­tri­ The Arab World Defining Its Future (p.52) and render new story worlds. Th ey use new cross-media bute to political change? How can we prepare ourselves for plat­­forms to develop, produce and distribute films, have filmmaking in the next ten years?

2012 Topics | 03 Distributors at the Campus Page audience wanted 24

Dates

mon 13 | 17:00 wed 15 | 11:00 hau 2 HAU 3, Top Floor Distributors Sharing Roughly Speaking: Their Secrets Editing Studio (p.45) Presentation (p.48) tue 14 | 14:00 HAU 2 wed 15 | 14:00 Audience Wanted: HAU 3, Black Stage Producers Reaching Out Contract Clinic (p.46) (p.49)

TUE 14 | 14:00 THU 16 | 12:30 HAU 3, Top Floor hau 2 The Indie Filmmaker‘s Speed Matching: Guide to Cross-Media II: Directors meet Engaging 21st Century producers and Audiences Across distributors Multiple Platforms (p.40) (p.47)

tue 14 | 17:00 HAU 3, Top Floor Seducing Audiences: The Art of Using Trailers (p.47)

It is crucial to reach your audience – an achievement that is decisive in a world of multi-platform communication

Ultimately, films are made to be seen and to communicate to audiences. Participating Talent distributors Why invest time, energy and funds into a film that only a select group Estrella Araiza, Mexico of people will have a chance to see? Manuel García, Argentinia Distributors play a crucial role in making sure that these films meet their full potential by reaching Oliver Harbottle, UK their audiences. Therefore, the Berlinale Talent Campus has actively searched for emerging dis­ Yogesh Karikurve, India tributors to join the pool of talented film professionals this year. We recognise the immense Christoph Meiser, Germany importance behind the work of the distributor and we want to incorporate young and promising Oistein Refseth, Norway distributors into the Campus community. With so many new and innovative modes of distribution Zoran Stankovic, Macedonia available today, these cutting-edge distributors are well versed in new modes, active in classical Olivier van den Broeck, Belgium theatrical and DVD distribution, and exploring all potentials for outreach including social media Cynthia Wiesner, Puerto Rico and other online platforms. Encouraging filmmaking talents, from directors to producers, at all Derya Yanmis, Turkey stages of development and production to be aware of their peer distributors' presence at the Campus, we'd like to promote an exchange of ideas with distributors from early on in the film­ making process. Distributors and filmmakers who engage in fruitful dialogues about reaching audiences can collaborate to ensure that the maximum amount of people see these ground- breaking films. Shifting our thinking, and considering production from yet another perspective can only aid in the creation of new work.

In the Campus programme, there are many events geared to get filmmakers and distributors alike to consider new modes of collaboration, new outlets, innovative ways to use technology in reaching audiences, as well as considering the role of emerging regions. See all related events on the side panel.

Berlinale Talent Campus #10 Page Co-Production Prize 25 win a co-production

The Robert Bosch Stiftung, which has been supporting the Berlinale documentary and short film, and each win­ning production Talent Campus for many years, is one of the main partners can receive up to 70,000 euros in funding. of the 2012 Berlinale Talent Campus. Frank W. Albers, programme manager for Arts and Encouraging collaboration and fostering mutual development between producers Culture at the Robert Bosch Stiftung explains: “Artistic co­ and filmmakers in Germany and Eastern Europe is one of the ambitions of the Robert operation between Germany and Southeast Europe had Bosch Stiftung. The Co-Production Prize, initiated by the Robert Bosch Stiftung, off­ been supported by the Robert Bosch Stiftung since the ers cross-regional support and has profoundly impacted the production of award- mid 90s.” Though the Co-Production Prize was founded in winning films which have screened internationally at festivals. Berlinale Talent 2005, “we looked for ways of giving more focus to the Campus participants from the past years have benefitted from the collaboration programme and soon decided that film could be a way of with the Stiftung and have often gained the support of the Co-Production Prize. bringing young German and international filmmakers to­ Berlinale Talent Campus alumnus, Hungarian director Gabór Hörcher, is one such gether on a highly creative level and continue promoting recent example, who collaborated with German producer Marieke Bittner (Wey­de­ the Stiftung‘s idea of international understanding. We‘d mann Bros.), after the two met and began their collaboration at the 4th Sarajevo now like to ex­pand our support to include other parts of Talent Campus. They went on to win last year‘s prize, and are now in production on the world as well.” their documentary film ROMA RALLY. Romanian director Peter Kerek and German producer Alexander Wadouh‘s short feature film project PEPSI also won the prize in 2011. For more information please contact: The Robert Bosch Stiftung’s Co-Production Prize competition is open to em­er­ Robert Bosch Stiftung, Frank W. Albers ging filmmakers between 18 and 35 and graduates of film and media aca­demies in [email protected] Germany and East and Southeast Europe. Joint production teams with a producer, director, camera operator (not for animated films) and a screenwriter in a balanc­- Coordination of the Co-Production Prize, ed mix from both regions are allowed to submit projects. The catego­ries qualifying Karin Angela Schyle for the co-production prizes for joint short film productions are animated film, [email protected]

Peter Kerek‘s Pepsi won the Winner of the 2011 Co-Production Prize for documentary: 2011 Co-Production Prize for short fiction Roma Rally by Gabór Hörcher

2012 Topics | 03 Campus alumni Page happy returns 26

Dates

wed 15 | 19:30 HAU 2 Happy Returns: The Future After the Campus (p.50).

Four Indonesian alumni from different Campus editions made the Berlinale Competition film Postcards from the Zoo

An impressive number of Campus alumni will be featured in the various A CRIMINAL AND A WHORE, after his 2008 film THE MUZZLED sections of the 62nd Berlin International Film Festival. HORSE showed in Berlinale Forum. Another second-return The Berlinale 2012 welcomes back 44 Campus alumni with 40 films in the festival by Atsushi Funahashi (Campus 2004), whose film NUCLEAR programme. The Berlinale Talent Campus celebrates not only the return of former NATION will be shown in Berlinale Forum. He had previous­ participants, but is also very excited about projects that feature collaborations bet­ ­ly shown his film BIG RIVER in 2007, which he made with ween filmmakers that were forged at the Campus. collaborators he met at the Campus while he was a Talent. In Competition for the Golden Bear, Edwin‘s POSTCARDS FROM THE ZOO, is a Sacha Polak (Campus 2010) returns to Berlin with two project replete with collaborators who were Campus alums. This team from In­do­ films: HEMEL, showing in the Berlinale Forum, and BROTH­­- nesia consists of director Edwin (Campus 2005), producer Meiske Taurisia (Campus ER, which the Dutch director made with fellow Talent alum, 2008), screenwriter Duad Sumolang (Campus 2006), and actress Ladya Cheryl. The Derek Jan Warrink (Campus 2011), a producer who has second Berlinale Competition film with alum participation is Matthias Glasner‘s three films in the festival this year. The other two are TAKING Mercy, co-produced by Kristine Knudsen (Campus 2003). CHANCES and SNACKBAR, all three of which are show­ing in The Mexican film, A SECRET WORLD, which will be shown in the Berlinale Gene­ Berlinale Generation. ration, is another such film with many former Berlinale Campus Talents: producers DYING NOT PLANNED, showing in the Perspektive Ernesto Contreras (Campus 2004) and Erika Avila (Campus 2005), as well as cine­ Deut­sches Kino, was edited by Ivan Morales Jr. (Campus matographer Ivan Hernández (Campus 2006). Another Mexican film showing in the 2005), and shot by cinematographer Ana Valeria González Berlinale Generation this year, PACHA, was completed after connecting with crucial (Campus 2008). contacts whom director Héctor Ferreiro met while he was a Talent in 2010. Thanks to the support of funding which was attain­- THE LOST LAND, a short film by Chinese filmmaker Yan Zhou (Campus 2007), is ed through Talent Project Market, Israeli filmmaker Ami a continuation of a film project that she had developed in Berlin as a participant Livne (Campus 2010) was able to make his film SHA­RqIYA, in Script Station. and Olivia Silver (Campus 2010) from the USA made her film Filipino filmmaker Khavn De La Cruz (Campus 2004), is returning with a film in ARCADIA which will show in Berlinale Generation. The co- the Berlinale Shorts programme, THE RUINED HEART! ANOTHER LOVESTORY BETWEEN producer of SHARqIYA, Henning Kamm, will be joining the

Berlinale Talent Campus #10 Page Campus alumni | Manfred Durniok Foundation 27

Héctor Ferreiro‘s Pacha features in this year's Alumna Teona Strugar Mitevska returns with the Berlinale Panorama Berlinale Generation film The Woman who Brushed off her Tears

Campus this year. Three Campus alumni return to Berlin with projects in the Co- Manfred Durniok Foundation Production Market. German producer, Dorothe Beinemeier (Campus 2006) returns A long lasting supporter of the Berlinale Talent Campus with the film HEIRS OF THE NIGHT, and Jochen Laube (Campus 2004) with Coconut The German producer, filmmaker, photographer and writer Hero. Magnus von Horn, Swedish/Polish co-author of THE WORD was at the Campus Man­­­fred Durniok was always drawn to distant places, yet in 2010. it was Asia in particular that captured his imagination. The Manfred Durniok Foundation, founded by the late film­ Other Campus alumni at the Berlinale in 2012: maker’s daughter, Ayano Teramoto, is a non-profit or­ga­­ni­ Carolina Hellsgård (Campus 2008) – HEROES; Torfinn Iversen (Campus 2009) – LEVI‘S sation established in 2006 to support and promote cultural HORSE; Anne Katrine Andersen (Campus 2003) – LOVE IS IN THE AIR; Chelsea Win­ exchange between Germany and Asia through scholar­ stanley (Campus 2008) – MEATHEAD; Milen Vitanov (Campus 2010) – RISING HOPE; ships, awarding prizes and providing financial support to Wi-Ding Ho (Campus 2006) – 10 + 10; John Wallace (Campus 2007) – DOLL­HOUSE; intercultural gatherings. The Berlinale Talent Campus’ de­ci­ Teona Strugar Mitevska (Campus 2004) – THE WOMAN WHO BRUSHED OFF HER TEARS; sive international perspective and interest in a dialogue Stephan Talneau (Campus 2006) – ULRIKE OTTINGER: NOMAD FROM THE LAKE; André that goes beyond political and cultural borders makes for a Götzmann (Campus 2004) – GEGEN MORGEN; Thomas Oswald (Campus 2011) – EIN fruitful collaboration. Intercultural awareness is a recurrent MäDCHEN NAMENS YSSABEAU; Ron Dyens (Campus 2003) – THE GREAT RABBIT; theme in the films that Durniok made and produced, and it Gustavo Rondon Cordova (Campus 2007) – NOSTALGIA; Bernd Lange (Campus 2003) is this spirit that the foundation hopes to continue. The – HOME FOR THE WEEKEND; David Zellner (Campus 2006) – KID-THING; Sandino Sara­ Manfred Durniok Foundation once again supports Talents via Vinay (Campus 2004) – THE WAIT; Stefan Butzmühlen (Campus 2011) – SLEEPLESS from South East Asia attending the 10th edition of the KNIGHTS Berlinale Talent Campus by covering their travel costs, as they have since 2007. East Asian Talents are invited to the For more information about submitting Manfred Durniok Foundation‘s reception on February 12 to the Berlin International Film Festival, from 12:30 until 13:30 at the “Kaffeehaus“ at the Museum of visit www.berlinale.de. Communication Berlin (by invitation only).

2012 Topics | 03 23rd edition / july 2012 150 films screened - international, french and first films competitions - world and international premieres - parallel screens - retrospectives - exhibitions - concerts call for entries : december 1st, 2011 - deadline : march 18th, 2012

FIDLab coproduction platform 4rd edition / july 2012 10 international projects selected - public presentations and professional meetings with producers, distributors and international programmers call for entries : october 15th, 2011 - deadline : february 5th, 2012 www.fidmarseille.org

Sans titre-2 1 7/12/11 10:44:47 Programme | 04 Meet the Expert Page vis à vis discussions 30

Vis à vis with Michel Reilhac, executive director of ARTE France Cinema

Join different industry professionals answers to these questions through “Line-­Pro­ ing in this year’s Berlinale Generation. She will for focused discussions at HAU 1 and HAU 3. ducer“, a software designed to link the sec­tors dis­cuss the choices you have to make during the of budgeting, financing and cash flow. It in­cor­ writing process, but also while shooting and porates factors such as currency, country-stocks editing the film. Sun, Feb 12 and co-productions, enabling you to efficiently plan your film production. Mireille van Helm Michel Reilhac HAU 1, Fox Bar | 16:00-16:45 HAU 1, Fox Bar | 12:45-13:45 Christian Goldbeck Mireille van Helm, founder of Ginger Film Ser­ Michel Reilhac, executive director of ARTE Fran­ HAU 3, Black Stage | 12:45-13:30 vices, will be available to give helpful advice on ­ce Cinema and director of film acquisitions for German production designer, who worked on how to prepare your film for delivery to an in­- ARTE France, will shed light on developing film films such as IF NOT US, WHO?, REQUIEM, STORM, ter­national sales agent and/or to international con­cepts for broadcasters, be they analogue or and as art director on THE READER, receiving territories. In this meeting she will also talk cross-­media projects. Ger­man Film Award nominations for his pro­ about what materials are essential during film duction design on five films. He is also pro­duc­ production, and the estimated costs/budget for Mathias Schwerbrock & Joachim Knaf tion designer of this year’s Berlinale Competition an international delivery. HAU 3, Top Floor | 12:45-13:30 film by Hans-Christian Schmid HOME FOR THE In cooperation with the Film WEEKEND. Goldbeck will talk about the job of Sydney Levine and Television University (HFF) “Konrad Wolf” pro­duction designers, matching their visual HAU 3, Black Stage | 16:00-16:45 and Erich Pommer Institut. designs perfectly with the themes and tone of Sydney Levine, with over 35 years of experience Dr. Joachim Knaf, tutor at the Film and Television each film they work on. in the entertainment industry, started as an University (HFF) “Konrad Wolf“, and German acquisitions executive and went on to establish producer Mathias Schwerbrock will focus on Sandra Beerends FilmFinders, the first comprehensive database three essential questions: How do you get a HAU 1, Balcony | 15:45-16:30 of worldwide productions and rights avail­­abi­­l­ hold of new financial sources for your project? Script editor Sandra Beerends has worked with ities by territory. After 20 years, she sold it to What is the best way to compute an international an array of screenwriters, directors, and pro­­du­ IMDb and is now creating online courses in the co-production? And how can you increase your c­ers, strengthening the narrative structure of international film business, working with the profit from a production? They will demonstrate their stories – among them KAUWBOY, screen­ European Film Market as well as the market in

Berlinale Talent Campus #10 Page Meet the Expert 31

Meet casting director Beatrice Kruger… …or Isabel Arrate Fernández, head of the Jan Vrijman Fund of the International Documentary Film Festival Amsterdam

Cannes, participating in festival juries and mar­ enhance cultural exchange through its film Karol Mar­tesko-Fenster and Damon Smith, to ket panels, and consulting with her partner programmes. His session will focus on film­ learn more about the details of the upcoming Peter Belsito. She will talk about how you can makers’ possibilities for collaboration with the $­200,000 Filmmaker Challenge and to have all en­ter the market as a producer, and how to find Goethe-Institut in Latin America and worldwide. your questions answered regarding this new the right market for your film project. docu­mentary 3-minute short film initiative. Peter Belsito HAU 3, Black Stage | 16:00-16:45 Alaa Karkouti & Maher Diab Peter Belsito, American producer, cine­mato­ HAU 1, Fox Bar | 16:00-16:45 mon, Feb 13 grapher and publisher will give an overview of Alaa Karkouti, Syrian film analyst with a tho­ the current international in­de­pendent market­ rough knowledge of the Arab film industry, and Isabel Arrate Fernández place and will share his experience in preparing Maher Diab, Lebanese illustrator and visual HAU 1, Fox Bar | 12:45-13:30 for performing successfully when visiting film artist, both represent the Cairo-based agency Fernández runs the Jan Vrijman Fund of the markets – and to find your way more easily MAD So­lu­tions – a group of creative designers Inter­national Documentary Film Festival Am­ in the world of sales, distribution, financing, and plan­ners. They will tell you how to find the sterdam which aims to support and generate mar­k­eting, publicity – both on and offline. right people to work with in different parts of more attention for documentaries and film­ the Arab world, how and in which stage of pro­ makers from developing countries. In this ­duction you can find film funding or co-pro­ session, she will focus on the possibilities for ducers in this region. funding offered by the Jan Vrijman Fund with tue, Feb 14 special attention on how to prepare an appli­ Iwana Chronis cation and project proposal. Karol Martesko-Fenster & Damon Smith HAU 3, Black Stage | 16:00-16:45 HAU 1, Fox Bar | 12:50-13:45 Manager of the Hubert Bals Fund of the Inter­ Nikolai Petersen In cooperation with FOCUS FORWARD. national Film Festival Rotterdam, Chronis will HAU 1, Balcony | 16:00-16:45 After the presentation of Cinelan’s FOCUS FOR­ inform you about the work of the fund and the Nikolai Petersen, director of the Goethe-Institut WARD – Short Films, Big Ideas project on Mon­ funding schemes for filmmakers coming from Venezuela, will talk about the activities of the day (see p.44), today you will have the chan- Africa, Asia, Latin America, the Middle East and Goethe-Institut worldwide and how it aims to ­ce to meet FOCUS FORWARD representa­tives parts of Eastern Europe.

Programme | 04 Open Doors The beginning of many careers

The 10th edition of the co-production lab will be devoted to francophone Sub-Saharan Africa. Since 2003, Open Doors has showcased 130 projects from more than 40 countries around the world, among which many have become renowned films in the international scene.

Submissions for the 2012 editions are now open until March 13th 2012 For applications or further information please visit: opendoors.pardo.ch Page Meet the Expert 33 Vis à vis discussions

wed, Feb 15 thu, Feb 16

Hanne Skjødt Kanako Hayashi Beatrice Kruger HAU 1, Fox Bar | 12:45-13:30 HAU 1, Fox Bar | 16:00-16:45 HAU 1, Fox Bar | 12:45-13:30 This is an opportunity for you to ask questions Festival director of the TOKYO FILMeX Inter­ A casting director based in Rome, Beatrice Kru­ and learn more about the European Docu­men­ national Film Festival and co-initiator of Talent ger has been involved in the discovery and tary Network (EDN), an association of 1,000 Campus Tokyo, she will shed light on current promotion of new acting talent for many years mem­bers from 60 countries with the aim of developments in Southeast and South Asia and developed the idea and concept for an stimulating networks and knowledge within as well as how the festival and Talent Campus interactive web portal (www.e-talenta.eu). She the documentary sector. EDN provides indi­vi­ Tokyo aim to offer a high-profile platform to a is responsible for the European and/or Italian dual consulting and possibilities for funding, new generation of Asian filmmakers. casting of films such as the recent BORGIA, THE devel­opment, co-production, distribution and AMERICAN, LETTERS TO JULIET, THE INTER­NAT­- colla­boration across borders. You will meet EDN Peter Rorvik & Bärbel Mauch ­I­ONAL, CASINO ROYALE, OCEAN’S TWELVE and director Hanne Skjødt. For more information: HAU 3, Black Stage | 16:00-16:45 many more. She will give acting Talents insight www.edn.dk Festival director of the Durban International into casting for international films. Film Festival, Peter Rorvik will talk about the Lizzie Francke festival activities for African filmmakers as well Ulrich Kodjo Wendt HAU 3, Black Stage | 12:45-13:30 as how the Durban FilmMart and the Talent HAU 3, Black Stage | 12:45-13:30 Lizzie Francke will discuss her work with the film Campus Durban aim to offer networking op­ German composer and sound designer for film funding department at the British Film Institute portunities in order for African and inter­nat­- and theatre, Wendt has composed music for (BFI) and give her insights on broadening the io­nal filmmakers to form alliances for future feat­­ure films such as Fatih Akin’s SHORT SHARP quality, range and ambition of film projects. collaborations. Bärbel Mauch, your contact per­ SHOCK, as well as documentaries like Jens Huck­ With her experience in all fields of pro­duction, son for every­thing concerning filmmaking in ­eriede’s AB NACH RIO. In this session, he will fo­ she will discuss the current pos­si­bilities for in­ Africa during the Campus, will also join this cus on finding an adequate language through ternational filmmakers to get access to British session to answer questions. score and sound design, and adding new layers funding. and story elements to films by using sound.

Programme | 04 Campus programme Page

Timetable More information: www.berlinale-talentcampus.de 34

HAU 1 HAU 1 / Fox Bar / Balcony HAU 2 HAU 3 / White Stage

9:00 8:30 Ticketing 10:00 Script Station: Project Develop­ment Day Gyula Gaz­dag, 9:30 Rise and Shine Breakfast Doris Hepp, Ruth McCance, Presented by Berlinale Talent Campus. (p.40) Marten Rabarts, Franz Rodenkirchen, Selina Ukwuoma. In cooperation with FFA and SOURCES 2. (p.55)

11:00 11:30 Taking Off Essential briefing on services, programme and hands-on-trainings. Matthijs Wouter Knol and Christine Tröstrum. (p.40)

13:00 Distributors Welcome Welcome Fast Forward Germany At Attic Room. (p.24) Talent Actors Stage Frank W. Albers, Christine Berg, At Fox Bar. (p.61) Mariette Rissenbeck, Daniel Saltzwedel. Moderated by Britta Knöller. In cooperation with Medienboard Berlin- Brandenburg, FFA and German Films. (p.40)

15:00 Global Speed Matching Meet and greet session. Moderated by Matthijs Wouter Knol. (p.40)

17:00 Admission at 16:30 Opening Ceremony & World Premiere of the Berlin Today Award Films 2012 Dieter Kosslick, Kirsten Niehuus. Moderated by Matthijs Wouter Knol and Christine Tröstrum. Supported by Medienboard Berlin-Brandenburg. Invitation required. (p.40)

9:00 8:30 Ticketing 9:30 Doc & Script Station 9:30 Rise and Shine Breakfast In cooperation with FFA Presented by Robert Bosch Stiftung and SOURCES 2. (p.55-56) and Sarajevo Film Festival. (p.41)

11:00 Changing Perspectives Juliette Binoche, Gaston Kaboré. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama. (p.41)

12:30 Lunch Break 12:45 Meet the Expert Speed Matching Michel Reilhac. At Fox Bar. Directors meet sound designers and editors. Pre-registration required. (p.30) Pre-registration required. (p.40)

14:00 The Other Side of Reality 15:45 Meet the Expert Kill Your Darlings Sophie Fiennes, Victor Kossakovsky. Sandra Beerends. At Balcony. Master class with Susan Korda. (p.41) Moderated by Sean Farnel. (p.41) Pre-registration required. (p.30)

17:00 Directing Scripts, Editing Stories 16:00 Meet the Expert Rimini Protokoll: Staging Reality Yan Geling, Volker Schlöndorff, Molly Malene Mireille van Helm. Helgard Haug, Stefan Kaegi, Daniel Wetzel. Stensgaard. Moderated by Peter Cowie. In coop­ At Fox Bar. Moderated by Dorothee Wenner. In cooperation eration with TESIRO, Berlinale Panorama (p.42). Pre-registration required. (p.30) with Theater Hebbel am Ufer (HAU). (p.42) 20:00

Berlinale Talent Campus #10 Page Campus programme

35 Colour code Events open to the Hands-on training events – Talents only Page numbers (p.) refer to corresponding public – ticket required for pre-selected Talents only texts in the Magazine

HAU 3 / Black Stage HAU 3 / Top Floor Other Venues

10:00 Editing Studio: 9:00 Post-Production Studio Project Introduction Day In cooperation with dffb and Camelot Broadcast Services. (p.57) Andrew Bird, Susan Korda, Gesa Marten, Alexandro Rodriguez, Molly Malene Stensgaard. In cooperation with 10:00 Score Competition German Film and Television Academy Berlin (dffb). (p.57) Editing at Wave-line / Feedback session with Ryūichi Sakamoto. (p.54)

11:00 Talent Project Market (p.58)

Doc Station Welcome Kathrin Brinkmann, Dick Fontaine, Jakob Kirstein Høgel, Meike Martens, Hubert Sauper, Ulla Simonen. In cooperation with FFA and SOURCES 2. (p.56)

Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59)

Sat, FEB 11

10:00 Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57)

10:00 Score Competition Editing at Wave-line. (p.54)

The Survival Guide to Digital Workflows 10:30 Stefan Ciupek, Dirk Meier. In cooperation with German Talent Project Market (p.58) Film and Television Academy Berlin (dffb) and Camelot Broadcast Services. (p.41)

12:45 Meet the Expert 12:45 Meet the Expert Joachim Knaf, Mathias Reception Manfred Durniok Foundation Christian Goldbeck. Schwerbrock. In cooperation with HFF “Konrad Wolf“ and At Kaffeehaus at Museum of Communication Berlin. Pre-registration required. (p.30) Erich Pommer Institute. Pre-registration required. (p.30) Supported by Manfred Durniok Foundation. Invitation required. (p.27)

Up Close & Personal: Andie MacDowell on Acting 13:00 Post-Production Studio Andie MacDowell. Moderated by Marten Rabarts. In cooperation with dffb and Camelot Broadcast Services. (p.57) In cooperation with L‘ORÉAL PARiS. (p.42)

16:00 Meet the Expert Greening the Film Industry Jacob Bilabel, 15:00 Talent Press Sydney Levine. Christian Goldbeck, Bernd Hezel, Fritz Reusswig, Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59) Pre-registration required. (p.30) Georg Schattney. Moderated by Milena Fessmann. In cooperation with the Climate Media Factory. (p.42)

19:30 Dine & Shine – Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2012 At ewerk. Judith Kaufmann, Dieter Kosslick, Kirsten Niehuus, Guy Maddin, Jasmila Žbanić. Moderated by Adrian Kennedy. Supported by Medienboard Berlin-Brandenburg and Robert Bosch Stiftung. Invitation required. (p.42)

Sun, FEB 12 Programme | 04 Campus programme Page

Timetable More information: www.berlinale-talentcampus.de 36

HAU 1 HAU 1 / Fox Bar / Balcony HAU 2 HAU 3 / White Stage

9:00 8:30 Ticketing 9:30 Doc & Script Station 9:30 Rise and Shine Breakfast In cooperation with FFA Presented by Berlinale Talent Campus. (p.43) and SOURCES 2. (p.55-56) 10:00

12:30 Lunch Break 12:45 Meet the Expert Speed Matching Isabel Arrate Fernández. Directors meet cinematographers. At Fox Bar. Pre-registration required. (p.40) Pre-registration required. (p.31)

14:00 FOCUS FORWARD – Short Films, Big Ideas Building Narrative Worlds: Phil Cox, Fredrik Gertten, Karol Martesko- Digital Design for Cinema Fenster, Jessica Yu. Moderated by Sean Farnel. Thomas Demand, Uli Hanisch, Alex McDowell, In cooperation with FOCUS FORWARD. (p.44) Habib Zargarpour. Moderated by Andrew Shoben. In cooperation with the 5D Institute, Los Angeles. (p.44)

17:00 16:00 Meet the Expert Distributors Sharing Their Secrets Nikolai Petersen. At Balcony. Adeline Monzier, Michael J. Werner. Pre-registration required. (p.31) Moderated by Ben Gibson (p.45).

19:30 IDFA DocLab: Unexpected Forms of Digital Documentary Storytelling Caspar Sonnen. In cooperation with IDFA DocLab. (p.45)

9:00 8:30 Ticketing 9:30 Doc & Script Station 9:30 Rise and Shine Breakfast In cooperation with FFA Presented by FOCUS FORWARD. (p.46) and SOURCES 2. (p.55-56)

11:00 In the Limelight: Nuri Bilge Ceylan Master class with Nuri Bilge Ceylan. 12:45 Meet the Expert Moderated by Matthijs Wouter Knol. (p.46) Karol Martesko-Fenster, Damon Smith. At Fox Bar. In cooperation 12:30 Speed Matching 12:30 Lunch Break with FOCUS FORWARD. Directors meet writers. Pre-registration required. (p.31) Pre-registration required. (p.40)

14:00 Dressing Stories 16:00 Meet the Expert Audience Wanted: Producers Reaching Out Master class with Sandy Powell. Maher Diab, Alaa Karkouti. Philippe Bober, Arnaud Pasquali, Guillaume de Moderated by Peter Cowie. (p.46) At Fox Bar. Seille, Ankica Jurić Tilić. Moderated by Pre-registration required. (p.31) Fleur Knopperts. In cooperation with MEDIA. (p.46)

17:00 In the Limelight: Mike Leigh Picturing Actors Master class with Mike Leigh. Tony Gatlif, Brillante Mendoza. Moderated by Moderated by Ben Gibson. (p.47) Kathrin Bessert. In cooperation with Berlinale Panorama. Ticket required. (p.47)

19:30 Beirut Calling: Contemporary Video Art from Lebanon Gheith Al-Amine, Mahmoud Hojeij, Ahmad Ghossein. Moderated by Marcel Schwierin. In cooperation with Berlinale Shorts and Berlinale Forum Expanded. (p.47)

Berlinale Talent Campus #10 Page Campus programme

37 Colour code Events open to the Hands-on training events – Talents only Page numbers (p.) refer to corresponding public – ticket required for pre-selected Talents only texts in the Magazine

HAU 3 / Black Stage HAU 3 / Top Floor Other Venues

9:30 Screenplay Constellations: 9:00 Post-Production Studio Activate the Writing Process In cooperation with dffb and Camelot Broadcast Services. (p.57) Claus-Peter Josten. Pre-registration required. (p.43)

Embodying the Character Talent Project Market (p.58) Kristof Konrad, Jean-Louis Rodrigue. Score Competition Final mixing at the HFF “Konrad Wolf“. (p.54) Pre-registration required. (p.43) Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57)

Rimini Protokoll: Multiplayer Video Walks I Helgard Haug, Stefan Kaegi, Daniel Wetzel. Pre-registration required. (p.43)

13:15 Excursion to the Costume House Theaterkunst In cooperation with Theaterkunst. Pre-registration required. (p.43)

The Indie Filmmaker‘s Guide to Cross-Media I: 15:00 Talent Press Storytelling in the 21st Century Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59) Martin Elricsson, Michel Reilhac, Caspar Sonnen. Moderated by Liz Rosenthal. (p.44) 15:00 Werner Herzog presents Death Row At Haus der Berliner Festspiele (240 min.). Werner Herzog. In cooperation with Berlinale Special. (p.44)

16:00 Meet the Expert Worldbuilding Upside Down 16:00 Excursion to “Meet the Docs“ at European Film Market Peter Belsito. Alex McDowell, Habib Zargarpour. In cooperation Sydney Levine. Pre-registration required. (p.31) with 5D Institute, Los Angeles. Ticket required. (p.45) In cooperation with European Film Market. Pre-registration required. (p.45) Mon, FEB 13

9:00 Camera Close-up Acting 9:00 Post-Production Studio Kristof Konrad, Jean-Louis In cooperation with dffb and Camelot Broadcast Services. (p.57) Rodrigue. (p.46) 10:00 Score Competition Final mixing at the HFF “Konrad Wolf“. (p.54) 10:00 Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57)

Know Your Rights 10:00 Rimini Protokoll: Multiplayer Video Walks II Mareile Büscher, Michael C. Donaldson. Helgard Haug, Stefan Kaegi, Daniel Wetzel. Pre-registration required. (p.43) In cooperation with Raue LLP. (p.46) 10:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)

Rehearsed Reading I: The Indie Filmmaker's Guide to Cross Media II: Engaging Actors Reading Scripts 21st Century Audiences Across Multiple Platforms Alby James. (p.46) Jigar Mehta, Inga von Staden, Timo Vuorensola. 15:00 Talent Press Moderated by Liz Rosenthal. Editorial meeting. In cooperation with Panorama. (p.47) In cooperation with Goethe-Institut and FIPRESCI. (p.59)

16:00 Meet the Expert Seducing Audiences: The Art of Using Trailers 16:00 Excursion to European Film Market Iwana Chronis. Shaun Farrington, Philipp Fleischmann. Sydney Levine. Pre-registration required. (p.31) Moderated by Matthijs Wouter Knol. (p.47) In cooperation with European Film Market. Pre-registration required. (p.45)

tue, FEB 14 Programme | 04 Campus programme Page

Timetable More information: www.berlinale-talentcampus.de 38

HAU 1 HAU 1 / Fox Bar / Balcony HAU 2 HAU 3 / White Stage

9:00 8:30 Ticketing

9:30 Rise and Shine Breakfast Presented by Berlinale Talent Campus. (p.48)

11:00 In the Limelight With a prominent director featured in this year‘s Berlinale. Stay tuned!

12:30 Lunch Break 12:45 Meet the Expert Speed Matching Hanne Skjødt. At Fox Bar. Directors meet actors. Pre-registration required. (p.33) Pre-registration required. (p.40)

14:00 Through the Lens Clearly Next Stop Wonderland? Master class with Edward Lachman. Entering the World of Co-Production Moderated by Mike Goodridge. (p.49) Helge Albers, Bruno Bettati. Moderated by Katriel Schory. In cooperation with Robert Bosch Stiftung and Berlinale Co-Production Market. (p.49)

17:00 The Thousand Sounds of Ryūichi Sakamoto 16:00 Meet the Expert Killer / Hope Crossing the Lines 16:00 Doc Station: Master class with Ryūichi Sakamoto. Kanako Hayashi. Ted Hope, Christine Vachon. (p.50). Meet the Talents. Moderated by Peter Cowie. (p.50) At Fox Bar. Moderated by Gabriele Pre-registration required. (p.33) Brunnenmeyer. (p.56)

19:30 Happy Returns: The Future After the Campus Atsushi Funahashi, Ami Livne, Sacha Polak, Olivia Silver. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Forum, Berlinale Generation and Berlinale Panorama. (p.50)

9:00 8:30 Ticketing 9:30 Doc & Script Station 9:30 Rise and Shine Breakfast In cooperation with FFA and Presented by Institut français. (p.51) SOURCES 2. (p.55-56)

11:00 11:15 Look Who's Talking: Interviewing on Screen Mark Cousins, Keanu Reeves. Moderated by Peter Cowie. In cooperation with Berlinale Generation and Berlinale Special. (p.51)

12:30 Lunch Break 12:45 Meet the Expert Speed Matching Beatrice Kruger. Directors meet producers and distributors. At Fox Bar. Pre-registration required. (p.40) Pre-registration required. (p.33)

14:00 Changing Perspectives: What Criticism Is: The Arab World Defining Its Future Five Views on an Artistic Practice Nadia El Fani, Tahar Ben Jelloun, Viola Shafik. Boyd van Hoeij, Dennis Lim, Verena Lueken, 15:30 Script Station: Moderated by Vincenzo Bugno. In cooperation Eithne O'Neill, Fernando Suárez Moreno. Meet the Talents with World Cinema Fund and Euromed Audiovisual Moderated by Damon Smith. Moderated by Programme of the European Union. (p.52) In cooperation with New Cinephilia Project. Gabriele Brunnenmeyer. (p.55) Pre-registration required. (p.52)

16:00 Things to Take Home Marjorie Bendeck, Kathi Bildhauer, Matthijs Wouter Knol, Christine Tröstrum. (p.52)

17:00 Say It with a Score: Score Competition Award Ceremony Christoph Fleischmann, Hubert Henle, Pablo Pico, Ryūichi Sakamoto, Enrica Sciandrone, Juan Pablo Zaramella. Moderated by Matthijs Wouter Knol. In cooperation with Dolby®. (p.52)

Berlinale Talent Campus #10 Page Campus programme

39 Colour code Events open to the Hands-on training events – Talents only Page numbers (p.) refer to corresponding public – ticket required for pre-selected Talents only texts in the Magazine

HAU 3 / Black Stage HAU 3 / Top Floor Other Venues

10:00 The Art of Noise: Exploring Sound Design Lars Ginzel. In cooperation with Fraunhofer/Heinrich-Hertz-Institut and the Film and Television University (HFF)”Konrad Wolf”. Pre-registration required. (p.48) 10:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)

Rehearsed Reading II: Roughly Speaking: Editing Studio Presentation 11:00 Excursion to Studio Babelsberg Actors Reading Scripts Sigrid Limprecht, Paz Lázaro, Susan Korda. Moderated In cooperation with Studio Babelsberg. Pre-registration required. (p.48) Alby James. (p.46) by Kevin Murphy. In cooperation with German Film and Television Academy Berlin (dffb). Ticket required. (p.48)

12:45 Meet the Expert 12:30 Excursion to European Film Market Lizzie Francke. Sydney Levine. Pre-registration required. (p.33) In cooperation with European Film Market. Pre-registration required. (p.45)

Contract Clinic Reality Revealed: Doc Station Presentation 13:00 Screening the Future: Excursion to the Heinrich-Hertz-Institut Michael C. Donaldson. (p.49) Heino Deckert. Moderated by Sirkka Möller. In cooperation with Fraunhofer/Heinrich-Hertz-Institut. In cooperation with FFA and SOURCES 2. (p.49) Pre-registration required. (p.49)

15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.59).

16:00 Meet the Expert Joint Ventures: How to Build a Film Industry Bärbel Mauch, Peter Rorvik. Enrico Chiesa, Tunde Kelani, Frances-Anne Solomon. Pre-registration required. (p.33) Moderated by Dorothee Wenner. In cooperation with World Cinema Fund and Goethe-Institut. (p.50) wed, FEB 15

10:30 Distributors Wrap-up session. (p.24)

10:30 Talent Actors Stage 10:30 Discover the World Cinema Fund Talent Press Wrap-up session. (p.61) Vincenzo Bugno, Sonja Heinen. Editorial meeting. In cooperation with World Cinema Fund. (p.51) In cooperation with Goethe-Institut and FIPRESCI. (p.59)

12:45 Meet the Expert 12:15 Ready, steady, go: Berlinale Co-Production Market Ulrich Kodjo Wendt. and Berlinale Residency Kathi Bildhauer, Pre-registration required. (p.33) Martina Bleis, Sonja Heinen. In cooperation with Berlinale Residency and Berlinale Co-Production Market. (p.51)

Talent Project Market 13:30 Script Station 2012: Digital Differences: Wrap-up session. (p.58) A Sneak Peek at New Stories Post-Production Studio Presentation Moderated by Gabriele Brunnenmeyer. at dffb. In cooperation with FFA and SOURCES 2. Stefan Ciupek, Dirk Meier. Ticket required. (p.51) Moderated by Christine Tröstrum. In cooperation with dffb and Camelot Broadcast Services. Ticket required. (p.52)

21:00 Closing Party at HBC. Supported by FOCUS FORWARD – Short Films, Big Ideas. Invitation required. (p.52)

thu, FEB 16 Programme | 04 Campus programme Page Day 1 / Sat, FeB 11 40

Ticketing and Talent Registration of the richest resources you‘ll have available to ron­ment for networking and forging lifelong 8:30 | HAU 2 you throughout this week – your Campus peers pro­fessional relationships, with Talents ranging First things first! Upon your arrival at the Talent –who are brimming with potential for future from actors, directors, screenwriters, directors of Campus, you‘ll need to stop by the registration col­l­aborations. With Talents specializing in all photography, producers, editors, distributors counter and pick up your accreditation. There areas of filmmaking, there is no end to the pos­ and sound designers. More focused meeting you will receive your Campus bag with the Cam­ si­bili­ties that can ensue from the valuable con­ sessions will occur daily during the Campus at pus magazine and Berlinale film pro­gramme. nections made at the Talent Campus. 12:30pm: You‘ll be welcomed by the Talent Campus staff, get all your logistical questions answered, find Feb 12 – directors meet sound designers out how to get tickets to the events and films Fast Forward Germany and editors you'd like to attend – all in one fell swoop. 13:00 | HAU 2 Feb 13 – directors meet cinematographers Frank W. Albers, Christine Berg, Feb 14 – directors meet writers Mariette Rissenbeek, Daniel Saltzwedel. Feb 15 – directors meet actors Rise and Shine Breakfast Moderated by Britta Knöller. In cooperation with Feb 16 – directors meet producers and 9:30 | HAU 2 Medienboard Berlin-Brandenburg, FFA, German distributors Presented by the Berlinale Talent Campus. Films and Robert Bosch Stiftung. German film funding and promotion organi­sa­ tions, representatives from Medien­board Berlin- Opening Ceremony and World Premiere Brandenburg, German Federal Film Board (FFA), of the Berlin Today Award Films 2012 German Films and the Robert Bosch Stiftung will 17:00 | HAU 1, Admittance at 16:30 present their re­spective initiatives and objectives Dieter Kosslick, Kirsten Niehuus. and explain how international filmmakers can Moderated by Matthijs Wouter Knol receive German funding. This meeting is relevant and Christine Tröstrum. to Germans and those filmmakers interested in Supported by Medienboard Berlin-Brandenburg. working with or in Germany – find out what

From Saturday to Thursday: SaturdayFrom to the daily Rise and Shine Breakfast would qualify your project to apply for funding through these organisations. Start the day with breakfast and conversat­­ions, hosted by the Berlinale Talent Campus. Enjoy hot coffee and croissants while you engage with Global Speed Matching filmmakers from around the world. Get sated 15:00 | HAU 2 and caffeinated before heading out for a day full Meet and greet session. of panels, films, master classes and events. Moderated by Matthijs Wouter Knol. Campus heads ChristineTröstrum and Matthijs KnolWouter

Taking Off The Berlinale Talent Campus 2012 welcomes all 11:30 | HAU 2 Tal­ents, mentors, and experts to the Opening Matthijs Wouter Knol, Christine Tröstrum. Ceremony of the 10th edition! The Campus This initial briefing is imperative for finding out man­agers, Matthijs Wouter Knol and Christine about all that the Campus has to offer. You‘ll be Tröstrum, along with Berlinale festival director, introduced to the Campus team members who Dieter Kosslick, will present the highlights and will provide a brief overview of all the events and focus of this year's Campus. The introductions

activities in the coming week, as well as Berlinale Meet and greet at the Global Speed Matching will be followed by a world premiere screening film screenings, receive useful information re­­­- of the five films nominated for the Berlin Today g­ar­­d­ing accessing the Campus database, wifi Global Speed Matching, is the Berlinale Talent Award, the Campus short film competition. access, etc. The hands-on training programmes Cam­­pus‘ version of speed-dating, is the fast lane For details on the Berlin Today Award see page 63. will also be introduced, they include: the Score to acquainting yourself with your Campus peers, Competition, Campus Studio, Doc and Script and getting comfortable introducing yourself Station, Talent Press, Talent Project Market, the and your work to those at the festival. Learn Talent Actors Stage and the Berlin Today Award. what others are up to and engage with potential Most importantly, you‘ll be made aware of one creative partners. The Campus is a rich envi­­-

Berlinale Talent Campus #10 Page Campus programme 41 Sun, FeB 12 / Day 2

Rise and Shine Breakfast The Survival Guide to Digital Workflows Kill Your Darlings 9:30 | HAU 2 11:00 | HAU 3, Top Floor 14:00 | HAU 2 Presented by Robert Bosch Stiftung Stefan Ciupek, Dirk Meier. Master class with Susan Korda. and Sarajevo Film Festival. In cooperation with German Film and Television Films find their form in the editing room. Raw Start the day with breakfast and conversat­i­- Academy Berlin (dffb) and Camelot Broadcast footage must be scrupulously sculpted to take ons, hosted by the Robert Bosch Stiftung and Services. on the appropriate form that will best convey Sara­jevo Film Festival. Acquaint yourself with the weight of its content. Susan Korda, editor, the projects that are supported by the Robert director, writer and lecturer at Columbia Uni­ Bosch Stiftung, perhaps your next film would be versity, as well as long time Campus expert, will qua­lified to apply. Meet representatives from provide deep analysis and insight into the craft the Sarajevo Film Festival, and consider sub­ mitting your film or applying to their Talent Cam­pus for their following edition. Get sated and caffeinated before heading out for another day full of panels, films, master classes and

events. Dobro jutro! Stefan Ciupek on set

Reputed German director of photography Ste­ Changing Perspectives fan Ciupek and digital imaging supervisor Dirk

11:00 | HAU 1 Meier, who have collaborated on many projects editorFilm Susan Korda encourages you to kill your darlings Juliette Binoche, Gaston Kaboré. in the past years (ANTICHRIST, SLUMDOG MIL­ Moderated by Matthijs Wouter Knol. LIO­NAIRE, DREDD) will show the intri­ca­cies of film editing. She'll go through selected clips In cooperation with Berlinale Panorama. of digital workflows: the challenges that arise from BONNIE AND CLYDE to demonstrate the when matching film and digital for­mats, in multifaceted techniques used to merge sound, particular when numerous shots are taken un­ image, and timing to bring about the inten­­­­d- der totally different conditions, and with varied ed cinematic experience. She‘ll elucidate the

, lighting. Ciupek and Meier will ex­plain how im­mense power in editing, and its ability to mastering digital workflows has allowed them make a film work, despite flaws that may have lles E to deal with various problems in post-pro­duc­t­ occurred during production. The all-important ion quite successfully. ability to “kill your darlings” will also be dis­cus­ s­ed, guiding Talents to understand how to select the best material from the many hours of foot­ Juliette Binoche in featuring in the Berlinale Panorama The Other Side of Reality age. Meticulously selecting shots, precise rhyth­ 14:00 | HAU 1 mic edits, and honing the overall structure are The development of an artist or a filmmaker's Victor Kossakovsky, Sophie Fiennes. in­te­gral to the final tone and feel of the film. working style will strengthen their unique voice, Moderated by Sean Farnel. but it can sometimes become a crutch that ham­ Master documentarians and auteurs of beauti­ pers them from renewing their perspective. fully shot observational films, Victor Kossakovsky How does an artist reconcile between main­ and Sophie Fiennes will talk about how wor­­- taining their distinctive vision and con­stantly k­­­ing as a documentary filmmaker has enabled renewing their work and outlook, while sim­ them to develop a strong and specific way to ultaneously challenging their audiences to do tell sto­ries and show reality in ground-breaking the same? Acclaimed director Gaston Kaboré ways. The conversation will specifically focus on and esteemed actress Juliette Binoche will dis­ how documentary filmmakers need to know in cuss their experiences expanding their practice advance which story they want to tell, in order to alter and provoke the way they make and to effectively shoot scenes or work with their con­sider their work – through forging new col­ protagonists. Find out how Kossakovsky and laborations, and after experiencing major turn­ Fiennes have created their working styles and ing points in their careers. found their distinctive voice in the genre.

Programme | 04 Campus programme Page Day 2 / sun, FeB 12 42

Up Close & Personal: Andie MacDowell For more than ten years the Berlin-based the­atre Sustainable film producing has never been more on Acting label Rimini Protokoll has produced and toured crucial. How can emerging filmmakers find both 14:00 | HAU 3, Top Floor their documentary theatre pieces around the ecological and financial advantages to going Andie MacDowell. Moderated by Marten world. Rimini Protokoll does not set up oppo­­- green? Various experts, ranging from scientists, Rabarts. In cooperation with L’ORÉAL PARiS. sit­ions between the stage and the aud­ience, producers, to set designers will discuss differ­­ent Andie MacDowell, known for her memorable but strives to integrate the two spheres in ever approaches to sustainable filmmaking and pre­ performances in GROUNDHOG DAY and FOUR changing experimental set-ups. In doing so, sent various examples of recent projects which WEDDINGS AND A FUNERAL, will share her ex­pe­ focus on the reduction of carbon emissions and r­­ience working with actors and directors, show the environmental advantages of green pro­­du­

excerpts from some of her films, and will answer HAU c­ing. This session will provide filmmakers and questions and discuss acting techniques and producers with practical tips and suggestions approaches with Talents. about climate-friendly filmmaking and clarify existing guidelines for particular production con­ditions in different parts of the world.

Directing Scripts, Editing Stories © Braun/drama-berlin.de 17:00 | HAU 1

Yan Geling, Volker Schlöndorff, Tie““Black in Rimini Protokoll‘s Theatre, Dine & Shine – Talents Rendezvous Molly Malene Stensgaard. with Berlinale Guests and Award Ceremony Moderated by Peter Cowie. In cooperation they explore their interest in perception and the of the Berlin Today Award 2012 with TESIRO and Berlinale Panorama. knowability of the world, and in particular, the 19:30 | ewerk knowability of human beings. Their aim is to Judith Kaufmann, Dieter Kosslick, break open our reality, showing it in all its facets Kirsten Niehuus, Guy Maddin, as a way of enabling us to interrogate it. Rimini Jasmila Žbanić. Pro­to­koll apply their method to the world with Moderated by Adrian Kennedy. enormous subtlety and great curiosity, bringing Supported by Medienboard Berlin-Brandenburg

THE FLOWERS people and ideas together in constellations that and Robert Bosch Stiftung. always come as a surprise. They have be­come

, adapted from a novel central figures in the theatre world, making a great impact in German theatres over the past OF WAR by Yan Geling Yan by Competition Film decade. The directors Helgard Haug, Stefan

Kaegi and Daniel Wetzel will show and discuss The close collaboration between scriptwriter, short videos from their recent productions. director, and editor serves in the creation of a tightly crafted film by expanding upon the script, manifesting the story through the actors, Greening the Film Industry Kyoko Kyoko Miyake, winner and restructuring the story again in the edi­ting 17:00 | HAU 3, Top Floor 2011Award of the BerlinToday room. How do different collaborative teams Jacob Bilabel, Christian Goldbeck, work together and in what ways does each Bernd Hezel, Fritz Reusswig, The Campus version of musical chairs, bet­ween mem­ber contribute something unique to the Georg Schattney. each course of the Dine & Shine dinner you‘ll process? Editor Molly Malene Stensgaard (ME- Moderated by Milena Fessmann. change seats, every time finding yourself seated L­ANCHOLIA), writer Yan Geling (THE FLOWERS In cooperation with Climate Media Factory. next to yet another fascinating expert or fellow OF WAR) and director Volker Schlöndorff (calm Talent with whom you‘ll swap stories of the at sea) will offer insight into their specific in­ festi­val and your life and work. With delectable volvement in each stage of storytelling. food and company, by the end of the eve­ning you'll be sated by this movable feast, by the many great conversations had, connections Rimini Protokoll: Staging Reality made, and in­spi­red advice received. The Berlin 17:00 | HAU 2 Today Award jury, consisting of filmmakers Guy Helgard Haug, Stefan Kaegi, Daniel Wetzel. Mad­din, Jas­mila Žbanić, and cinematographer Moderated by Dorothee Wenner. Judith Kauf­mann will announce the winner of

In cooperation with Hebbel am Ufer (HAU). Production designer Christian Goldbeck the Berlin Today Award 2012 at the event.

Berlinale Talent Campus #10 Page Campus programme 43 Mon, FeB 13 / Day 3

Rise and Shine Breakfast Konrad have a unique approach to coaching Rimini Protokoll: 9:30 | HAU 2 actors to improve their performance in film and Multi Player Video Walks I & II Presented by the Berlinale Talent Campus. theatre. As Larry Moss, an American acting coach 10:00 | Haus der Kulturen der Welt Start the day with breakfast and conversations, puts it: “One of the most important things actors Helgard Haug, Stefan Kaegi, Daniel Wetzel. hosted by the Berlinale Talent Campus. Enjoy can possess is a relationship to their own body hot coffee and croissants while you engage with and breath. Jean-Louis works with actors in such filmmakers from around the world. Get sated a way that they immediately understand from and caffeinated before heading out for a day full of panels, films, master classes and events.

Screenplay Constellations: Activate the Writing Process

9:30 | HAU 3, Black Stage Theatre group Rimini Protokoll © Freese/drama-berlin.de Workshop with Claus-Peter Josten. Louis Rodrigue helps with The essential question for the screenwriter is: - The Berlin-based performance and theatrical

How does one tell a good story? Certainly, stor­ Jean embodying a character interventions group Rimini Protokoll has created ies already exist as ideas before the author has an interactive technique that could be describ­- even begun to write. But how does one effect­ deep within themselves their true impulses.“ He ed as a heterotopic form of cinema, devised for ively influence this creative process – beginning has been a coach on a number of films includ­-­ twelve users at a time. Each workshop participant with invisible inspiration, and gradually trans­ ing J. EDGAR and W. and has worked with ac­t­- will be given an iPad to shoot a five-minute walk form­-ing it into a more palpable form to com­m­ ors such as Leonardo DiCaprio, Juliette Binoche, during which they film their surroundings while uni­cate with others? Following the principles of Hil­ary Swank, Keanu Reeves, and Kirsten Dunst. telling a short story. The participants will then screen­play constellations as a solution fo­cused Through a mental and physical process, the exchange iPads and watch another person's film work­shop, these initial ideas will find spatial arti­ master class will allow actors and film directors as they follow in the very tracks that the previ­- cu­lation: the nature of a character, its relation to to expand their level of awareness of themselves, ous user walked while filming – revealing how other figures, and the tone of a scene, will all be in stillness and in movement, focus on con­ others make creative choices that are different manifested through a collaborative physical re­ necting the body and breath to performance from our own. Walking in each other‘s footsteps, presentation of the structure of the script, thus and creating characters. Helping actors gain we simultaneously encounter two levels of opening up and illuminating the writers per­ access to themselves and teaching them to experience – our own and that of an other. ception of the story. Claus-Peter Josten, German transform into characters requires an atmos­ Through these multiple short videos, the par­ director and consultant, will share his experience phere free of fear. Jean-Louis promotes an en­vi­ ticipants function as both actors and spec­tators. as an expert in screenplay development in this ronment that is both playful and daring. As The prerecorded past turns into the pre­sent, four-hour, hands-on workshop, designed for up Rodrigue emphasises, “when performers make unveiling an interactive cinema, which is not just to 24 participants. Scenes from three different the physical component of their work as im­ seen, but is a participatory experience. screenplays will serve as case studies to explore portant as the intellectual“, he says, “they be­ the innovative method of screenplay con­stell­ come far more convincing.“ Workshop I – Feb 13, 10:00 ations following “syst®“– a rapidly growing work­ Workshop II – Feb 14, 10:00 ing tool for scriptwriters and directors. Meeting point 9:45 at the entrance to HAU 2.

Embodying the Character Excursion to the Costume House 10:00 | HAU 3, Top Floor Theaterkunst Jean-Louis Rodrigue and Kristof Konrad. 13:15 | Meeting point 12:45 This hands-on workshop will be an interactive at the entrance to HAU 1 experience with practical application. Body, In cooperation with Theaterkunst. voice, energy, breath and the ability to embody The oldest and largest in Germany, Costume the character are the fundamental tools that House Theaterkunst, with its expansive costume actors need, and are also what they most often and accessory collection, supplies innumerable lack. Acting coach, choreographer and move­ film, television, theatre, and advertising projects

ment specialist, Jean-Louis Rodrigue, and Kristof Costumes from a variety of epochs and stylesTheaterkunst at with the perfect costumes. Now in its hundred

Programme | 04 Campus programme Page Day 3 / Mon, FeB 13 44

visi­o­naries such as scientists, engineers, econ­­- The Indie Filmmaker‘s Guide to Cross- o­mists, mathematicians, physicists, financ­­iers, Media I: Storytelling in the 21st Century and in some cases, everyday folks who have 14:00 | HAU 3, Top Floor facilitated human progress or reshaped our Martin Elricsson, Michel Reilhac, world by their efforts and inventions. The short Caspar Sonnen. documentary films will be presented and dis­ Moderated by Liz Rosenthal. cussed in this session, and Talents will be encouraged to sub­mit short film proposals for the upcoming FOCUS FORWARD call-for-entries (which will open in April 2012).

Building Narrative Worlds: Digital Design for Cinema 14:00 | HAU 2

Thomas Demand, Uli Hanisch, Liz Rosenthal moderates the two “The Indie Filmmaker‘s Guide“ sessions Alex McDowell, Habib Zargarpour.

Over ten million pieces in store: the CostumeTheaterkunst House Moderated by Andrew Shoben. In today’s networked world, the way that au­d­ In cooperation with 5D Institute, Los Angeles. iences interact with stories is radically trans­ and fifth year, this historic institution houses forming. How can storytellers and film­makers over ten million pieces from a variety of epochs adapt as audiences move effortlessly from one and styles, with branches in Hamburg, Munich, platform or device to the next – from mobile, to Cologne, and the Berlin headquarter. Their film social media and other digital tools? What is historical contribution is immense, having fitted the new storytelling language and behavi­ou­­r­- films such as VARIETE, BEN HUR, METROPOLIS, ­­al mindset that cross-media stories require us and recently, INGLOURIOUS BASTERDS, THE REA­ to embrace? Leading cross-media experts will DER, THE WHITE RIBBON, and SHUTTER ISLAND. share their experiences with building story This tour is open to ten Talents, and is a unique worlds, characters and locations to travel across

opportunity to peruse their expansive and rich He builds narrative worlds: production designer Alec McDowell multiple platforms. collection, and consider the sartorial side of film. As concrete and systematic the world we live in seems to be, it is the product of centuries of Werner Herzog presents DEATH ROW FOCUS FORWARD – Short Films, Big Ideas visionary designs, inventions, and creations by 15:00 | Haus der Berliner Festspiele 14:00 | HAU 1 imaginative thinkers who have envisioned a Meeting point 14:30 Phil Cox, Fredrik Gertten, world beyond the one they lived in. Production at the entrance to HAU 1. Karol Martesko-Fenster, Jessica Yu. designers who are tasked with creating entirely Werner Herzog. Moderated by Sean Farnel. new worlds and alternate universes must be In cooperation with Berlinale Special. In cooperation with FOCUS FORWARD. able to think freely and outside of the box in order to imagine and render these narrative worlds. In this session, various production de­ signers will explain how screenwriters, film­ © Cinelan makers, and producers can create entirely new films worlds where their films will be set. Discussing FICG-MICHEL AMADO by Phil Cox: part of

methods, and showing digital tools available to © manifest these ideas will be the main focus of straws

s this interactive panel with production designers Werner Herzog at the Talent WernerCampus Herzog Talent at the Guadalajara

FOCUS FORWARD Alex McDowell (MINORITY REPORT), Uli Hanisch HILARY‘ the (THE INTERNATIONAL), Habib Zargarpour (THE BOURNE IDENTITY), and acclaimed visual artist Returning to the Berlinale with his latest doc­u­ For Cinelan‘s FOCUS Forward project, promi­­ and photographer Thomas Demand. mentary film DEATH ROW, Werner Herzog in­ nent filmmakers have made short films about vestigates another side of the death penalty. He

Berlinale Talent Campus #10 Page Campus programme 45 mon, FeB 13 / Day 3

will show four episodes of his new film, discuss Sydney Levine, a pioneer acquisitions exe­cu­t­­ive, Intended for a select group of Talent product­- his process making it, why it was important for will conduct the tour of the inner work­ings of ion designers, directors and screen­writers, this him to make another film on the same subject the EFM. One of the tours of the EFM, “Meet the workshop will be led by visual effects expert from a diff­erent perspective after making INTO Docs”, focuses on the docu­mentary film industry Habib Zargarpour (THE BOURNE IDENTITY, THE THE ABYSS, talk about his working style in gen­ present at EFM and is a joint ini­ti­ative with the PERFECT STORM) and product­ion designer and eral, and what inspires him to make films. European Docu­mentary Network (EDN). producer Alex McDowell (MINORITY REPORT, FIGHT CLUB). The experts will focus o n a couple “Meet the Docs“ Regular tours of films each, show ex­cerpts, and examine them

Feb 13, 16:00 Feb 14, 10:00 & 16:00 in-depth. Parti­ci­pa­ting Talents will have the

ow Feb 15, 10:00 & 12:30 opportunity to discuss their own projects and R receive input. eath D Distributors Sharing Their Secrets 17:00 | HAU 2 IDFA DocLab: Unexpected Forms Adeline Monzier, Michael J. Werner. of Digital Documentary Storytelling In the Berlinale Special: Werner Herzog‘s © Werner Herzog Film GmbH Moderated by Ben Gibson. 19:30 | HAU 2 Caspar Sonnen. In cooperation with IDFA DocLab. Excursion to the European Film Market IDFA DocLab showcases interactive webdocs Meeting point at the entrance and other new forms of digital storytelling that to HAU 1–15 minutes prior to start time. expand the documentary genre beyond linear Sydney Levine. filmmaking. This session will present select In cooperation with European Film Market. trans-media projects, and contextualize how The European Film Market (EFM), the industry these works function as an amalgamation of centre of the Berlinale, is a major place of con­ components from many forms – ranging from

vergence for international film professionals Moderator Ben Gibson data visualisation to installations. Ever ex­pan­ including distributors, buyers, producers, fin­an­ ding narrative possibilities, by incor­po­rating ciers, and sales agents. Set in the historic ren­ A well-distributed film makes a world of dif­f­ in­teractive storytelling, these web-based doc­u­ aissance-style exhibition hall, Martin-Gropius erence – it can mean to either only be seen by mentaries reveal new relationships bet­ween Bau, the EFM is a bustling nine day trade fair a select few on the festival circuit, or to be re­ filmmaker and audience, fact and fiction, where over 400 exhibitors from 55 countries leased in theatres and on DVD, reaching a much cinema and the internet. present over 700 films, and functions as a baro­ wider audience. Seasoned distributors Michael meter for the upcoming film year. J. Werner (Fortissimo Films) and Adeline Monzier (Europa Distribution) share their in­sights into the tough world of film distribution. In their discussion they will elaborate on the ins-and- outs of the trade, and encourage filmmakers and producers to start considering their au­­d­-­ ien­­ce and marketing strategy as early as possible in the film producing process.

Worldbuilding Upside Down 17:00 | HAU 3, Top Floor Alex McDowell, Habib Zargarpour. Bau - In cooperation with 5D Institute, Los Angeles. The creative process of visualising and digitally Gropius - rendering an imaginary world involves not only technical design skills but a great deal of col­la­ boration between the director and the pro­duc­ in the Martin Impressively located: the European MarketFilm tion designer to develop these worlds together.

Programme | 04 Campus programme Page Day 4 / tue, FeB 14 46

Rise and Shine Breakfast Know Your Rights In the current film market, emerging producers 9:30 | HAU 2 11:00 | HAU 3, Top Floor can't just focus on developing, financing and Presented by FOCUS FORWARD. Mareile Büscher, Michael C. Donaldson. pro­ducing content, but are increasingly forced Start the day with breakfast and conversations, In cooperation with Raue LLP. to actively explore new platforms and markets hosted by FOCUS FORWARD – Short Films, Big in order to reach audiences and collaborate with Ideas. Acquaint yourself with their short doc­ distributors. This panel showcases producers umentary film project, find out about their call- who have initiated new strategies to co-produce, for-entries, and perhaps you‘ll be making one of finance and distribute their films and have been their next three-minute films (more information:

www.focusforwardfilms.com). Get sated and ora caffeinated before heading out for another day é et full of panels, films, master classes and events. M Mareile Büscher and Michael C. Donaldson Camera Close-Up Acting 9:00 | HAU 3, Black Stage What must a director or producer know about produced by Philippe Bober - Jean-Louis Rodrigue and Kristof Konrad. their rights to a film? How are rights de­termin­- Berlinale Competition film An actor’s vision in film acting is manifested ed, and how can you be sure of protecting your was co both emotionally and physically. This kind of artistic licence on the project? Everyone in­vol­ per­­formance requires more than instinct – in­ ved, directors, producers, distributors, and sales supported in doing so by the MEDIA Programme terpretative intelligence and a mastery of phy­ agents, need to know the international laws in Brussels. These producers have successfully si­cal, psychological, and emotional craft are behind ownership of the films they work on. released films either in cinemas or have found es­s­en­tial. Jean-Louis Rodrigue and Kristof Kon­ Get straight forward explanations and ad­vice other platforms of distribution to reach ad­dit­ rad lead an intensive workshop to explore the from industry law experts Michael C. Donaldson ional audiences. MEDIA‘s Arnaud Pasquali will skills and tools for the creation of extra­ordi-­ and Mareile Büscher, and ask all your burning join the discussion. n­ary characters and performances speci­fically quest­ions about this often illusive, yet important geared for the camera close-up. Having coach­­- as­pect of the filmmaking process. ed actors such as Leonardo DiCaprio, Juliette Rehearsed Reading: Actors Reading Scripts Binoche, Hilary Swank, Helena Bonham Carter Feb 14, 14:00 | HAU 3, Black Stage to name a few, Jean-Louis and Kristof have a Dressing Stories Feb 15, 11:00 | HAU 3, Black Stage unique point of view, applying physicality and 14:00 | HAU 1 Workshop with Alby James. the Alexander Technique to acting in film. Master class with Sandy Powell. Moderated by Peter Cowie. Costume design is an essential part of bringing In the Limelight: Nuri Bilge Ceylan the characters to life using the aesthetics of 11:00 | HAU 1 wardrobe. “Sandy’s great gift is her ability to Master class with Nuri Bilge Ceylan. make historical costumes look contemporary. Moderated by Matthijs Wouter Knol. She manages to be both true to the period Internationally celebrated Turkish filmmaker, and modern”, says Harvey Weinstein. The art of Nuri Bilge Ceylan joins the Campus for a master cos­t­ume design and using clothes and fashion

class on his work. Known for his pensive themes elements to enrich the film’s story, will be the “RehearsedAlby James at the Reading“ workshop and poetic long takes, Ceylan will elaborate on focus of this master class with three-time Oscar®- his working style, collaborating with non-actors winning, British costume designer Sandy Powell. The first step for an actor to embody a charac­­ter and family members, and his intimate approach is grasping how they will approach the script to production. Nuri Bilge Ceylan has won num­ and bring it to life. This Talent Actors Stage erous awards including Best Director Award Audience Wanted: Producers Reaching Out work­shop will focus on dialogue training with (2008) and the Grand Prix for distant (2002) 14:00 | HAU 2 the use of pre-selected scripts from the Script and ONCE UPON A TIME IN ANATOLIA (2011) in Philippe Bober, Arnaud Pasquali, Station. Alby James, seasoned theatre, film and Cannes. Guillaume de Seille, Ankica Jurić Tilić. television director, previous head of devel­op­ Moderated by Fleur Knopperts. ment of EON Screenwriters' Workshop, and ac­ In cooperation with MEDIA. complished independent producer, will coach

Berlinale Talent Campus #10 Page Campus programme 47 Tue, FeB 14 / Day 4

actors and scriptwriters on how to build char­ winning films such as VERA DRAKE, the Palme acters based on real life circumstances and sit­ d'Or winning and Oscar®-nominated SECRETS uations. This workshop brings together fellow AND LIES, and HAPPY GO-LUCKY, which won

Talents, uti­lizing their respective skills to coll­ the Silver Bear for Best Actress. Known for his aborate, as scriptwriters will be able to see their dist­inctive improvisational style, his realist dia­ aptive screenplays in action, and actors will be able to logues, and his ground-breaking work as a C study and perform these scripts, en­couraging director in both film and theatre, Leigh will dis­ questions, discussions, and feed­back between cuss his working process. all parti­cipants.

Picturing Actors Brillante Mendoza whose The Indie Filmmaker‘s Guide to 17:00 | HAU 2 is part of this year‘s Berlinale Competition Cross-Media II: Engaging 21st Century Tony Gatlif, Brillante Mendoza. Audiences across Multiple Platforms Moderated by Kathrin Bessert. Seducing Audiences: 14:00 | HAU 3, Top Floor In cooperation with Berlinale Panorama. The Art of Using Trailers Jigar Mehta, Inga von Staden, 17:00 | HAU 3, Top Floor Timo Vuorensola. Shaun Farrington, Philipp Fleischmann. Moderated by Liz Rosenthal. Moderated by Matthijs Wouter Knol.

In cooperation with Berlinale Panorama. features Making and using trailers has become an in­ With the ability to co-create, to edit and share creasingly vital marketing tool for distributors through the plethora of platforms, apps, and and producers. Expert trailer directors Shaun ndignados de­vices, these days audiences are actively en­­­­ I Farrington and Philipp Fleischmann will show gaged in the stories that interest them and examples from their broad range of work and de­mand interactive experiences. Looking at a discuss in which stages of filmmaking trailers in this year‘s Berlinale Panorama variety of case studies including Jigar Mehta's Gatlif‘sTony can be effectively used: from film development, “18 Days in Egypt” and Timo Vuorensola‘s cross- financing, to film releases. Furthermore, how do media film IRON SKY (selected for Berinale Pan­ Actors rarely have the chance to get direct you make trailers for different markets, and how orama 2012), speakers will show the power of feed­back regarding their auditions or on the can trailer experts collaborate with producers, engaging audiences across multiple plat­forms. pho­tographs they send to directors and casting dis­-tri­butors, and the film’s director? This session will also point to new skills, colla­ directors. It is essential to know how a director borators and partnerships needed to bring approaches the casting process in order to im­ these projects to life. prove one's auditioning methods. What role do Beirut Calling: actors’ portraits play in the beginning stages of Contemporary Video Art From Lebanon casting? How relevant are pictures and the first 19:30 | HAU 1 In the Limelight: Mike Leigh impression they make? What does a direc­t­or Gheith Al-Amine, Ahmad Ghossein, 17:00 | HAU 1 expect from actors’ photographs? Mahmoud Hojeij. Master class with Mike Leigh. How do dif­f­erent countries place varying de­m­ Moderated by Marcel Schwierin. Moderated by Ben Gibson. ands on cast­ing photographs? For example, in In cooperation with Berlinale Shorts Master of distinctly British, yet universally poig­ the U.S. a per­fect headshot is essential, whereas and Berlinale Forum Expanded. nant real-life dramas, Mike Leigh, President of in Ger­­­many very natural photos are generally The Beirut-based Ashkal Alwan collective has this year’s International Jury, has directed award- pre­ferred. The participating Talent Actors Stage been committed to the production, facilitat­ion actors will pre­sent their pictures and discuss and circulation of a wide range of artistic prac­ with prominent directors, Brillante Mendoza tices since 1994. Several artists linked to Ash­­­­- (tirador, KINATAY) and Tony Gatlif (KORKO­- kal Alwan are presenting their latest work this RO, TRANSYLVANIA), what attributes are read year at the Berlinale, and they join the Talent through their pictures and what to keep in mind Campus to discuss their ground-breaking work. when auditioning. They will explain their many projects including the cre­at­ion of an archive and an interdisciplin­ ary edu­cation program which cultivates a new gene­ra­tion of artists and filmmakers after the

Mike Leigh, President of this year‘s International Jury Lebanese civil war.

Programme | 04 Campus programme Page Day 5 / wed, FeB 15 48

Rise and Shine Breakfast Here, the scores of the Score Competition are to help Talents fine-tune their rough cuts. Short 9:30 | HAU 2 re­­mixed in Wave Field Synthesis (WFS), in order excerpts from the selected projects will be pre­ Presented by the Berlinale Talent Campus. to show the spatial sensation of the technology. sented to offer a sneak peek at these fledg­ling The Berlinale Talent Campus invites you to kick­ WFS is a sound technology which offers much films. In conversation with Susan Korda, par­ti­ start your day with breakfast and con­ver­sations. creative potential for an immersive interactive cipants will identify the challenges facing their Enjoy hot coffee and croissants while you en­ “cinema of the future”. rough cuts and describe how the one-day ga­ge with filmmakers from around the world. Part II: session in the editing room provided fresh in­ Get sated and caffeinated before heading out to Q&A with Ryūichi Sakamoto; Master class on sights and approaches to their projects. another day full of panels, films, master classes Sound Design with Lars Ginzel on Often the editing process can drag on long­- and events. ENTER THE VOID at the Film and Television er than expected, and film festival submission University (HFF) “Konrad Wolf”. deadlines are fast approaching. When is a rough The final stop of the excursion will be at the Film cut polished enough to present to festival pro­ The Art of Noise: Exploring Sound Design and Television University (HFF) “Konrad Wolf”. grammers? Paz Lázaro, programme manager 10:00 | Meeting point 9:45 There will be a Q&A session with esteemed Berlinale Panorama will join the conversation at the entrance to HAU 2 composer and Score Competition mentor Ryūi­ and share her experiences with viewing rough Excursion to the Heinrich-Hertz-Institute; chi Sakamoto. A master class w ill then be given cuts during the programming process. The dis­ Q&A with Ryūichi Sakamoto; Master class by Lars Ginzel, re-recording mixer on Gaspar cussion will turn to how and when to present on Sound Design with Lars Ginzel at Noé‘s ENTER THE VOID, who will discuss his a rough cut, as well as shedding light on the the Film and Television University (HFF) work­ing process on this film and give in-depth ex­­­pectations of programmers when they select “Konrad Wolf”. analysis with select examples. a rough cut for screening. For composers and sound designers only. Instead of distributors seeing a film for the In cooperation with Fraunhofer/Heinrich- first time at its official festival premiere or at a Hertz-Institute, Film and Television University Roughly Speaking: mar­ket screening, it may be beneficial to se­c­ure (HFF) “Konrad Wolf”. Editing Studio Presen­ta­tion dis­tri­bution before a film has undergone post- Part I: 11:00 | HAU 3, Top Floor pro­duction. German film distributor Sigrid Lim­ Excursion to the Heinrich Hertz Institute Susan Korda, Paz Lázaro, Sigrid Limprecht precht will comment on her experiences view­ The Heinrich-Hertz-Institute is a state-of-the-art Moderated by Kevin Murphy. ing unfinished films, offering tips and ad­vice research institute for communication systems In cooperation with dffb. about how and when to present a rough cut to and digital media where Talents will learn about Internationally renowned editors join the Cam­ potential buyers. pioneering technologies for screen and sound. pus Editing Studio and offer advice and feedback ) HAU 1 The Berlinale Talent CampusThe Berlinale venue:Talent Theater Hebbel am Ufer (

Berlinale Talent Campus #10 Page Campus programme 49 WED, FeB 15 / Day 5

Excursion to Studio Babelsberg include THE VIRGIN SUICIDES, FAR FROM HEAV­ The Contract Clinic 11:00 | Meeting point 10:00 ­EN, IMPORT/EXPORT, LIFE DURING WAR TIME, as 14:00 | HAU 3, Black Stage at the entrance to HAU 1 well as the HBO series produced by Killer Films, Michael C. Donaldson. In cooperation with Studio Babelsberg. MILDRED PIERCE, will elaborate on his close Distributors can get advise from experienced Studio Babelsberg celebrates its 100th anni­­­ver­ collaboration with various directors and illus­ legal counsellors on the complicated distri­bu­ sary this year with a special film series in the tra­te this with excerpts from his work. tion contracts they are currently dealing with. Berlinale programme. This prolific and cele­bra­ This workshop is only open to distributors, and t­ed studio, where noteworthy films from Fritz will be conducted by Michael C. Donaldson, an Lang‘s METROPOLIS to Quentin Tarantino‘s IN­ Next Stop Wonderland? en­ter­tainment lawyer specialising in inde­pen­ GLOURIOUS BASTERDS were produced, will be Entering the World of Co-Productions dent films for over thirty years. open for a tour of the premises to a limited 14:00 | HAU 2 num­­ber of Talents. Preference will be given to Helge Albers, Bruno Bettati. pro­duction designers, producers and directors. Moderated by Katriel Schory. Reality Revealed: In cooperation with Robert Bosch Stiftung Doc Station Presentation and Berlinale Co-Production Market. 14:00 | HAU 3, Top Floor Screening the Future: Heino Deckert. Excursion to the Heinrich-Hertz-Institut Moderated by Sirkka Moeller. 13:00 | Meeting point 12:30 In cooperation with German Federal Film Board at the entrance to HAU 1 (FFA) and SOURCES 2. In cooperation with Fraunhofer / Heinrich- Hertz-Institut. The Heinrich-Hertz-Institut conducts research and development work pertaining to inno­­­va­- ­­­t­­ions for the digital future. It is the leading re­

search institute for mobile broadband com­­m­u­ Katriel Schory, director of Israel Film moderatesFund, this session nications, photonic networks and electro­nic imaging for multimedia, in the high-tech com­ Interested in co-producing a film with inter­ munications systems, digital media, and ser­vice national partners, yet unsure if this would be an

fields. The institute also heads the Ger­man option for your film? Come find out everything Producer Heino Deckert discussing Doc Station projects national project PRIME, which works in 3D pro­ you need to know from producers Helge Albers duction for film and broadcasting. Image pro­ (Flying Moon Productions) and Bruno Bettati Doc Station gives a unique snapshot of the cessing, communication, 3D displays, and in­- (Jirafa), both with current co-productions pre­ world, seen through the projects of twelve film­ no­vative audio technologies comprise their sented in this year's Berlinale programme or at makers from four continents. They span from contribution to the film industry, which will be the Berlinale Co-Production Market. They will the exploration of secret gender identity in a the focal point of the tour, in which they will shed light on how their films have been financed German family to a transgendered pre­g­nan­cy demonstrate and explain their pioneering tech­ so far, the dos and don’ts of setting up co-pro­ in the UK, and women's roles in a new Is­lam­- nologies to visiting Talents. ductions, which markets are the most effec­tive, ic movement in Indonesia. Directors un­cover and the importance of having a net­work of re­ his­t­­ory by way of examining places, from the liable collaborators. de­struction of the Cartucho neigh­bourhood in Through the Lens Clearly Bogota, to the slum-ridden Tondo Harbour in 14:00 | HAU 1 Manila, to a strike in a long gone Lebanese fac­ Master class with Edward Lachman. ­tory. They follow fascinat­ing char­ac­ters, from Moderated by Mike Goodridge. the Cambodian filmmaker Rithy Pahn, to a “It’s not a cameraman’s job to make nice pic­t­ plane-­building pilot in Ke­n­ya, to a mid­wife in ures”, says Edward Lachman, “but to bring out the Himalayas. They un­ravel com­pli­ca­ted re­la­ the truth.” The distinguished cinematography tionships within a Chilean im­migrant family in of Edward Lachman, who has worked with top Brazil, between a silent father and his daught­- directors such as Werner Herzog, Wim Wen­- er, and a Chinese activist fighting his eviction ders, Todd Haynes, Steven Soderbergh, Ulrich in Beijing. These projects from the Doc Station, Seidl, and Todd Solondz will be the focus of this currently at dif­f­erent stages of de­vel­op­ment,

master class. Lachman, whose many features Michael C. Donaldson invites you into the Contract Clinic will be pre­s­ented to a professional aud­ience.

Programme | 04 Campus programme Page Day 5 / wed, FeB 15 50

The Thousand Sounds of Ryūichi Sakamoto duction companies Killer Films and Double 17:00 | HAU 1 Hope, Vachon and Hope will answer Talents‘ Master class with Ryūichi Sakamoto. questions and reveal the inside of cutting-edge runs in the

Moderated by Peter Cowie. producing. Arnolds© Victor rother Joint Ventures: How to Build a Film Industry B 17:00 | HAU 3, Top Floor Enrico Chiesa, Tunde Kelani, Berlinale Generation, Frances-Anne Solomon. Sacha Polak‘s Moderated by Dorothee Wenner. In collaboration with World Cinema Fund HEMEL and BROTHER, and Olivia Silver with Ar­ and Goethe-Institut. cadia have returned to the Berlinale again, this How can filmmakers in developing countries time through their films which have been se­ join forces to set up their own structures of lected for the official pro­gramme. The films support, gradually build a local industry and a they’ve made since attending the Campus will sustainable infrastructure for funding, rather be the primary focus of the session. They‘ll dis­ than working on a project by project basis and cuss how they managed to realise their pro­jects, depending on support from abroad? Instead of which obstacles they met, and how they made

Mentor of this year‘s Score Competition: Composer Ryūichi Sakamoto reinventing the wheel every time an emerging it back to Berlin. filmmaker decides to take a stab at filmmaking, Legendary composer, musician and perfor­mer what kind of support structure could be im­ Ryūichi Sakamoto will share his experience plemented that could build on established rcadia

with score-composing and creating sounds for knowledge and connections? African initiative, A mo­­­­­v­­ing images. His distinctive and illustrative Mokolo, and CaribbeanTales, both new net­ sound work has brought out an added level of works from developing regions, are resources emotion in the films he has scored, which in­ for film­makers to connect to collaborators and clude Oscar®-winning film THE LAST EMPEROR, industry professionals that enables them to pro ­ as well as BABEL, and WOMEN WITHOUT MEN. duce and distribute their films.

Sakamoto will talk about his working style, his Olivia Silver made it back to Berlin with the Generation film process in determining where and when to uti­ lize different sound elements, how he coll­a­- Happy Returns: ­b­o­rates with directors, illustrating this with ex­ The Future After the Campus cerpts from the films. 19:30 | HAU 2 Atsushi Funahashi, Ami Livne, Sacha Polak, Olivia Silver. Killer / Hope Crossing the Lines Moderated by Matthijs Wouter Knol. 17:00 | HAU 2 In cooperation with Berlinale Forum, Berlinale Ted Hope, Christine Vachon. Generation, Berlinale Panorama. Two producers who are known for their capacity Berlinale Talent Campus alumni Atsushi Fu­na­ to push the boundaries, the prolific indie pro­ hashi with his film NUCLEAR NATION, Ami Liv­- ducers Christine Vachon (MILDRED PIERCE, FAR ne with Sharqiya, Sacha Polak with her films FROM HEAVEN) and Ted Hope (MARTHA MARCY MAY MARLENE, 21 GRAMS) will join forces to lead a session on the current challenges that indie producers face. They‘ll discuss how to adapt to the ever-evolving expectations of audiences, shift financing and distributing methods, use new platforms in the future, and elaborate on the power and necessity of experimentation. by alumna Ami Livne Through advice and useful anecdotes from their harqiya S experiences working on projects at their pro­ features in the Berlinale Panorama

Berlinale Talent Campus #10 Page Campus programme 51 THU, FeB 16 / Day 6

Rise and Shine Breakfast and Sonja Heinen, project managers will pre­ Ready, Steady, Go: Berlinale Co-Production 9:30 | HAU 2 sent the aims of the initiative, the breadth of Market and Berlinale Residency Presented by Institut français. works and regions considered and supported, 12:15 | HAU 3, Top Floor Start the day with breakfast and conversations, as well as crucial information for Talents about Kathi Bildhauer, Martina Bleis, Sonja Heinen. hosted by Institut français. Acquaint yourself how to apply with their projects. In cooperation with Berlinale Co-Production with their cultural mission promoting and sup­ Market and Berlinale Residency. ­­p­orting films that inspire cross-cultural ex­ The new Berlinale Residency programme will chan­ge with France and the world. Get sated Look Who‘s Talking: invite select film projects to Berlin to further and caffeinated before heading out for another Interviewing on Screen develop their films with market viability and day full of panels, films, master classes and 11:15 | HAU 1 distribution in mind, and culminate in feedback events. Bon appetit! Mark Cousins, Keanu Reeves. from industry professionals, and presentation Moderated by Peter Cowie. at the Berlinale Co-Production Market. This new In cooperation with Berlinale Generation initiative will be introduced in detail, as will the Discover the World Cinema Fund and Berlinale Special. Co-Production Market, one of the major inter­ 10:30 | HAU 3, Top Floor national networking and financing platforms Vincenzo Bugno, Sonja Heinen. for film productions, which brings together over In cooperation with World Cinema Fund. , 500 reputed international producers, film fin­ ide

S anciers, sales agents and distributors, as well as by

LLC broadcasting and funding representatives. ide S

Script Station 2012: A Sneak Peek at New Stories

Keanu Reeves interviewing in Berlinale Special‘s © 2012 Company Films 13:30 | HAU 3, Top Floor Moderated by Gabriele Brunnenmeyer. Finding the right people for a film interview is In cooperation with German Federal Film Board

Sonja HeinenVincenzo andBugno introduce World Cinema the Fund one thing, getting them to deliver an on screen (FFA) and SOURCES 2. conversation that moves and directly connects Script Station is always a fascinating showcase New voices, visual approaches, and stories from with audiences, is another. How can filmmakers of global storytelling that is deeply rooted in the far corners of the world are supported by the guide and direct interviews to draw out target local, while connecting to audiences on a un­i­ World Cinema Fund, a joint initiative of the stories and emotions, without manipulating the versal level. Berlinale and the German Federal Cultural Foun­ outcome, and instead bring the conversation to Stories from Turkey, Switzerland, and Brazil dation, in cooperation with the Goethe-Institut. another level? Actor and producer Keanu Reeves show women of different generations finding Financing independent productions from re­gi­ ways to reinvent their everyday lives. Hidden ons that have access to little funding such as secrets are at the crux of many stories, one Latin America, Africa, the Middle East, Central about four friends in the Dominican Re­public, a and Southeast Asia and the Caucasus, the preg­nant girl in 1950‘s Spain, a Ro­m­anian com­

dyssey

World Cinema Fund succeeds in bringing fresh O munity swindling their government, and two n

per­spectives to the big screen, championing – A un­re­gist­ered con­struction workers in Serbia

aut­eurs that convey their unique visions and ilm forced to bury a fellow worker who died on the aesthetic techniques in their site-specific stories. F job. Political motifs dominate stories about Iran of

Project manager Vincenzo Bugno explains, “Our after the 2009 elections, and a Hun­garian news tory

job is an incredible privilege. We deal with S team reporting on the fall of the iron curtain in he T Mark Cousins ‘ documentaryMark Cousins countless stories, visions and visual worlds but is part of this year‘s Berlinale Special the late 1980s. Intimate emotions come through we are also very ambitious: we try our best in in a story of two young brothers in Israel whose order to support strong projects with an original (Side by Side) and director and film critic Mark house has been bull­dozed, a teen love story set artistic profile. And it works!” One such success Cousins (The Story of Film – An Odyssey) will in a small American town that‘s been haunted story of a project financed by the World Cinema show excerpts and discuss their experiences by disappearances, and an un­usual tale of two Fund is Thai director, Apichatpong Weera­set­ha­ pre­paring for and conducting interviews for Indian girls in a circus. This session will offer kul‘s, Palme d’Or winning UNCLE BOONMEE WHO their latest films which are screening in the Talents a sneak preview of stories developed at CAN RECALL HIS PAST LIVES. Vincenzo Bugno Berlinale programme. this year‘s Script Station.

Programme | 04 Campus programme Page Day 6 / thu, FeB 16 52

Changing Perspectives: Digital Differences: The Arab World Defining Its Future Post-Production Studio Presentation 14:00 | HAU 1 14:00 | dffb Cinema Tahar Ben Jelloun, Nadia El Fani, Viola Shafik Stefan Ciupek, Dirk Meier. Moderated by Vincenzo Bugno. In cooperation Moderated by Christine Tröstrum. In cooperation with the World Cinema Fund and Euromed with dffb and Camelot Broadcast Services. Audiovisual Programme of the European Union. Post-Production Studio is a hands-on technical The current changes that the Arab world is training programme designed to familiarize

un­­­der­going are immense and unpredictable, Talents with the latest technologies related to Last year‘s winner RöschFelix enjoyed his stay in Los Angeles brin­g­­­ing up many quintessential questions post-production and digital workflows. Together about the fundamentals of societies in the with Talents, expert cinematographers shoot bringing the film to life, and activating another Middle East and Northern Africa. This panel will with digital cameras such as the Sony F3, ARRI layer of the cinematic experience. The cul­mi­ grapple with how some of these questions are Alexa, Canon 5D and RED One M-X, and with nating celebration for three emerging com- being confronted through cinema, including post-pro­duc­tion professionals, Talents will ex­ ­po­sers and finalists of the Score Com­petition, the relationship between political power and per­iment with digital post-production soft­ware who have spent an intensive week working to the individual, the increasing conflicts bet­ween for edi­t­ing, grading, mastering, and data man­ im­prove their scores under the guidance of the idea of the state as a guarantee for free­dom ag­ement. The final results from this programme Ryūi­chi Sakamoto is also the closing event of of expression and religious and political fun­d­ will be pres­ented by mentors Stefan Ciupek and the Campus. The three composers will join Sa­ amentalism, the role of women and ethnic min­ Dirk Meier. ka­moto on stage to discuss the intricate pro­cess o­rities, and the need to organize democratic of creating original music for moving im­­ages. participation. But furthermore, how is the emer­ At the end of the session, the winner of the ­ging generation contributing and what pos­si­ Things to Take Home Score Competition Award will be announced. bilities are there for further changes through the 16:00 | HAU 2 The prize is a tour of the world-class sound use of new platforms for com­m­uni­cation? Marjorie Bendeck, Kathi Bildhauer, studios in Los Angeles spon­sored by Dolby®. Christine Tröstrum. Moderated by Matthijs Wouter Knol. What Criticism Is: One of the last events of the tenth Berlinale Closing Party Five Views on an Artistic Practice Talent Campus is designed to show you that 21:00 | HBC 14:00 | HAU 2 there is life after the Campus, and in fact, there As the exhilarating Campus week comes to a Fernando Suárez Moreno, Dennis Lim, is a whole lot still in store. There are many new close, we invite all Talents and experts to unwind Eithne O'Neill, Boyd van Hoeij, opportunities, activities and events that may be at the Closing Party at HBC sponsored by our Verena Lueken. of advantage to you and can be accessed right 10th anniversary host FOCUS FORWARD – Short Moderated by Damon Smith. from your home base. Members of the Campus Films, Big Ideas. A final farewell from the Campus In cooperation with Project: New Cinephilia. team will present an overview of the various team will follow the screening of the “Best of Pauline Kael wrote criticism for a general aud­i­ extra Campus services that could be useful Berlinale Talent Campus" by Deutsche Welle DW- ence. Manny Farber wrote criticism “to the film”, in developing your film projects. Information Akademie. as it were. Who should the ideal critic be writing about Campus activities throughout the year, to? Why do we read criticism? Experts taking including the online Campus com­munity and part in this panel will discuss these questions Campus International editions will be provided. and explore how a critic finds her voice and, more generally, how to approach the task of criticism. Critics entering the professional world Say It with a Score: need to think about how they might negotiate Score Competition Award Ceremony writing for an editor with particular tastes and/ 17:00 | HAU 2

or a publication with a defined voice and sen­si­ Christoph Fleischmann, Hubert Henle, bility, while also pursuing the adventure of Pablo Pico, Enrica Sciandrone, writing. The experts will provide practical gui­d­ Ryūichi Sakamoto, Juan Pablo Zaramella. ance for how to balance self-expression with the Moderated by Matthijs Wouter Knol. need to reach an audience, but will also speak In cooperation with Dolby®. to larger concerns about the critical en­terprise Original scores have the transformative power

itself. of infusing images with ambience and emotion, The Campus week comes to an end at the Closing Party

Berlinale Talent Campus #10 Hands-on training | 05 Score Competition Page new sight on sound 54

Dates

wed 15 | 10:00 excursion The Art of Noise: Exploring Sound Design (p.48).

wed 15 | 17:00 HAU 1 The Thousand Sounds of Ryūichi Sakamoto (p.50).

thu 16 | 17:00 HAU 2 Say It with a Score: Score Competition Award Ceremony (p.52).

2011 Score Competition participants Felix Rösch, Roger Goula, conductor Loranz Dangel, and Talent Ehud Freedman (left to right) with the German Film Orchestra Babelsberg

“ Every day my horizons seemed to broaden. That one week was a turning point for me.“ Stephen Gallagher, New Zealand | Campus 2009

In a nine day intensive programme, three composers get the chance will perform their compositions for a high-end recording and to realize their score with established professionals. final mixing courtesy of the Film and Television University Music has the capacity to imbue images with emotive voice, adding another mode of (HFF) “Konrad Wolf”. The post-pro­­­­­duc­­t­ion company Wave­- expression to the art of filmmaking. Some of the most poignant moments in film history line will provide editing. This is an ex­traordinary chance for have their incredibly powerful scores to thank. A well-crafted film score can be as these Talents to work with world-class professionals, and to present as the film‘s protagonist or so in sync with the film‘s tone that its subtle effect receive feedback all along the way from their mentor, Ryūichi almost goes undetected, yet a well written score always enhances the cinematic Sakamoto, and all the experts involved in the entire process ­ex­perience. – from preparing scores, using studio resources, recording The three finalists of the Score Competition 2012 – Christoph Fleischmann (Ger­ with an orchestra, to the final editing and mixing. many), Pablo Pico (France) and Enrica Sciandrone (UK) – will each compose a score for Now in its ninth year, the Score Competition has trained the 2012 Oscar®-shortlisted short film LUMINARIS by Argentinian director Juan Pablo many excellent composers, many of whom have gone on to Zaramella. compose scores for projects such as narrative shorts and Emerging composers and sound designers are given the opportunity to gain features, documentaries, commercials, and television pro­ hands-on experience composing for film. The Score Competition offers all three selec­ ­ grammes. The culminating moment of the Score Compe­ ­ ted participants the chance to work with established professionals and receive price­ tition is the presentation on February 16, when the win­ning less insights from their mentor, renowned composer, musician, and performer Ryūichi composer will be awarded with a trip to Los Angeles with an Sakamoto, who will give them feedback throughout the nine day intensive programme. exclusive guided tour to the best sound studios in the city, They will also be collaborating with the German Film Orchestra Babelsberg, which sponsored by Dolby®.

Berlinale Talent Campus #10 Page Script Station 55 sharpening ideas

Talents work with script consultants to achieve greater depth Twelve projects were selected in their storytelling. by an international jury for this year’s Script Station: The script is the skeleton of the film, and the essential foundation of the story and Basak Buyukcelen, Turkey | Kiskac characters. A well-written script determines how the ideas of the filmmaker will be Anna Gát, Hungary | Breaking the News translated into actions and onto the screen, and communicates the vision to the entire Michelle Guzmán, Dominican Republic | La Partida filmmaking team. A rigorous script is a vital starting place for any film, and Script Station Carmen Jimenez, Spain | Teresa and Ines focuses on training scriptwriting Talents to expand the clarity and depth of their ideas. Alireza Khatami, Iran/USA | Oblivion Verses Connecting young screenwriters to script consultants from around the globe, the Ivan Knezevic, Serbia | Working Class Hero Script Station coaches Talents to fine-tune their scripts and bring precision and life to Tamar Komem, Germany | Four Chambers their pages. It begins with intensive project development days led by an international Lilium Leonard, France | Thread team of experts including Stienette Bosklopper, Gyula Gazdag, Doris Hepp, Ruth Ioana-Maria Mischie, Romania | 237 Years McCance (SOURCES 2), Marten Rabarts, Franz Rodenkirchen, and Selina Ukwuoma. Mauro Mueller, Mexico | Fingerplay Mentors will troubleshoot with Talents, guiding them through their specific script Christopher Radcliff, USA | Dumb issues including character development and sharpening dialogue. Fernanda Salgado, Brazil | Marina, Unnumbered

Over the past decade, the Script Station has received considerable­ support from its partners: the German Federal Film Board (FFA), ZDF/ARTE – a predominant German tele­­­vision channel, SOURCES 2 – the European Script Writers’ Training Programme, which lends its support by way of experts from its teaching staff.

“ Being an artist doesn’t make for a comfortable life, but it surely makes for one worth living.“ Ana Sofrenovic, Serbia | Campus 2005

Meet the mentor at the Berlinale Talent Campus‘ Script Station

Dates

tue 14 | 14:00 hau 3, Black Stage Rehearsed Reading I (p.46).

wed 15 | 11:00 hau 3, Black Stage Rehearsed Reading II (p.46).

thu 16 | 13:30 hau 3, top Floor Script Station 2012: A Sneak Peek at New Stories (p.51).

Hands-on Training | 05 Doc Station Page wake the doc 56

Industry professionals assist documentary directors Twelve documentary film projects were Dates to refine their film projects. selected for Doc Station 2012: Documentaries take from real life, incorporating everything Jason Barker, United Kingdom | Plan B wed 15 | 14:00 HAU 3, Top Floor from the inspiring and appalling to the informative and Gustavo Beck, Brazil | The Animals Reality Revealed: dramatic, and creatively construct a structure to bring them Andrés Chaves, Mexico / Colombia | Cartucho Doc Station Presentation to the screen. The Doc Station is an intensive summit for Aryo Danusiri, Indonesia | Sufi Bikers and Arab Saints (p.49). documentarians to think critically about their concept and Uli Decker, Germany | My Father Claudia to flesh out their treatments, honing in on their project‘s core Maria Clara Escobar, Brazil | Borrowed Memory and developing how they will proceed to capture it. This Jian Fan, China | Running In the City intensive week of hands-on training will bring invaluable Mary Jirmanus, USA/Lebanon | Waiting For Dawn support and advice to these burgeoning projects, at a crucial Jewel Maranan, Philippines | Tondo, Beloved point in their development process, beginning with a project Peggy Mbiyu, Kenya | Flying Pilot development day and followed by individual meetings. Ambre Murard, France | White Days Inviting twelve determined filmmakers to bring their Guillaume Suon, Cambodia/France | Rithy Panh, documentary projects – all at various stages of the filmmaking An Autobiography of a People process – to Berlin, Doc Station supports and pushes these films to evolve to the next level through the guidance of Doc Station has been made possible by the generous sup­ documentary experts: Kathrin Brinkmann, Dick Fontaine, port of the German Federal Film Board (FFA), and has been Jakob Kirstein Høgel, Meike Martens, Hubert Sauper and Ulla sup­ported, by way of mentoring and designing of the Pro­ Simonen (SOURCES 2). ject Development Day, by ZDF / ARTE and SOURCES 2, the Euro­­p­ean Script Writers’ Training Programme, which lends its support by supplying experts from its teaching staff. “ It‘s not just about the journey, it‘s also about who‘s in the car with you!“ Mark Hodges, UK | Campus 2004

Mentor Kathrin Brinkmann (ZDF/ARTE) in a one-on-one session with a 2011 Doc Station participant

Berlinale Talent Campus #10 Page Campus Studio 57 storytelling in the digital world

From shooting to digital editing with Molly Malene Stensgaard: the Campus Studio provides Talents with valuable insight into digital workflow

The Campus Studio offers select Talents exposure to ANTI­CHRIST, technical supervisor of 127 HOURS, SLUMDOG state-of-the-art filmmaking tools and techniques – MILLION­AIRE), and colourist Dirk Meier (ANTICHRIST, MAGIC Dates from shooting to editing. SILVER 2, DREDD) will mentor the 24 participants who will be sun 12 | 11:00 The fusion of brilliant ideas, aesthetic discretion, and the working on state-of-the-art digital workflow equipment hau 3, Top Floor skillful application of the mechanics of filmmaking are the including cameras such as Sony F3, ARRI Alexa, and RED One The Survival Guide to Digital Workflows building blocks of a compelling film. A solid understanding M-X, Canon 5D, the latest Avid and Final Cut edit­ing software, (p.41). of the tools and techniques involved in the process are grading in a latest Filmmaster suite, and finalising on the DVS wed 15 | 11:00 required to translate the filmmaker‘s vision into cinematic Clipster. hau 3, Top Floor language. The Post-Production Studio gives Talents invaluable Roughly Speaking: Campus Editing access to top-of-the-line technology, from shooting over Editing Studio Studio Presentation editing and color correction, grading, to mastering for the Renowned editors Andrew Bird, Susan Korda, Gesa Marten, (p.48). final stages of production. The Editing Studio allows selected Alex Rodríguez and Molly Malene Stensgaard will guide thu 16 | 14:00 Talents to refine their rough cuts, with the advice of expert Talents providing valuable insight and tips on how to improve dffb Cinema Digital Differences: editing mentors who guide the Talents to sharpen their and strengthen the narrative structure of their projects. Post-Production editing skills and the narrative structure of their films. The Participants will have the opportunity to work closely with Studio Presentation (p.52). Campus Studio has been made possible through the support an editing mentor for an entire day, working to polish rough and cooperation of the German Film and Television Academy cuts of their fiction or documentary short films or an excerpt Berlin (dffb) and Camelot Broadcast Services. from their feature. As Matthew Rankin, participant in 2011, ex­plains, “The day I spent with Molly has really led to a radical Post-Production Studio and totally inspiring realignment of my thinking, specifically Cinematographer and post-production expert Stefan Ciu­- with respect to how I write my scripts and how I shoot them pek (cinematographer of Siberia of all Places, colourist of and the ramifications for the editing room.”

Hands-on Training | 05 Talent Project Market Page pitching pros 58

Dates

wed 15 | 14:00 hau 2 Next Stop Wonderland? Entering the World of Co-Productions (p.49).

thu 16 | 12:15 hau 3, Top Floor Ready, steady go: Berlinale Co-Production Market and Berlinale Residency (p.51).

Four days to remember: discussions and pitching trainings at the Talent Project Market

“ The Campus is like travelling to 100 countries in five days.“ Simon Rittmeier, Germany | Campus 2010

Meeting potential co-producers to pitch your fresh film idea; the Talent Project These eleven selected projects compete for two prizes. Market is a unique chance for emerging producers and directors. Three will be nominated for the VFF Highlight Pitch Award The Talent Project Market is a collaborative juncture bet­ween the Berlinale Co-Pro­ of 10,000 Euros, and their projects will be pitched publicly duction Market and the Talent Campus. Inviting eleven emerging producers and to pro­­du­cers and financiers at the Berlinale Co-Production di­rec­tors to present their film proposals to market savvy co-pro­ducers and finan­­- Mar­ket. The winner will be announced during the “Talent c­iers who are attending the Berlinale Co-Production Market, the Talent Project Mar­ Project Highlights” event, which will take place in the Ber­lin k­et offers the opportunity for Talents to meet with potential collaborators, bringing House of Representatives on Monday, February 13 at 12:15, them much closer to making their films. as will the winner of the International Relations ARTE Prize of 6,000 Euros. Chosen from over 250 projects, the following eleven projects mapping In preparation for the one-on-one meetings with the wide world of cinema will find their place in the Berlinale Co-Production their potential co-producers and financiers, Talents will Market’s catalogue: parti­ci­pate in a four day programme. Through the guidance Suha Araj, Palestinian Territory/USA | Khsara; Sébastien Aubert, France/Israel and advice of industry experts and experienced pitching Heat Wave; Bianca Balbuena, Philippines | Alapaap/ Above the Clouds; train­ers, the Talents will be prepared for their meetings and Ritesh Batra, India | Dabba, The Lunchbox; Michelle Eastwood, UK | Bummer; supplementing their knowledge with insights about the Sarah Goodman, Canada | Bridging; Caroline Kamya, Uganda | Hot Comb; international film market. Talents will also benefit greatly Melissa Lee, Hong Kong | The Maglev Story; from the exchanges with their peer co-participants, a val­u­ Maximilian Leo, Germany | Eisen im Feuer, Wasted Dreams; Arturo Menéndez, able networking opportunity to forge life-long pro­fessional El Salvador | Elba; Sarah Muhoho, South Africa | The Boda Boda Thieves relationships and to share project ideas and experiences.

Berlinale Talent Campus #10 Page Talent Press 59 examining the moving image

Dates

thu 16 | 14:00 HAU 2 What Criticism Is: Five Views on an Artistic Practice (p.52).

For further information on the Talent Press website see page 66 or visit www.talentpress.org.

Examing films through language: mentor Stephanie Zacharek working with Talent Press participants

Eight young film critics experience their first A festival the Federal Agency for Civic Education. “Best of Talent Press”, a print publication in a professional editorial sett­ing – work pressure comprising a selection of articles written during the Campus week, will be released and short deadlines included. on the last Campus day, Thursday, Feb 16. Film criticism attracts critically-minded cinephiles whose love of cinema goes beyond the viewing experience and In its ninth edition, eight film critics and journalists extends to a desire to examine films through language. at different stages in their careers and from different corners Many young writers have experience expounding on the of the world come together in Berlin: works that have inspired them for blogs and other pub­ Aderimsola Ajao, Nigeria; Katja Čičigoj, Slovenia lications, but it‘s a wholly different mode of working being Tina Hassannia, Canada; Makbul Mubarak, Indonesia a professional film critic for a daily publication with specific Janaina Melo Navarro, Brazil; Michal Oleszczyk, Poland assignments and very short deadlines. Guido Pellegrini, Argentina; Anders Wotzke, Australia Talent Press offers eight emerging critics the oppor­ tunity to engage with an international film festival with The Talent Press editorial office is a place of convergence for these eight busy the rigor required of professionals. They have intensive writers during the festival, where peers and mentors alike discuss the films they‘ve dai­ly assign­ments and closely work with their editors – the seen in an open and engaging forum for eclectic thinking and criticism. “Because mentors, who are all pro­fessional critics also on assignment Talent Press gathers young critics from all over the world, it‘s a chance to broaden at the Berlinale. With an official press pass, Talent Press par­ your own perspective on ways of looking at and writing about movies. Everyone ticipants have the key to the festival, and are encouraged to learns from everyone else. It's an extraordinary opportunity”, says mentor and see much of what the festival has to offer. ­cri­t­ic, Stephanie Zacharek. Joining her as mentors of Talent Press 2012 are Chris Their articles will be published daily from Feb 11 to Feb ­Fuji­wara, Dana Linssen, and Derek Malcolm. 15, 2012 on the Talent Press web­site, www.talentpress.org, Commencing with a conference day, where mentors and press Talents meet which feat­ures articles by current participants and alumni with special guests who give inspiring talks on the current state of film criticism, through­­out the years, as well as on the Goethe-Institut, the allowing everyone a chance to consider criticism itself as a mode of practice, before FIPRESCI websites and fluter.de, the magazine published by digging into the films themselves.

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WITH THE SUPPORT OF

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N P Page Talent Actors Stage Scholarships for European I R 61 acts of creation P O Audiovisual Media Professionals in Berlin Dates mon 13 | 10:00 K G hau 3, Top Floor Embodying the Character (p.43). O R tue 14 | 09:00 hau 3, Black Stage Camera Close-Up Acting (p.46).

tue 14 | 14:00 W A wed 15 | 11:00 hau 3, Black Stage Rehearsed Reading (p.46). M tue 14 | 17:00 hau 2 Picturing Actors M (p.47).

It‘s all about enthusiasm: Jean-Louis Rodrigue with young actors at “Embodying the Character“

The Talent Actors Stage assists actors to enhance Meet the Expert their technique and develop their craft. Established casting director Beatrice Kruger (Italy) meets Actors are the vehicle through which the action and dialogue in film are embodied actors in a vibrant “Meet the Expert“ session to discuss how and communicated on the screen. Everyone from directors, producers, scriptwriters, an audition works, the dos and don’ts during an audit­ion, and cinematographers must learn how to hone their collaborative skills when working and how actors can prepare best for international auditioning. with actors. Actors from around the world are invited to explore their techniques, dialogue delivery, auditioning, improvisation and more in the Talent Actors Stage. Camera Close-Up Acting Contact Through a variety of events focusing on particular aspects of acting, these rigorous This is an on-camera hands-on workshop, focusing on the inter­dis­ciplinary workshops help both actors and filmmakers to develop a dialogue close-up for actors and directors. Selected actors will work Further studies for qualified applicants and com­munication skills between all the members of the creative filmmaking process. on short scenes with Jean-Louis Rodrigue and Kristof Konrad Kurfürstendamm 225 to explore the skills and tools that are required for the ex­ in the fields of D-10719 Berlin The Talent Actors Stage offers actors traordinary creation of characters and performances speci­ five special events: fically geared for the camera close-up. Film and television financing, production, phone: +49 30 614 28 38 Embodying the Character fax: +49 30 614 28 26 This intensive, interactive acting workshop led by internationally renowned acting Picturing Actors marketing, sales and distribution coach, movement specialist and choreographer Jean-Louis Rodrigue and Kristof Actors rarely have the chance to get direct feedback regar­ e-mail: [email protected] Kon­rad, focuses on recognising the power of movement and physicality in creating a d­ing their auditions or on the photographs they send to Cross-media projects visit: www.nipkow.de character in film. directors and casting directors. It is essential to know how a director approaches the casting process in order to improve Rehearsed Reading I & II one's auditioning methods. Talent Actors Stage participants WITH THE SUPPORT OF Dramaturge Alby James will work with actors and screenwriters on building characters will present their pictures and discuss with experienced and bringing scripts to life through smooth and effective delivery of dialogue, as they directors what attributes are read through their pictures and read vital scenes from a selection of Script Station projects. what to keep in mind when auditioning.

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thu 16 | 12:15 hau 3, Top Floor Ready, steady, go: Berlinale Co-Production Market and Berlinale Residency (p.51).

A new home for your project: the Berlinale Residency

“ I could have chosen anything for my life, but I chose film.“ Rebecca Sonnenshine, USA | Campus 2004

Apply with your project to the Berlinale Residency, a programme for emerging Filmmakers-in-residence will bring a first or second draft of filmmakers to develop and strengthen their exciting film ideas. their script, which can be either a feature-length fiction, doc­ Live, work, and push your film to the next level! The Berlinale Residency offers six highly umentary, or transmedia project. All projects must al­ready talented and driven filmmakers to live in Berlin for a four-month residency during have a producer attached who will also be available to take which they will strengthen their film projects in advanced stages of script development. part in this collaborative process. A clear description of the Working closely with a variety of expert script editors and market pro­fessionals, target audience for the film project, as well as a distribut­ion filmmakers-in-residence will hone their scripts, identify their audience, and develop and marketing concept must be included with the sub­ their projects with market viability and distri­bution in mind. The Berlinale is actively mission. aiming at off­e­r­ing continuous support to a new generation of successful film­makers The residency is divided into two stages. The first stage who have already made their first feature-length film, which has screened at the focuses on the script editing, with monthly meetings with Berlinale, or another international major festival, and were: script editors and industry consultants, residents will ad­ vance their scripts and focus in on their target audience. In Selected as a participant De­cem­ber, the second stage of the Berlinale Residency pro­ with a project in the hands-on training programmes gramme begins with an intensive five-day “Script to Market“ within the framework of the Berlinale Talent Campus; seminar, where filmmakers will receive feedback from in­­vi­t­ Selected with a film project ­ed industry professionals (producers, distributors, exhi­­bi­­tors, at the Berlinale Co-Production Market, that has been sales agents, and commissioning editors), and prepare for finalized in the meantime; up­com­ ing co-production markets and fine-tune their distri­ Funded by the World Cinema Fund bution strategy. and having finalized the film in the meantime. Visit us at www.berlinale-residency.de

Berlinale Talent Campus #10 Page Berlin Today Award 2012 63 five shorts explore “every step you take“

ABC by Madli Lääne A Little Suicide by Ana Lily Amirpour Batman at the Checkpoint by Rafael Balulu Five Ways to Kill a Man by Christopher Bisset White Lobster by David Lalé

from top left to bottom right

Sharing the limelight, the five short films competing for the Berlin Today Five Ways to Kill a Man by Christopher Bisset, South Africa Award 2012 celebrate their world premiere at the Opening Ceremony Every morning, Sam wakes up with new and exotic people of the Berlinale Talent Campus. in his bedroom; each one forces him to confront the global Does the flap of butterfly wings in Thailand set off a tornado in Texas? Small decisions impact of his consumerist lifestyle choices. we make in everyday life intrinsically influence our near future. What is a harmless Produced by Filmgestalten. accessory in one part of the world might be a major statement in another that leads to a chain of reactions. Whether political or private, universal or local, it is these White Lobster by David Lalé, UK moments of awareness and taking a bold step that the Berlin Today Award looked On Nicaragua’s Mosquito Coast, the windfall cocaine which for when inviting filmmakers for the Berlin Today Award short film competition 2012. washes onto the shores has been both a blessing and a A jury comprising of Guy Maddin, Judith Kaufmann and Jasmila Žbanić will select curse. Produced by Sunday Filmproduktion. the winner of the Berlin Today Award 2012: Dates ABC by Madli Lääne, Estonia | After endless years of the Liberian civil war, 17-year-old sat 11 | 17:00 WED 15 | 18:00 Vele is struggling to make the future brighter for her and her two daughters – learn­ HAU 1 cinestar 5 Opening Ceremony & Screening at ing to read and write is the first step. Produced by DETAiLFILM. World Premiere of the European Film Market Berlin Today Award see Berlinale programme Films 2012 A Little Suicide by Ana Lily Amirpour, USA | In a world where people hate you without Invitation required (p.40). sun 19 | 17:30 exception and kill you mercilessly, it's no wonder this cockroach is suicidal. uci kinowelt Produced by Ambrosia Film. sun 12 | 19:30 colosseum ewerk Public screening at Dine & Shine – Talents the Berlinale Kinotag Batman at the Checkpoint by Rafael Balulu, Israel Rendezvous with Berlinale see Berlinale programme Guests and Award Stuck with their parents in traffic at a checkpoint outside Jerusalem, two six-year- Ceremony of the Berlin olds, Yuval from Israel and Mahmoud from Palestine begin to play and end up fight­ Today Award 2012 Invitation required (p.42). by Medienboard Berlin-Brandenburg and the film industry. ing over a Batman doll. Produced by Lichtblick Media. The Berlin Today Award is supported

Hands-on Training | 05 58. Internationale Kurzfilmtage Oberhausen 26. April — 1. Mai 2012 Oberhausener Manifest 1962 — 2012 www.kurzfilmtage.de Lichtburg Filmpalast BOROS

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The homepage Watch talks from past or current of the Campus website editions of the Berlinale Talent Campus online

“ The Berlinale Talent Campus is a place where people from different nations and cultures gather to speak the same language: the language of cinema.“ Myrna Maakaron, German, Lebanon | Winner Berlin Today Award 2004

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

Berlinale Talent Campus #10 Page Talent Campus International 67 fantastic five

1 2 3

1 | Talent Campus Guadalajara Campus Tokyo is organized in co­oper­- supported by the Goethe-Institut Mexico ation with Berlinale Talent Campus and and the University of Guadalajara Goethe-Institut Tokyo

2 | Talent Campus Durban 4 | Talent Campus Buenos Aires supported by the German Embassy South supported by the Goethe-Institut Africa, the Goethe-Institut Johannesburg Buenos Aires, Buenos Aires International and the KwaZulu-Natal Department of Inde­pen­­dent Film Festival and the Economic Development Buenos Aires Lab

3 | Talent Campus Tokyo 5 | Talent Campus Sarajevo Presented by the TOKYO FILMeX supported by the Robert Bosch Stiftung organizing committee. The Talent and partners 4 5

Five international editions of the Campus, modelled along depth of the programmes have grown, we also added a Doc Station in the lines of the Berlin-based archetype, have taken off abroad: 2011 and probably a Talent Press component in 2012. Bringing together in Guadalajara, Buenos Aires, Durban, Sarajevo and Tokyo. an enthusiastic contingent of filmmakers from around the continent of Africa, seeing them connect with each other, tracking their collaborations 4th Talent Campus Guadalajara | March 1-5, 2012 and progress afterwards, and then having their projects materialise into Ana de la Rosa Zamboni and Lorena Rossette Riestra, films that make the selection in the festival is very gratifying and also Talent Campus Guadalajara indicates a development strategy that is truly bearing fruit.“ “The Talent Campus Guadalajara is a great opportunity for young film­ makers from Mexico, Central America and the Caribbean to develop and 6th Talent Campus Sarajevo | July 24-30, 2012 strengthen their style and consolidate their careers. Even in the short time Mirsad Purivatra, Sarajevo Talent Campus it has existed, the TCG has managed to create an exceptional space for “Sarajevo Talent Campus has brought a young creative energy to our up­coming projects and creators and has become an integral part of the regional cinema. Six years after we launched Sarajevo Talent Campus in Guadalajara International Film Festival (FICG).“ cooperation with Berlinale Talent Campus, we are witnessing a significant presence of a new generation of filmmakers, growing and taking its place 7th Talent Campus Buenos Aires | April 14-17, 2012 in the film business. We are both happy and proud to be part of the Talent María Marta Antin, Talent Campus Buenos Aires Campus family that does the same all over the world!“ “The Buenos Aires Talent Campus offers young and emerging Latin American filmmakers the unique opportunity to take part in the Buenos 2nd Talent Campus Tokyo | November 24 - December 1, 2012 Aires Film Festival (BAFICI) and BAL (Buenos Aires Lab); giving them, not Kanako Hayashi, Talent Campus Tokyo only the chance to devote four days to discussing, creating, sharing and “The first edition of Talent Campus Tokyo in November 2011 was a real thinking about filmmaking, but also to become part of the Talent Campus success and featured 15 filmmakers from all over Southeast and South community.“ Asia during TOKYO FILMeX. With the Talent Campus, we hope not only to increase young audiences but we‘re also looking forward to welcoming 5th Talent Campus Durban | July 20-24, 2012 the alumni back and screen the films of these emerging young filmmakers Peter Rorvik, Talent Campus Durban in our competition programme in the future.“ “Now approaching its 5th edition, Talent Campus Durban has become a very meaningful dimension of the Durban International Film Festival. The

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

for actors for costume designers Joint Ventures: Know Your Rights | p.46 Embodying the Character | p.43 Dressing Stories | p.46 How to Build a Film Industry | p.50 Meet the Experts: Meet the Expert: Excursion to the Costume Seducing Audiences: Matthias Schwerbrock Beatrice Kruger | p.33 House Theaterkunst | p.43 The Art of Using Trailers | p.47 & Joachim Knaf | p.30 Picturing Actors | p.47 Speed Matching, Feb 16 | p.40 Next Stop Wonderland? Speed Matching, Feb 15 | p.40 for directors Entering the World of Up Close & Personal: IDFA DocLab: for editors Co-Production | p.49 Andie McDowell on Acting | p.42 Unexpected Forms of Digital Digital Differences | p.52 Ready, Steady, Go | p.51 Documentary Storytelling | p.45 Directing Scripts, Editing Stories | p.42 Seducing Audiences: for cinematographers Greening the Film Industry | p.42 Kill Your Darlings | p.41 The Art of Using Trailers | p.47 The Indie Filmmakers‘ Guide In the Limelight: Nuri Bilge Ceylan | p.46 Roughly Speaking: Speed Matching, Feb 16 | p.40 to Cross-Media I+II | p.44, 47 In the Limelight: Mike Leigh | p.47 Editing Studio Presentation | p.48 Speed Matching, Feb 13 | p.40 The Indie Filmmaker‘s Guide Speed Matching, Feb 12 | p.40 for production designers The Survival Guide to Cross-Media I+II | p.44, 47 The Survival Guide Building Narrative Worlds: to Digital Workflows | p.41 Know Your Rights | p.46 to Digital Workflows | p.41 Digital Design for Cinema | p.44 Through the Lens Clearly | p.49 Look Who‘s Talking: Excursion to the Costume House Interviewing on Screen | p.51 for producers Theaterkunst | p.43 for composers The Other Side of Reality | p.41 Audience Wanted: Greening the Film Industry | p.42 and sound designers Ready, Steady, Go | p.51 Producers Reaching Out | p.46 Meet the Expert: The Art of Noise: Speed Matching, Feb 12–16 | p.40 Discover the World Cinema Fund | p.51 Christian Goldbeck | p.30 Exploring Sound Design | p.48 Excursion to Studio Babelsberg | p.48 Worldbuilding Upside Down | p.45 Meet the Expert: for distributors Greening the Film Industry | p.42 Ulrich Kodjo Wendt | p.33 Audience Wanted: The Indie Filmmaker‘s Guide for screenwriters Say It With a Score | p.52 Producers Reaching Out | p.46 to Cross-Media I+II | p.44, 47 Directing Scripts, Editing Stories | p.42 Speed Matching, Feb 12 | p.40 Distributors Sharing Their Secrets | p.45 Joint Ventures: Screenplay Constellation: The Thousand Sounds Excursion to European Filmmarket | p.45 How to Build a Film Industry | p.50 Activate the Writing Process | p.43 of Ryūichi Sakamoto | p.50 Killer / Hope Crossing the Lines | p.50 Speed Matching, Feb 14 | p.40

Berlinale Talent Campus #10 Page Index of experts 69 experts

Al-Amine, Gheith ac­t­ing career garnered her three European Film Awards as well as awards at the Lebanese artist and filmmaker. His experimental short films and video installations Oscars®, in Venice, in Cannes and at the Berlinale. Her new film Elles will be shown like OV and ONCE UPON A SIDEWALK won several awards and were shown at the in the Berlinale Panorama 2012. (p.41) 2003 Venice Biennale and at the 2010 Berlinale Forum. His latest short films T.F.T.L. Bird, Andrew and KING LOST HIS TOOTH feature in this year‘s Berlinale Forum Expanded. (p.47) British-born editor who works chiefly in German cinema. He has collaborated with Albers, frank w. Fatih Akin (THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN). Among others, he Former director of the Goethe-Institut in Reykjavík, he joined the Robert Bosch has received the German Film Award for Editing and Filmplus‘ Schnitt Prize. He Stiftung in 2001. As a programme manager for arts and culture he developed and edited Miranda July’s 2011 Berlinale Competition film THE FUTURE. (p.57) established the Robert Bosch Stiftung‘s Co-Production Prize for up-and-coming Bleis, Martina film­makers. (p.25, 40) Member of the Berlinale Co-Production Market team since its inception, and man­ Albers, Helge ager of the selected official projects, she is also active as a consultant for co-pro­ German producer and founding member of production company Flying Moon. He duction events with international institutions and festivals. (p.51) produced award-winning fiction films and documentaries such as SILENT WATERS, Bober, PhiliPPe FULL METALL VILLAGE and SUMMER PALACE. (p.49) Founder of Coproduction Office, where he acquired world distribution rights for Arrate Fernández, Isabel films by Lars von Trier, and Aki Kaurismäki. The company is renowned as a home for Head of the Jan Vrijman Fund, initiated in 1998 by the International Document­- nurturing radical arthouse filmmakers. He is involved in Spiros Stath­ou­lo­poulos‘ ary Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded METEOrA, which runs in this year‘s Berlinale Competition. (p.46) over 400 creative documentary projects in development and in (post-)production Bosklopper, Stienette sta­g­es by filmmakers from developing countries. (p.31) Managing director of Circe Films, an Amsterdam-based company producing feat­ Beerends, Sandra ure films for the national and international market. She has been establishing en­ Dutch script editor and guest lecturer. Work­ing as a script editor at the drama de­ during relationships with unique and innovative filmmakers like Nanouk Leopold, partment of the public broadcaster NTR, she was responsible for various awarded Radu Jude, Sacha Polak, Esther Rots and Dominga Sotomayor. (p.55) series and participated in several successful feature films, family films and docu­ Brinkmann, Kathrin mentaries. She script-edited KAUWBOY, which will have its premiere at the Berlinale Commissioning editor of the department “ARTE Thema” within the German TV chan­ Generation 2012. (p.30) nel ZDF, she used to commission “Das Kleine Fernsehspiel” from 1994-2000. Re­cent­ly Belsito, Peter she commissioned ¡VIVAN LAS ANTIPODAS! by Victor Kossakovsky, and COM­RADE American producer, cinematographer and publisher, he was the executive vice pre­ COUTURE by Marco Willms. (p.56) sident of FilmFinders. He has been involved in the professional education of young Brunnenmeyer, Gabriele filmmakers at festivals, market panels and forums. VALLEY OF TEARS, which he pro­ Project manager at the Kuratorium Junger Deutscher Film. Formerly artistic adviser duced, is now playing the festival circuit now. (p.31) for MEDIA training initiative Moonstone and an artistic director at the coproduction Ben Jelloun, Tahar market Connecting Cottbus, she also works as a consultant for script development, Paris-based Moroccan novelist and poet, winner of the Prix Goncourt and of the packaging and project presentation. (p.51) Erich Maria Remarque Peace Prize. He is considered one of the foremost writers of Bugno, Vincenzo the Maghreb region, with works such as “La nuit sacrée” has been translated into 43 Journalist and film critic, he has contributed to newspapers and magazines. He was languages. His latest book is “Arab Spring. The Recovery of Arab Dignity.” (p.52) working as a tv journalist and director and as a curator for international film festi­ Berg, Christine vals. He is one of the initiators and project manager of the World Cinema Fund and Deputy director of the German Federal Film Board (FFA) with long time experience the Berlinale delegate for Italy and the Maghreb & Mashrek countries. (p.51, 52) in film funding in Germany. She also worked for the production company Kinowelt Büscher, Mareile where she produced MOSTLY MARTHA. (p.40) Berlin-based lawyer at Raue LLP, she focuses on intellectual property matters, me­ Bessert, kathrin dia and entertainment law, as well as copyright litigation and negotiation. She has Former casting director and copyright lawyer. Since 2005 she is deputy director of lectured on the subject of art and copyright law for various institutions including the Kinofest Lünen, a festival specializing in young German cinema. She also acts as the Humboldt University Berlin. (p.46) curator of the short film competition at the Around the World in 14 Films festival. (p.47) Ceylan, Nuri Bilge Bettati, Bruno Turkish writer, director and producer, whose family-themed features THE TOWN, Chilean film producer and consultant. In 2001 he co-founded the production DISTANT, CLIMATES, THREE MONKEYS and ONCE UPON A TIME IN ANATOLIA all have company Jirafa Films, producing films like OPTICAL ILLUSIONS, HUACHO and THE won awards in Cannes or at the Berlinale. (p.46) SKY, THE EARTH AND THE RAIN. Since 2007, he has been the executive producer of Chiesa, Enrico the Valdivia International Film Festival, and now is its director. (p.49) Film distribution and exhibition professional and one of the core partners of the Bilabel, Jacob Mokolo initiative. He currently develops initiatives supporting African and Ca­rib­ Founder of Berlin based think-do-tank THEMA1 specialising in accelerating social bean filmmakers: AfricaFilms.tv, a co-operative VOD store, and mobiCine. He pre­ change, and chair of the Carbon Footprint World Forum. With BBDO his company viously managed CICAE, a network of art-house cinemas in 29 countries. (p.50) developed the Carbon Film Quote tool, the world’s first TV commercial budget Chronis, Iwana estimator with an integrated carbon calculator. (p.42) Manager of the Hubert Bals Fund of the International Film Festival Rotterdam. Bildhauer, Kathi Previously, she worked at the Prince Claus Fund for Culture and Development, Member of the Berlinale Co-Production Market team and co­­or­dinator of the Talent where she coordinated the Cultural Emergency Response (CER) programme and Project Market and the Berlinale Residency, she is the author of “Drehbuch re­ collaborated with the IFFR’s CineMart. (p.31) loaded” based on unconventional contemporary screen­plays. (p.51, 52) Ciupek, Stefan Binoche, Juliette German cinematographer and digital colorist, he is a specialist for HD-cameras and One of Europe‘s leading actresses, Juliette Binoche has worked with directors such digital post-production. He has worked on critically acclaimed films such as So­ku­rov’s as Godard, Téchiné, Carax, Malle, Kieslowki, Haneke, Leconte and Kiarostami. Her RUSSIAN ARK and von Trier’s MANDERLAY and ANTICHRIST. (p.41, 52, 57)

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Cousins, Mark Fessmann, Milena British film critic, writer and director of several documentary films on cinema. Cousins German music supervisor, she is the founder of Cinesong, which offers a full range was the presenter of the TV programme “Scene by Scene”, whose guests in­cluded of services related to music and films. She was music consultant for more than a David Lynch, Martin Scorsese and Roman Polanski. His 900 minutes series THE STORY hundred films and is also a presenter at the Radioeins radio station. (p.42) OF FILM: AN ODYSSEY will be shown at the Berlinale Special 2012. (p.51) Fiennes, Sophie Cowie, Peter British documentary filmmaker and producer. She started out working with Peter Film historian and long-time international publishing director of “Variety" mag­a­zine, Greenaway on several of his films, before realizing projects with choreographer he has written some 30 books on film, and has contributed numerous com­­mentar­­- Alain Platel and THE PERVERT‘S GUIDE TO CINEMA with philosopher Slavoj Žižek. ies to “Criterion” DVDs. In 1963 he was the founding editor of the “International Film Her latest film OVER YOUR CITIES GRASS WILL GROW about the artist Anselm Kiefer Guide”. His latest book is on Akira Kurosawa. (p.42, 46, 50, 51) premiered in Cannes in 2010. (p.41) Cox, Phil Fleischmann, Philipp Scottish producer, director and cinematographer with a primary interest in do­c­u­ German filmmaker, editor and producer. He founded his own company Fleisch­ mentaries. Co-founder of the filmmaking collective Native Voice Films in 1998, he mann Trailer, which produced more than 300 teasers, trailers and TV spots for films has recently been filming in the Sudan, Bolivia and Pakistan. He has been awarded such as HEAD ON, BLACK BOOK and FC VENUS, for which he won the Golden Trailer the Rory Peck Award for his work in the Sudan civil war and is part of the FOCUS Award 2006. (p.47) FORWARD initiative. (p.44) Fontaine, Dick de Seille, Guillaume Currently Head of Documentary at the National Film and Television School UK, he After two awarded short-films, he worked ten years for Canal+ cinema department. has made over 40 films for television and independent media. He began by in­tro­ An independent producer since 2000, he produced or co-produced more than ducing Direct Cinema to British television, then develop essay films with writers fifteen non-French feature art-house films like DESERT DREAM, CRAB TRAP, and like Norman Mailer and James Baldwin and experiments in music with John Cage, AMNESTY, which were shown in the Berlinale in 2007, 2010 and 2011. (p.46) jazz musicians like Ornette Coleman, Art Blakey and the inventors of hip hop. He Deckert, Heino has just finished a new film with Sonny Rollins. (p.56) Producer and managing director of MA.JA.DE Film Production. In 1995 he founded Francke, Lizzie d.net, an informal union of seven European producers. In 2003 he established the Senior production and development executive at the BFI‘s Film Fund, she was world sales agency Deckert Distribution. He lectures on documentary production previously an executive producer for EM Media where her credits include THIS IS and distribution for organisations such as EDN and Eurodoc. (p.49) ENGLAND, CONTROL and A COMPLETE HISTORY OF MY SEXUAL FAILURES. She co- Demand, Thomas produced VINYAN and produced UNMADE BEDS, which featured in the 2008 German conceptual artist, photographer and filmmaker, famous for his pictures of Berlinale Generation. (p.33) three-dimensional models based on real locations and his experimental animation Fujiwara, Chris films. He had exhibitions in all major cities, including the Tate Gallery in London, Writer, film critic, journalist, editor and translator, he is the author of various books the MoMA in New York and the Neue Nationalgalerie in Berlin. (p.44) on film. He is editor of “Defining Moments in Movies” and of the online film-criticism Diab, Maher magazine “Undercurrent” and contributes to numerous journals such as “Film Quar­t­ Lebanese illustrator, photographer and visual artist who worked as an art director erly”. In 2011 Fujiwara was appointed the new artistic director of the Edin­burgh for several years in BBDO and Y&R Abu Dhabi. He is a managing partner and creative International Film Festival. (p.59) director at MAD Solutions and specializes in various visual techniques including Funahashi, Atsushi photomontage and mixed-media digital illustration. (p.31) Japanese-born writer, director, editor and producer. He is a Campus 2004 alumnus, Donaldson, Michael C. whose feature films include ECHOES, BIG RIVER and DEEP IN THE VALLEY, which Entertainment lawyer for independent filmmakers for over thirty years. In addition premiered in the Berlinale Forum in 2009. His latest film, the Fukushima docu­ to representing writers, producers and directors, he serves as General Counsel to mentary NUCLEAR NATION, runs in this year‘s Berlinale Forum. (p.26, 50) Film Independent and the Writers Guild Foundation. His books on fair use, copy­ Gatlif, Tony right, negotiation and trademarks for independent filmmakers are standard re­fer­ French-Algerian filmmaker, whose themes are often inspired by his Kabyle and ence books. He lectures at law and film schools worldwide. (p.46, 49) Romani heritage. His films such as LATCHO DROM, THE CRAZY STRANGER and EXILES El Fani, Nadia have won several awards in Cannes and Locarno. His latest documentary INDIG­NA­ French-Tunisian filmmaker. Her Tunisian thriller BEDWIN HACKER, and her more DOS is featured in this year‘s Berlinale Panorama. (p.47) recent documentaries OULED LENINE and LAÏCITÉ, INCH'ALLAH! broach the issue of Gazdag, Gyula life for modern women in today's Northern African nations. (p.52) Hungarian director of theatre, film and television, his feature films include: A Elricsson, Martin HUNGARIAN FAIRY TALE, STAND OFF and SINGING ON THE TREADMILL. He is the artistic Designer and artist of more than twenty pieces of participative art ranging from director of the Sundance Filmmakers Lab, teaches at the Binger Filmlab and is a reality games and Shakespeare adaptations to massive sci-fi and fantasy larps. Co- distinguished professor at the UCLA School of Theatre, Film & TV. (p.55) founder of The Company P and creator of the world’s first fully integrated par­t­i­ci­ Gertten, Fredrik pation drama. His transmedia storytelling company is called Bardo. (p.44) Swedish documentary filmmaker, producer and founder of WG Film. His films in­ Farnel, Sean clude AN ORDINARY FAMILY, THE SOCIALIST, THE ARCHITECT and the TWISTED TOWER. Independent film consultant specializing in festivals, curation, acquisitions and His film BANANAS!*, which screened at the 2009 Berlinale, became subject of an creative development. Prior to a recently concluded six year stint as director of infamous lawsuit, when the food company Dole tried to ban the US festival programming at the Hot Docs festival, he was a staff programmer with the Toronto screenings. He is part of the FOCUS FORWARD initiative. (p.44) International Film Festival. (p.41, 44) Ghossein, Ahmad Farrington, Shaun Lebanese filmmaker, performer and video artist. He has directed several films, Australian-born and London-based co-founder and managing director of Zealot, a including the award-winning OPERATION N… and the documentary AN ARAB COMES full service creative marketing company with offices in London, New York and Los TO TOWN. His latest short film MY FATHER IS STILL A COMMUNIST – INTIMATE SECRETS Angeles, producing sales reels, press kits and award-winning international trailers TO BE PUBLISHED is screened in the 2012 Berlinale Forum Expanded. (p.47) for films like THE KINGS SPEECH, A SINGLE MAN and SHAME. (p.47)

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Gibson, Ben Hojeij, Mahmoud Director of the London Film School, he has commissioned and produced films by Lebanese video artist, filmmaker and writer. He co-edited several books on photo­ Terence Davies, Derek Jarman, John Maybury and many others as an independent graphy and video and directed such award-winning short films as BEIRUT PALERMO producer and as the head of production at the British Film Institute. He is the BEIRUT, SHAMELESS TRANSMISSION and WE WILL WIN. His latest work IMPOSSIBLE founding chairman of The Script Factory. (p.47) EXCHANGE will compete in this year‘s Berlinale Shorts section. (p.47) Ginzel, Lars Hope, Ted German re-recording mixer and sound designer who worked on a variety of Award-winning independent film producer and co-founder of legendary pro­ international films such as WALTZ WITH BASHIR, ENTER THE VOID, IF NOT US, WHO? duction companies Good Machine, This Is That and Double Hope. Hope is famous and THE FUTURE. He won the German Film Award for best sound for REQUIEM. His for producing the feature debuts of Alan Ball, Todd Field, Michel Gondry, Hal recent works include RUSSENDISKO and JUST THE WIND, the latter will feature in this Hartley and Nicole Holofcener as well as 21 GRAMS, AMERICAN SPLENDOR, THE year‘s Berlinale Competition. (p.48) SAVAGES, MARTHA MARCY MAY MARLENE and many more. (p.50) Goldbeck, Christian James, Alby German production designer and art director. He has worked on films such as THE Former head of development at EON Screenwriters’ Workshop, he continues to READER, KRABAT and REQUIEM; he was nominated for the German Film Award for all work in the film business as a producer, script consultant and trainer of emerging these three films. He is production designer of Hans-Christian Schmid‘s HOME FOR talent, and as a teacher. In the first 15 years of his career, he worked mainly in THE WEEKEND, which premieres in this year‘s Berlinale Competition. (p.30, 42) theatre and he has produced, directed and written a large number of notable Goodridge, Mike theatrical and radio plays. (p.46, 61) Editor of “Screen International”, he is in charge of all editorial content of the brand Josten, Claus-Peter which covers Screendaily.com, Screen print dailies at Berlin, Cannes, Toronto and German director and consultant for French and German TV channels like ZDF/ AFM, the monthly print magazine and the European production database. His new arte, SWF/France3 and WDR. Josten has commissioned around one hundred book “Directing“ comes out in April 2012. (p.49) documentaries for themed evenings, and has written and produced several Hanisch, Uli documentary films himself. Since 2004 he has held workshops in the method of Production designer and art director for films such as Tom Tykwer‘s THREE, THE screenplay constellations “syst®“ all over Europe and North Africa. (p.43) INTER­NATIONAL and HEAVEN as well as for films by Enki Bilal, Peter Greenaway, Jurić Tilić, Ankica Christoph Schlingensief and Leander Haußmann. He won a German Film Award for In 2003 she founded the production company Kinorama, and her films have been his production design of Oliver Hirschbiegel‘s THE EXPERIMENT and the German screened and awarded at numerous national and international festivals. She is the and European Film Award for Tykwer‘s PERFUME. (p.44) president of the Croatian Producer‘s Association, EAVE graduate, member of EFA Haug, Helgard and ACE. (p.46) Since 1996 she has been involved with projects which are on the borderline of Kaboré, Gaston theatre, documentation, radio play and the applied arts. In 2000 she co-founded Documentary and narrative filmmaker, whose films WEND KUUNI (which won a Rimini Protokoll, producing theatre pieces and works in the urban environment in César), ZAN BOKO and BUUD YAM are regarded as landmark films for African cine­ a variety of collaborative partnerships. (p.42, 43) matic culture. He was a member of the Berlinale International Jury in 2009. His Hayashi, Kanako de­cades of commitment to African filmmaking resulted in him founding and ex­ Festival director of the TOKYO FILMeX International Film Festival, which has a com­ pan­ding the IMAGINE film school as well as the FESPACO film festival in his native petition section by Asian emerging filmmakers and showcases both contemporary country Burkina Faso. (p.41) and classic cinema, she was a member of the Berlinale International Jury in 2002 Kaegi, Stefan and the Manfred Salzgeber Prize of the Panorama section. (p.33) Founding member of Rimini Protokoll, who produces documentary theatre plays, Heinen, Sonja radio shows and works in the urban environment. Using research, public auditions Head of the Berlinale Co-Production Market and project manager of the World and conceptual processes, they give voice to “experts”, who are not trained actors Cinema Fund, she has been the driving force behind the international co-pro­ but have something to tell. Since 2003 Rimini Protokoll are artists-in-residence at ductions of films and funding films from developing countries. (p.51) HAU Berlin. (p.42, 43) Hepp, Doris Karkouti, Alaa Long-time commissioning editor with ZDF/ARTE since May 2000, she is com­mis­- Founder and managing partner of Mad Solutions, focusing on film marketing and ­­s­i­oning editor of the TV drama and documentary department, specializing on feature promoting Arab films. He started his career as a journalist and is still writing for a films. Her most recent productions include ARSCHKALT, WESTWIND and the Oscar®- large number of Arabic and international media outlets. From 2004 to 2009 he was nominated AJAMI. (p.55) editor-in-chief of “Good News Cinema Magazine”, the most influential Arab film Herzog, Werner magazine, by 2008 it expanded to include “Good News TV Magazine“. (p.31) German director of over 50 fiction and documentary features, including AGUIRRE, Kaufmann, Judith FITZCARRALDO, GRIZZLY MAN, INTO THE ABYSS and ENCOUNTERS AT THE END OF THE German cinematographer. She has won the German Camera Award twice and work­ed, WORLD, which earned him an Oscar®-nomination. He won prizes at all major film amongst others, with directors Vanessa Jopp, Angelina Maccarone, Chris Kraus and festivals, including a Silver Bear for his feature debut LEBENSZEICHEN in 1968. His Andres Veiel, whose IF NOT US, WHO? was presented in the Competition of last year‘s latest documentary DEATH ROW features in this year‘s Berlinale Special. (p.44) Berlinale. (p.42) Hezel, Bernd Kelani, Tunde Member of the Potsdam Institute for Climate Impact Research and of the Climate Nigerian cinematographer, producer, writer and director, and one of Africa’s most Media Factory, where scientists and filmmakers develop media formats and edu­ prolific filmmakers. His films include THE NARROW PATH, ARUGBA and his latest cation concepts to communicate climate impact knowledge. (p.42) one, MAAMI. He is also a member of Mokolo, an African Film and TV Platform for Høgel, Jakob Kirstein ex­change and distribution. (p.50) Artistic director of New Danish Screen, and previously a film consultant at the Kennedy, Adrian Danish Film Institute. He was founder and co-owned Cosmo Doc, producing films Actor/comedian, TV writer and senior producer of Deutsche Welle DW-TV‘s daily such as the highest grossing Danish documentary ever, GASOLIN. (p.56) show “Euromaxx“ and “Inside Germany“. He is a founding member of the Berlin & Brandenburg Society for Authentic and Historical Music. (p.42)

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Knaf, Joachim Levine, Sydney Tutor at the Film & Television University (HFF) “Konrad Wolf” for interdisciplinary With over 35 years of experience in the entertainment industry, she was a pioneer film economics, with a focus on financing and calculation. He has been working in acquisitions executive and founder of FilmFinders, the first database used for international feature and documentary production since 1996 and was producer track­ing new films worldwide. She established the video rental division of Republic and line producer of numerous international co-productions. (p.30) Pictures and Lorimar Home Video. (p.30, 45) Knöller, britta Lim, Dennis Managing director of 23/5 Filmproduktion. She has produced debut feature films He writes about film and popular culture for various publications including “The New ALONG COME TOURISTS and THE EDGE, as well as Hans-Christian Schmid‘s last three York Times” and the “Los Angeles Times”. His work has also appeared in “The Village films THE WONDROUS WORLD OF LAUNDRY, STORM (both Berlinale 2009) and HOME Voice”, “The Independent” and in “The Guardian”. He is currently editorial director at FOR THE WEEKEND (to premiere in the 2012 Berlinale Competition). (p.40) the Museum of the Moving Image and teaches at the NYU Journalism Institute. Knopperts, Fleur (p.52) Former director of the Forum for international co-financing of documentaries at Limprecht, Sigrid IDFA in Amsterdam. In 2007 she set up MeetMarket, an international marketplace Head of the Bonner Kinemathek and several arthouse cinemas, she is also a board for independent documentary projects at Doc/Fest Sheffield. Since 2009, she has member of the exhibitors consortium AG Kino – Gilde deutscher Filmkunsttheater been head of development at Volya Films. (p.46) e.V., director of the International Silent Film Festival in Bonn and founder of the Konrad, Kristof distribution company Rapid Eye Movies. (p.48) Polish film, television and theatre actor, who has worked with directors Kenneth Linssen, Dana Branagh, Ron Howard and Roland Emmerich. He has conducted acting workshops Since 1997, she has written film criticism for the Dutch daily newspaper NRC Han­ in New York, Los Angeles, Milan, Berlin, Toronto and Vancouver and worked with delsblad, became editor-in-chief in 1998, and later co-publisher of the Dutch the Royal Shakespeare Company, as well as with numerous film ensembles on im­ independent film monthly “De Filmkrant“. She runs the Slow Criticism Project to proving performance and preventing injuries. (p.43, 46, 61) counterbalance the commodification of film criticism. (p.59) Korda, Susan Livne, Ami Editor of the Oscar®-nominated and Sundance-crowned FOR ALL MANKIND and Israeli filmmaker and Berlinale Talent Campus alumnus. His first feature film shar­ Teddy winner TREMBLING BEFORE G-D. She also writes and directs, and was most qiya will be screened in the Berlinale Panorama section. (p.26, 50) recently a producer on WILLIAM KUNSTLER: DISTURBING THE UNIVERSE. Her own work Lueken, Verena includes VIENNA IS DIFFERENT and ONE OF US. She teaches at Columbia’s Graduate German film journalist and author, who has been with the “Frankfurter Allgemeine Film Program and Binger Film Lab, Amsterdam. (p.41, 48, 57) Zeitung” since 1989. She has been a cultural correspondent in New York and associate Kossakovsky, Victor editor of the feuilleton section. She won the Joseph Roth Award for Journalism in Russian documentary film director, who had his breakthrough in 1992 with THE 1992 and has published several books on cinema. (p.52) BE­­LOVS, which won numerous awards. Further films include PAVEL AND LYALYA, MacDowell, Andie WED­NESDAY 07.09.1961, and HUSH!, which was nominated for Best Documentary at US-American actress, famous for starring in festival favourites like SEX, LIES AND the European Film Awards in 2003, as was his latest film ¡VIVAN LAS ANTIPODAS!, VIDEOTAPE which won the Palme d‘Or in Cannes, and SHORT CUTS, which won the which premiered in Venice 2011. (p.41) Golden Lion in Venice, as well as in international hits like GROUNDHOG DAY and Kruger, Beatrice FOUR WEDDINGS AND A FUNERAL. She was nominated for three Golden Globes and Casting director based in Rome, she is responsible for the European and/or Italian received an Honorary César in 1997. (p.42) casting of films such as the recent NERO FIDDLED, BORGIA, THE AMERICAN, THE TOU­ Maddin, Guy RIST, THE INTERNATIONAL, CASINO ROYALE, OCEAN'S TWELVE and many more. She is Canadian writer and director of both features and short films, his career spans also foun­der of the European casting platform e-Talenta. (p.33, 61) over two decades and 25 films, including BRAND UPON THE BRAIN!, which was pre­- Kurz, Sibylle sent­ed at the Berlinale Forum in 2007, THE SADDEST MUSIC IN THE WORLD and MY Pitching trainer and consultant for film schools and film institutes all over Europe, WINNIPEG. He was a Berlinale International Jury member in 2011, and his latest film she specialises in intensive pitching training, project presentation, proposal de­vel­ KEYHOLE will be shown in this year‘s Berlinale Special. (p.42) opment, dramaturgical doctoring and consultancy work. (p.58) Malcolm, Derek Lachman, Edward Film historian and critic for “The Guardian” for decades, he is President of the Oscar®-nominated US-American director of photography and filmmaker. He has British Federation of Film Societies and the International Film Critics Circle, as well worked with directors such as Steven Soderbergh, Paul Schrader and Robert Alt­ as Honorary President of FIPRESCI. He writes for the “London Evening Standard”. man. His extraordinary filmography includes ERIN BROCKOVICH, FAR FROM HEAVEN, (p.59) Todd Haynes‘ award-winning miniseries MILDRED PIERCE and most recently Ulrich Marten, Gesa Seidl‘s new film PARADISE. (p.49) German editor, dramaturge and lecturer, she was nominated for Best Editing at the Lázaro, Paz German Television Awards for ABNEHMEN IN ESSEN and at the German Camera Programme manager at Berlinale Panorama and member of the selection com­ Award for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won mittee for the Competition. She has produced several feature films and docu­ Filmplus‘ Schnitt Prize for WAS LEBST DU? in 2005 and for NEXT DOOR PARADISE in mentaries, including NÓMADAS, FALLEN ANGELS: GRAM PARSONS and SHORT CUT TO 2010. (p.57) HOLLYWOOD. She is also a member of the Spanish Film Commission (ICAA) for new Martens, Meike directors. (p.48) German producer of creative documentaries, with a focus on international co- Leigh, Mike production and CEO of Blinker Filmproduktion. She participated in the Berlinale British film and theatre director, who has made films like SECRETS AND LIES, Talent Campus in 2009. Martens has worked on numerous films including VERA DRAKE and HAPPY-GO-LUCKY, which won a Silver Bear for Best Actress at the NOSTALGIA DE LA LUZ, directed by Patricio Guzmán, which won the Prix Arte at the 2009 Berlinale. His latest work ANOTHER YEAR was nominated for an Oscar® and a European Film Awards 2010. (p.56) Euro­pean Film Award. He is this year‘s President of the International Jury at the Martesko-Fenster, Karol Berlinale. (p.47) Austrian-born producer, film industry advisor and cross-media executive. He pro­ duced eight feature films and over 20 TV programs and launched several internet

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platforms such as indieWIRE.com and Cinelan. After 20 years of consulting for and Petersen, Nikolai managing in the international independent film industry, he is currently president As head of programme at the Goethe-Institut Johannesburg, he was crucial in the of film and media at S2BN and is part of the FOCUS FORWARD initiative. (p.31, 44) cooperation between the Berlinale and the Sithengi Film and Television Market Mauch, Bärbel and responsible for the Institute‘s grant programme for the Talent Campus in Producer and founder of Bärbel Mauch Film, she has considerable experience in Cape Town in 2006. Since 2008 he is the head of the Goethe-Institut in Caracas, production, consultancy and distribution as well as with film festivals in Germany, Vene­zuela. (p.31) France and Africa. She co-produced FARO LA REINE DES EAUX , which premiered at Polak, Sacha the 2007 Berlinale Forum, and JEAN GENTIL premiered in Venice 2010. (p.33) Dutch writer, director and former Berlinale Talent Campus participant. Her short McCance, Ruth film BROTHeR will be presented in this year‘s Berlinale Generation, and her film Stockholm-based lecturer and advisor Ruth McCance has been working with HEMEL will feature in the Forum section. (p.26, 50) SOURCES 2 since 2004. Previously she worked as head of development at Potboiler Powell, Sandy Productions in London and as a development and production executive at the British costume designer for film, opera and theatre is most famous for her work on BBC, Film Four and Pathé Pictures. As a script editor and consultant, she has work­ed the films of Derek Jarman, Neil Jordan, Todd Haynes and Martin Scorsese. She has on screenplays like SON OF RAMBOW, IT'S ALL ABOUT LOVE, RATCATCHER and others. been nominated for the Academy Award ten times and won in 1999 for SHAKES­ (p.55) PEARE IN LOVE, in 2005 for THE AVIATOR and in 2010 for THE YOUNG VICTORIA. The McDowell, Alex latest film she worked on was Scorsese‘s HUGO. (p.46) Production designer and film producer, he has worked with Tim Burton, Steven Rabarts, Marten Spielberg and David Fincher. His filmography includes FEAR AND LOATHING IN LAS Entered the film industry in the New York and L.A. independent production scene VEGAS, FIGHT CLUB, MINORITY REPORT and the upcoming SUPERMAN reboot. He is in the mind 80’s and from 1990 continued in London for the Polygram group in also founder and director of “5D Institute”, an interdisciplinary network focusing sales and production, particularly with Working Title Films. Rabarts has headed the on the impact of technologies in design fields. (p.44, 45) Binger Filmlab programmes since 2000 as artistic director. (p.42, 55) Mehta, Jigar Reeves, Keanu Previously a Knight Journalism Fellow at Stanford University and a video journalist One of Hollywood‘s most prolific actors, who earned fame early on for complex at “The New York Times”, he currently is president of the South Asian Journalists performances in RIVER'S EDGE and MY OWN PRIVATE IDAHO. Besides later mainstream Association and the co-founder of the collaborative storytelling platform Group­ success with films such as POINT BREAK, SPEED and THE MATRIX, he has worked with Stream. His current documentary project using GroupStream technology is the independent icons like van Sant, Raimi. He produced the documentary SIDE BY online platform “18 Days in Egypt“. (p.47) SIDE, which can be seen in this year‘s Berlinale Special. (p.51) Meier, Dirk Reilhac, Michel German colorist and post-production consultant, he is an expert at colour man­ Michel Reilhac is the executive director of ARTE France Cinéma and the director of agement and post-production for digital projects. He has worked for German and film acquisition for ARTE France. For Canal+, he made TO BE A MAN in 1999, and in international post-production companies like Farbkult, The Post Republic, Platige 2000 directed KENYA ISLANDS for ARTE. He produced CRY WOMAN, which was in Un Image and Zentropa, and on films such as RUSSIAN ARK, THE CITY BELOW, ANTICHRIST, Certain Regard of the Cannes Film Festival in 2002, and THE GOOD OLD NAUGHTY STREETDANCE (3D) and the upcoming DREDD (3D). (p.41, 52, 57) DAYS which he directed was presented in the Filmmakers Fortnight in 2002. Mendoza, Brillante (p.30, 44) Filipino filmmaker. His films such as TIRADOR, KINATAY, SERBIS and LOLA have won Reusswig, Fritz him awards in Cannes, Locarno and at the Berlinale. His latest film CAPTIVE, starring Author and sociologist at the Potsdam Institute for Climate Impact Research, speci­­­ Isabelle Huppert, will be screened in this year's Berlinale Competition. (p.47) alizing in on lifestyle and consumption issues as drivers for global climate change. He Möller, Sirkka is currently teaching sociology at Potsdam University, at the Brandenburg­ University of Sirkka Möller is a freelance film curator, documentary consultant and a regular jury Technology and at the Offenbach Art and Design University. (p.42) member and moderator at international film events. She works for DOK Leipzig, Rissenbeek, Mariette the Berlinale Panorama and the Fribourg International Film Festival and for the Managing director of German Films, she is also responsible for public relations and international Sales Agency Deckert Distribution. (p.49) press, international festivals and “Das Rendezvous“, an annual German-French film Monzier, Adeline meeting. (p.40) Creator and director of Europa Distribution, a network of 110 leading independent Rodenkirchen, Franz European distributors representing 26 European countries, which acts as a lobby, Script advisor and tutor in international workshops and individual project de­vel­ think-tank and network. She is also co-founder of Black Rabbit Film, a company opment, he is based in Berlin. He is head of selection for Torino Film Lab, and a script bringing together European and US filmmakers, producers and distributors. (p.45) advisor at the Binger Filmlab, where he also teaches script editing to industry Murphy, Kevin professionals. (p.55) Visual artist and media-arts curator, Kevin Murphy is a member of the Berlinale Rodrigue, Jean-Louis Talent Campus selection committee and coordinator of the Editing Studio since Acting coach on faculty at the UCLA School of Theater, Film and Television. Past and 2009. (p.48) current students include: Ian McKellen, Hilary Swank, Kirsten Dunst, Juliette Binoche, O‘Neill, Eithne Mary McDonnell in her Oscar®-nominated performance in PASSION FISH and Leonardo Irish-born writer and film journalist for publications like “Nouveau Monde” and the DiCaprio in J. EDGAR. He has trained and coached performers, amongst others, at the leading French film magazine “Positif”. She also co-wrote books on Stephen Frears Royal Shakespeare Company and on Broadway. (p.43, 46, 61) and Ernst Lubitsch and published a collection of poems. (p.52) Rodríguez, Alexandro Pasquali, Arnaud French-Mexican film editor, who has made a name for himself editing the films by Arnaud Pasquali is head of MEDIA Promotion (markets and festivals) and MEDIA Alfonso Cuarón (as well as those of his brother Carlos Cuarón) and the directorial de­ Training at Education Audiovisual and Culture Executive Agency (EACEA), the EU but of Gael García Bernal, DÉFICIT. He was nominated for an Academy Award for his in­stitution in charge of implementing the MEDIA programme. (p.46) work on CHILDREN OF MEN. (p.57)

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Rorvik, Peter Silver, Olivia Director of the Durban International Film Festival, a flagship project of the Centre US director and screenwriter of the short films AISLE 73 and LITTLE CANYON, which for Creative Arts, which Rorvik has headed since 1999. He is also the director of premiered at Sundance in 2009 and inspired her feature debut ARCADIA, starring John three other major annual festivals produced by the CCA; Time of the Writer, Jomba! Hawkes, which will be shown in this year‘s Berlinale Generation section. (p.26, 50) Contemporary Dance Experience, and Poetry Africa. (p.33) Simonen, Ulla Rosenthal, Liz Finnish producer, and founder of MADE, working also as a consulting producer for Expert of cross-media storytelling, distribution, and filmmaking, she is the founder other companies and as a documentary script advisor for SOURCES 2. She lectures and CEO of leading cross-media company Power to the Pixel, based in London. both nationally and internationally on different aspects of documentary pro­duc­ Power to the Pixel runs The Cross-Media Forum, The Pixel Lab and advises inter­ tions and is a member of the European Film Academy. (p.56) national media organisations, producers and creators. (p.44, 47) Skjødt, Hanne Sakamoto, Ryūichi Director of the European Documentary Network (EDN) based in Copenhagen. Internationally renowned Japanese composer and musician, Sakamoto wrote the Since 2000, she has been with the Danish Film Institute as distribution and pro­ scores for films such as MERRY CHRISTMAS, MR. LAWRENCE by Nagisa Ôshima, BABEL motion consultant and head of unit for the promotion and distribution of shorts by Alejandro Gonzáles Iñárritu and THE LAST EMPEROR by Bernardo Bertolucci, and documentaries. (p.33) which won him an Oscar®, a Grammy and a Golden Globe. He was awarded his Smith, Damon second Golden Globe for the score of THE SHELTERING SKY, also by Bernardo Bert­o­ New York-based curator (Cinelan, Project: New Cinephilia) and critic (“Time Out“, lucci. (p.48, 50, 52, 54) “The Boston Globe“, “Cinema Scope“). A contributing editor of Filmmaker Magazine, Saltzwedel, Daniel he co-produces the “Reverse Shot Talkies“ video series and is the editor, most re­cen­ Funding advisor for feature-length documentary films at the Medienboard Berlin- tly, of “Michael Winterbottom: Interviews”. (p.31, 52) Brandenburg, he has worked extensively in film production as a producer at Zero Solomon, Frances-Anne Film. (p.40) Artistic director and president of two companies she founded, Leda Serene Films, Sauper, Hubert her film and tv production vehicle, and CaribbeanTales, a prolific non-profit com­ Austrian-born and Paris-based documentary filmmaker. His films SO I SLEEPWALK pany that makes multimedia products aimed at the educational market. (p.50) IN BROAD DAYLIGHT and KISANGANI DIARY won multiple awards. His latest docu­ Sonnen, Caspar mentary DARWIN‘S NIGHTMARE received the Best Documentary Prize at the European Dutch film programmer, journalist and festival organizer. He is founder and curator Film Awards and was nominated for an Academy Award. (p.56) of IDFA DocLab and he set up the New Media department IDFA TV. Besides his work Schattney, Georg at IDFA, he is co-founder and programme director of Seize the Night, the annual Managing director of the Forest Carbon Group, responsible for finance, part­ Open Air Film Festival Amsterdam. (p.44, 45) nerships and market development. Before founding the company, he spent twelve Stensgaard, Molly Malene years in the financial sector. He has specialized in market-based solutions for Danish film editor who has edited most of Lars von Trier’s films including THE issues related to climate, water and biodiversity. (p.42) KINGDOM, THE IDIOTS, DANCER IN THE DARK, DOGVILLE, MANDERLAY, THE BOSS OF IT Schory, Katriel ALL and MELANCHOLIA. From 2006-2010, she was commissioning editor for feature Executive director of the Israel Film Fund since 1999, he founded the production films at the Danish Film Institute. She is a lecturer at the Binger Filmlab, and in company Belfilms and produced over 200 films including award-winning feature 2007, she was a member of the Berlinale International Jury. (p.42, 57) films like the Oscar®-nominated BEYOND THE WALLS as well as TV dramas and Suárez Moreno, Fernando international co-productions. (p.49) Film professor and critic. He alternates his academic work with his advertisement Schwerbrock, Mathias production company and various film journalism contributions, including the German producer, his film portfolio includes AIMÉE & JAGUAR, NIGHTSONGS and weekly radio cinema show “El Cine y…“ aired in Mexico City for the past six years. JOHN RABE. In 2009 he worked as a producer on 24H BERLIN, a 24-hour documentary He has directed documentaries and fiction short-films. (p.52) told in real time. He has been co-producing the Shah Rukh Khan production DON – Ukwuoma, Selina the king is back with Excel Entertainement, that will be presented as Berlinale Formerly a development executive at EON Screenwriters‘ Workshop and Cuba Special 2012. (p.30) Pictures, she now works as a freelance script editor, consultant and tutor. She has Schwierin, Marcel worked on a number of projects including the feature BOY A, which screened 2008 Curator, filmmaker, co-founder of the Werkleitz Biennial and the experimental film in the Berlinale Panorama. (p.55) database Cinovid. He curated film programmes for ISFF Oberhausen, Tate Modern, Vachon, Christine and Sharjah Biennial. Since 2010 film curator of Transmediale and artistic director Award-winning producer and co-founder of Killer Films, which has produced more of “Arab Shorts“. (p.47) than 45 indie features including I'M NOT THERE, FAR FROM HEAVEN, BOYS DON'T CRY, Shafik, Viola ONE HOUR PHOTO, HEDWIG AND THE ANGRY INCH, HAPPINESS and SAFE. In television, German-Egyptian film scholar and filmmaker, she has directed documentaries Vachon executive produced the Emmy-winning programme, THIS AMERICAN LIFE, including THE LEMON TREE, PLANTING OF GIRLS and MY NAME IS NOT ALI. She is also and Todd Haynes‘ miniseries MILDRED PIERCE. (p.50) the author of the books “Arab Cinema: History and Cultural Identity“ and “Popular van Helm, Mireille Egyptian Cinema: Gender, Class, and Nation“. (p.52) Founder of London-based Ginger Film Services, an international film consultancy Shoben, Andrew and servicing company offering sales agents, producers and distributors full post- Founder of Greyworld, which has created works in hugely coveted locations across production and distribution services on theatrical and television productions. She the world and has permanent installations in twelve countries. Notable works also offers lectures and workshops for film students and industry professionals include “The Source“ for the London Stock Exchange, “Paint“ for Nokia, and “Sun“ for with a focus on how to prepare your film for international delivery at an early stage Trafalgar Square, London. He is professor of public art at Goldsmiths, University of in production. (p.30) London. He has recently been nominated as president of the Royal Society of van Hoeij, Boyd Sculptors. (p.44) Contributing critic for “Variety” and a freelance film writer for outlets such as “Indie­wire”, “Cineuropa” and “Filmkrant”. He also edits the film pages of “Winq” mag­a­­­ zine and its English-language twin, “Mate”. (p.52)

Berlinale Talent Campus #10 Page Index of participants 75 Participants

von Staden, Inga a C Media architect, coach and educator for creative industries. She directs the pro­ Abbruzzese, Giacomo Caballero, Irina gramme Interactive Media at the Film Academy Ludwigsburg. Having initiated, Abramovich, Manuel Caballero, Lucille founded and directed various projects such as “The Academy of Converging Media”, Abu Musaed, Heba Caroli, Miguel she also initiated the Innovative Audiovisual Content Fund at the Medienboard Actis, Federico Carpignano, Jonas Berlin-Brandenburg from 2004-2007. (p.47) Adorno, Federico Carsenty, Daniel Vuorensola, Timo Agoston, Christopher Carton, Nathanaël Finnish film director, who has directed short films and music videos. He is in­ter­es­ Ahmad, Kamar Cassano, Liso ted in the effect the internet has on traditional production models. He has directed Ajao, Aderinsola Castanheira, Pedro STAR WRECK and most recently IRON SKY which premieres at the 2012 Berlinale Pa­no­ Al Mahmood, Khalid Chaves, Andrés rama. (p.47) Al-Ghaly, Abdullah Chen, Anthony Wendt, Ulrich Kodjo Alguacil, José Manuel Cheryl, Ladya German composer who did music for feature films such as IN JULY, directed by Fatih Aliyev, Tahir Chesterman, Marc Akin, as well as the documentary films SCORING BLUE by Christian Bau. His work in Alvarado, Renato Choe, Christina theatre includes “The World Is Big and Salvation Lurks around the Corner“ and live Alves, Maria Choijoovanchig, performances. (p.33) Aly, Mohamed Khoroldorj Wenner, Dorothee Amdur, Gabriel Chung, Kyung Rok Documentary filmmaker, author and journalist, she has been on the selection Andersen, Geir Čičigoj, Katja committee of the Berlinale Forum since 1990 and serves as the Berlinale delegate Andersson, Erik Coley, Rebecca for India and Sub-Saharan Africa. Her new film DRAMA.CONSULT will feature the Araiza, Estrella Connelly, Peter Rimini Protokoll theatre company. (p.42, 50) Araj, Suha Cox, Emily Werner, Michael J. Aristopoulos, Marios Cunningham, Deanne Hong-Kong-based producer and co-chairman of the film production, sales and Arrangoiz, Esteban Cuzzillo, Roberto distribution company Fortissimo Films. He has produced several award-winning Arthur, Stanley D independent films by, amongst others, Gregg Araki, John Cameron Mitchell, Peter Ashman, Jessica Daley, Nicola Greenaway, Béla Tarr and Apichatpong Weerasethakul. (p.45) Aubert, Sébastien Danusiri, Aryo Wetzel, Daniel Aubert, Louis Daugelaite, Rimante Co-founder and member of the avant-garde theatre company Rimini Protokoll. Avellan, Karina David, Raluca Since 2004 the company is artist in residence at the Hebbel am Ufer (HAU) in Berlin. Azad, Abdull Ghafar Decker, Uli Rimini Protokoll‘s original plays have won several international awards like the Aziz, Ammar Deis, Riyad European Theatre Award in 2007 and the Silver Lion at the International Theatre b Delgado, Maria Daniela Biennale Festival in Venice in 2011. (p.42, 43) Baeckeland, Jonas Denes, Nagy Yan, Geling Bagnarello, Erika Denningmann, Marlene Chinese American author and screenwriter, who co-wrote the screenplay for Chen Bakacs, Rita Desoky, Ibrahim Kaiges FOREVER ENTHRALLED. Her novel “Siao Yu” was adapted for the screen by Bakanova, Aygul Detiger, Allard Ang Lee and Sylvia Chang, and her novella “13 Flowers of Nanjing” was the basis for Balazs, Alberto Dombrovszky, Linda Zhang Yimou‘s latest film THE FLOWERS OF WAR. (p.42) Balbuena, Bianca Dosios, Theologia Yu, Jessica Barker, Jason Drevenšek, Jurij Academy Award-winning American filmmaker, she directed documentaries such Barreiro, Francisco E as BREATHING LESSONS: THE LIFE AND WORK OF MARK O'BRIEN and IN THE REALM Barreras Canales, Raúl Eastwood, Michelle OF THE UNREAL as well as her fiction feature debut PING PONG PLAYA. Her new docu­ Basa, Joze Eek, Kristian mentary LAST CALL AT THE OASIS is featured in this year‘s Berlinale Culinary Cinema. Batra, Ritesh Engel, Nicolas She is part of the FOCUS FORWARD initiative. (p.44) Beck, Gustavo Erde, Tamara Zacharek, Stephanie Becker, Eva Escobar, Maria Clara Chief film critic for “Movieline”, she was the senior writer and film critic for the web­ Bela, David F site Salon.com for many years. Her writing on books and pop culture has also Bellhouse, Geoffrey Fan, Jian appeared in “The New York Times”, “The Los Angeles Times”, “Rolling Stone” and “Sight Beltran Kleinert, Francisco Fantoni Modena, Giovanni and Sound”. (p.59) Bergholm, Hanna Fingscheidt, Nora Zargarpour, Habib Bigdely, Mina Fleischmann, Christoph Iranian-born visual art director and effects specialist. He has done digital effects for Biggins, Emma Fracassa, Marco films like STAR WARS EPISODE I, STAR TREK: FIRST CONTACT and THE BOURNE IDEN­TITY. Bilsen, Kristof Freiin von Cramer, Jule He was nominated for the Oscar for his effects work on TWISTER and THE PER­FECT Bliese, Miriam Funk, Jannis STORM. Since 2003 he has been senior art director and creative director at Electronic Bliss, Jeremy G Arts and the Microsoft Game Studio. (p.44, 45) Bojorquez, Ana Virginia García, Manuel Žbanić, Jasmila Borchu, Uisenma Gát, Anna Bosnian screenwriter, artist and director, she won the 2006 Golden Bear for GRBAVICA. Bosankic, Davor Gaynor Bailon, Lucas In 1997 she founded the artists’ association Deblokada, through which she has Bratila, Ioana Gestsdottir, Ragnheidur directed and produced her films. Her latest film ON THE PATH was presented in the Buntar, Garid Gevaerd Neves, André Berlinale Competition 2010 and distributed worldwide. (p.42) Bustos Sierra, Felipe Gkoulioni, Aikaterini Buyukcelen, Basak Glasgow-Maeda, Neigeme

Service | 06 Index of participants Page Participants 76

Gloger, Thijs L Nersisyan, Narek Saman, Heidi Welter, Nikos Hong Kong Goodman, Sarah Lalla, Christine Nguyen, Bao Savage, Robert Werner, Anne Hungary Graizer, Ofir Raul Lamah, Elie Nicolau, Ozana Schäppi, Timon Wiesner, Cynthia Iceland Grassiant, Jimmy Landquist, Martin Noto, Jason Scheermann, Christoph Williams, Rabia India Grunenwald, Ryley Langham, Tianna Nowacka, Magdalena Scherbak, Tamara Wotzke, Anders Indonesia Guddat, Anna Katharina Lapeyre, Jason Nussbaum, Jeremias Schmidt, Daniel Wydra, Anna Iran Carreras-Candi, Guillermo Lasri, Hicham o Schreuder, Thijs Y Ireland Guirguis, Danielle László, Sára Okita, Randall Sciandrone, Enrica Yanmis, Derya Israel Gül, Demet Latham, Michael Oleszczyk, Michal Settasuk, Eakarpon Yepes, Alexandra Italy Gull, Jane Leão, Marco Omerovic, Armin Shaban, Ariel Yong, Thomas Jordan Gümürhan, Mete Lee, Melissa Onah, Anthony Shabankareh, Hassan Yong, Gary Kenya Güngör, Selim Pekin Lee, Evelyn Oostrik, Sjoerd Shafi, Atiq Yoshisaki, Marcos Korea (South) Gunjak, Una Legraie, Johan Orr, Adiya Imri Shannon, April Therese z Kosovo Gupte, Pooja Lehtola, Veera Osheroff, Noa Shaw, Nicholas Zatarain, Mikel Lebanon Guzmán, Michelle Lelliott, Kitso Ott, Liliane Shllaku, Aldo Ziółkowski, Tomasz Lesotho h Leo, Maximilian Ottesen, Tinna Siahtiri, Hoda Ziqubu, Thishiwe Libya Hahn, Daniel Leonard, Lilium p Siam, Mohamed Lithuania Hahn, Linus Li Causi, Salvatore Paetau, Simon Siano, Tal Luxembourg Hamed, Chaled Liao, Jiekai Palme, Nicolas Skodras, Vasileios Macedonia Hamzeh, Nadia Linke, Anna Palo, Nicole Slikaite, Agota Madagascar Harbottle, Oliver Liubarskyi, Mykhailo Pariselli, Mark Soler, Benoit Malaysia Hasanov, Rufat Lorenz Fonfría, Ana Pastras, Nikos Stankovic, Zoran Meet participants Mexica Hassannia, Tina Lowen, Cynthia Pedicini, Valentina Steenkamp, Annalat from 99 countries: Moldova Hauru, Hannaleena Lubbe Bakker, Sabine Pellegrini, Guido Stremler, Stephanie Afghanistan Mongolia Hefferon, Thomas Ludik, Ben Breda Pello, Tiiu-Ann Stupljanin, Jelena Albania Morocco Helgason, Haukur Már Lukoševičius, Saulius Peltonen, Jani Suárez, Fabián Argentina Nepal Hepburn, Neil m Pereyra, Alejandro Suon, Guillaume Armenia Netherlands Hild, Jonathan Machutta, Laura Pérez Arancibia, Renato Svansson, Anton Máni Australia New Zealand Horak, Petr Magoola, Nathan Pico, Pablo Sveinsson, Erlendur Austria Nigeria Houver, Nicolas Manatad, Carlo Francisco Piperno, Alex Szabó, Bálint Azerbaijan Norway Hutawet, Wasunan Manta, Zoe Pohjola, Elina Szot, Krzysztof Bangladesh Pakistan i Maranan, Jewel Pojer, Carola Szymanowski, Mathew Belarus Palestinian Territory Ibrahim, Muhammad Marin, Rodrigo Powell, Aimee t Belgium Panama Idanan, Aiza Jane Marly, Sieber Pushpakumara, Sanjeewa Tajdin, Amirah Bolivia Paraguay Insinga, Sebastiano Martine, Doyen r Tamhane, Chaitanya Bosnia and Herzegovina Philippines Ireeta, Alex Maye, David Raabe, York-Fabian Titz, Florina Botswana Poland j Maziarzewski, Marcin Radcliff, Christopher Tomashevich, Ilya Brazil | Bulgaria Portugal Jæger, Camilla Fredikke Mbiyu, Peggy Radivojevic, Iva Trifu, Mara Cambodia Puerto Rico Jansen, Itandehui McIntosh, Zoe Radosevic, Maja Tsernov, Jevgeni Cameroon Qatar Jimenez, Maria McKenzie, Joshua Rapisarda, Simone Tskvitinidze, Giorgi Canada Romania Jirmanus, Mary McKenzie, James Rauniyar, Deepak Tuza-Ritter, Bernadett Chile Russian Federation Joalland, Stéphanie McLoughlan, Louisa Razanajaona, Luck Tzur, Daniel China Rwanda k Meiser, Christoph Recchia, Marc u Colombia Serbia Kamal, Elie Menéndez, Arturo Refseth, Oistein Ugeux, Jean Costa Rica Singapore Kamm, Henning Meul, Kevin Reis, Juliana Ulgado, Vanessa Croatia Slovenia Kamya, Caroline Mischie, Ioana-Maria Relea, Ariadna Umar Ahmad, Ismail Cuba South Africa Karikurve, Yogesh Montero Recio, Roberto Riley, Eva Urbonaite, Gabriele Czech Republic Spain Kárpáti, György Mór Morsch, Sebastian Rinland, Jessica Sarah v Denmark Sri Lanka Keča, Srđan Morsi, Reem Riso Soto, Luciana Valerio, Adriano Dominican Republic Sweden Kengne Kamga, Regis Mörth, Markus Robinson, Ben Van den Broeck, Olivier Ecuador Switzerland Keville, John Mosese, Jeremiah Roggon, Andrea Johanna Van der Ven, Maarten Egypt Syria Khan, Sami Mubarak, Makbul Rookus, Aaron Vasovic, Vojin El Salvador Thailand Khatami, Alireza Mueller, Mauro Rot, Anna Vesnakov, Pavel Estonia Turkey Khneisser, Marwan Mugwaneza, Richard Ruditskaya, Yulia Vettiger, Fabian Finland Uganda Kim, Young Hei Muhoho, Sarah Ruiz, Juan Mauricio Vidušin, Dijana France Ukraine Knezevic, Ivan Murard, Ambre Ruiz Hueck, Daniel Vučinović, Danko Georgia United Arab Emirates Kojevnikov, Anna n s W Germany United Kingdom Komem, Tamar Naulainen, Ando Salgado, Fernanda Watson, Robert Ghana United States Kotzamani, Konstantina Navarro, Janaina Salmi, Arttu Webster, Anielle Greece Uruguay Kuschnig, Christoph Nazé-Mandray, Nora Salumaa, Stella Wegrzyn, Radoslaw Guatemala Venezuela

Berlinale Talent Campus #10 Page Danke schön! 77 Many Thanks

Ambassade de France Charles Malinas, FILMeX Kanako Hayashi, Shozo Ichiyama, Shigeo Kanaya. The Film and Television University (HFF) „Konrad Wolf“ Nathalie von Bernstorff and Carole Lunt. FIPRESCI Klaus Eder. Prof. Dieter Wiedemann, Prof. Martin Steyer, Holger Lochau. A&O HOTEL and HOSTEL Mitte Robert Hering, Tina fluter.de Silke Kettelhake. Tokyo Metropolitan Government Yusaku Imamura, Bierwolf, Denitza Babekova, Katharina Pötter Krouse. Fraunhofer / Heinrich-Hertz-Institut Michael Witte, Masahiro Seki, Yuuji Izawa, Hiroaki Endo, Katsuhiko Funaki. ARTE Deutschland Doris Hepp, Kathrin Brinkmann. Ralf Schäfer. TOP-IX Torino e Piemonte Internet Exchange ARTE France Michel Reilhac, Annamaria Lodato. Gahrens & Battermann Michael Kugel. Silvano Giorcelli and the entire team. Auswärtiges Amt (Federal Foreign Office) Goethe-Institut Buenos Aires Stefan Huesgen, U.S. Embassy Berlin Philip D. Murphy, Elizabeth Corwin, Dr. Guido Westerwelle, Werner Wnendt, Inge Stache. Goethe-Institut Johannesburg Yasmin Güner, Kerstin Reichert. Uwe Wolfgang Heye, Helmut Lörsch. Katharina von Ruckteschell-Katte, Henrike Grohs. VFF Prof. Johannes Kreile, Prof. Norbert Flechsig, Berliner Pilsner Bettina Pöttken. Goethe-Institut Lagos Marc-André Schmachtel. Prof. Georg Feil. Berlin Today Award Producers 2012 Goethe-Institut Mexico Folco Näther, Sebastian Huber. Viva con Agua Benjamin Adrion. Ambrosia Film: Eva Illmer, Halina Dyrschka; DETAiLFILM: Goethe-Institut Tokyo Raimund Wördemann, Wave-Line Matthias Behrens. Fabian Gasmia, Henning Kamm; Filmgestalten: Mihoko Tanno. Wirtshaus am Ufer Thomas King and the entire team. Manuel Kinzer, Florian Gerstenberg; Lichtblick Media: Goethe-Institut München 20sec.net Jens Rietdorf, Robert Wagner. Ruth Ersfeld, Martin Heisler; Sunday Filmproduktion: Prof. Dr. Klaus-Dieter Lehmann, Dr. Hans-Georg Knopp, KBB – Kulturveranstaltungen des Bundes in Berlin GmbH René Frotscher, Thomas Jeschner. Dr. Christian Lüffe, Marina Ludemann. Charlotte Sieben, Johannes Emig, Andrea Schreiber, Binger Filmlab Gamila Ylstra, Marten Rabarts. Gorol & Partner Stephan Gorol, Verena Zimmermann, Petra Hemprich, Stefan Martin, Dr. Albert Drügemöller, BKM – Der Beauftragte der Bundesregierung für Leonie Würfel. Jana Daubitz. Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg Guadalajara International Film Festival Berlin International Film Festival Our colleagues Berggreen-Merkel, Sandra Wemmel, Ulrike Schauz, Raul Padilla, Iván Trujillo Bolio, Andrea Stavenhagen, Thomas Hailer, Solmaz Azizi, Sabine Gebauer, Michael Knoche. Alejandra Paulín Albor. Susanne ­Wie­ne­mann, Diana Kallauke, Karin Hoffinger, BMW Karsten Engel, Johannes Seibert, Manfred Bräunl, HBC Stephan Rothfuss. Daniela Weber. Johannes Wachs and Wolfgang Janßen. Hans-Reiner Schröder. Hebbel am Ufer (HAU 1-3) Matthias Lilienthal, Anne Gebhardt, Kerstin Iskra, Melike Öztürk and British Council Briony Hanson, Christine Bardsley, Sonja Hildebrandt, Elisabeth Knauf, Kirsten Hehmeyer, Eva Simhart. Will Massa, Elke Ritt. Matthias Schäfer and the entire HAU team The section heads Christoph Terhechte, Maike Mia Höhne, Camelot Broadcast Services Victor Nikolaidis, for their cool theatre. Dr. Rainer Rother, Maryanne Redpath, Florian Weghorn, Bojana Nikolaidis, Christian Klimpke. Hugo Boss Philipp Wolff, Claudia Schmidt. Linda Söffker, Wieland Speck and their teams. Cinelan/Focus Forward David Laks, IDFA Cathalijne de Wilde. Vincenzo Bugno, Stefanie Schulte Strathaus, Wilhelm Faber, Karol Martesko-Fenster, Damon Smith, Nelly Petit. Internationale Kurzfilmtage Oberhausen Marcus Schütte. Frauke Greiner, Dagmar Forelle, Anne Marburger and COLT Dr. Adelino Santos. London Film School Ben Gibson, Suzy Gillett. their teams. Hans von Trotha. Markus Hönle, Nina Orda, Daazo Film and Media Ltd. Dániel Deák, L’ORÉAL PARiS Jérôme Bruhat, Yvonne Rostock, Albrecht Wendel, Gunnar Gilgen and Irena Akopjan; Zoltán Aprily, Anita Libor. Heike Leder. Jose Carlos Avellar, John Badalu, Alexis Grivas, Dominique Deutsche Weine Monika Reule. Manfred Durniok Foundation Michiko Teramoto. Greene, Elisabeth Lequeret, Luciano Monteagudo, Deutsche Welle Eric Bettermann, Rainer Traube, MEDIA Training Programme of the European Union Nikolaj Nikitin, Norman Wang and Dorothee Wenner for Melanie Matthäus, Bettina Kolb, Dieter Roser, Aviva Silver, Costas Daskalakis, Arnaud Pasquali, strategic expert approach. Hanne Kehrwald, Fred Oelschlegel and the Deutsche Piedad Rivas Lopez. Last but not least Dieter Kosslick! Welle trainees. MEDIA Mundus Irina Orssich Slavetich, Emmanuel Cocq. Our juries: Score Competition Klaus-Peter Beyer, Deutsche Welle Akademie Gerda Meuer, Medienboard Berlin-Brandenburg Kirsten Niehuus, Martin Steyer, Martin Todsharow, Ziska Riemann. Bernhard Graf von der Schulenburg, Pamela Schobess Elmar Giglinger, Daniel Saltzwedel, Rangeen Horami. Doc Station Kathrin Brinkmann, Fabienne Moris, and the Deutsche Welle Akademie volunteers. Nipkow Programme Uta Ganschow, Petra Weisenburger. Sirkka Möller. Script Station Alby James, Franz Roden- Deutsches Filmorchester Babelsberg Power to the Pixel Liz Rosenthal, Tishna Molla, Ines Braga. kirchen, Merle Kröger. Talent Project Market Katriel Schory, Klaus-Peter Beyer and the musicians. Rabenhorst Johannes H. Mauss. Roshanak Behesht Nedjad, Ellis Driessen and dffb – German Film and Television Academy Robert Bosch Stiftung Dr. Ingrid Hamm, Dr. Kurt Liedtke, Prof. Georg Feil. Talent Press Klaus Eder, Marina Lude­mann, Prof. Jan Schütte, Maximilian Müllner, Kathrin Ostern­ Dr. Olaf Hahn, Frank W. Albers, Karin Angela Schyle. Oli Baumgarten, Aily Nash and Frauke Greiner. dorff, Stefan Beckers, Laura Gintar, Debora Neumann. Sarah Wiener GmbH Michael Lammert. Berlin Today Award Jury Guy Maddin, Jasmila Žbanić Dolby® Julian Pinn, Hubert Henle. Sarajevo Film Festival Mirsad Purivatra, and Judith Kaufmann. Berlin Today Award pre-selection Durban International Film Festival Peter Rorvik. Amra Baksić Camo, Jovan Marjanović. Alexandra Gramatke, Bärbel Mauch, Christiane Steiner, Embassy of the Republic of South Africa, Berlin Serve-U Phillip Sünderhauf. Daniel Saltzwedel and Gerhard Meixner. Special thanks Sarah Pöhlmann. SOURCES 2 Dr. Renate Gompper, Marion Gompper. to Peter Cowie, Sigrid Limprecht, Gabriele Brunnenmeyer. European Film Market Beki Probst, Catherine Buresi. Talent Campus Buenos Aires María Marta Antin, Campus team 2012 Aily, Andrea, Anja, Ana, Anna, Anne Euromed Audiovisual Programme Manuel Ferrari, Agustina Arbetman. Flavie, Andreas, Arne, Christiane, Cressida, Daniel, Jana, of the European Union Valerio Caruso. Talent Campus Durban Monica Rorvik. Janne, Jona, Kathi, Katrin, Kevin, Lira, Marcie, Marcus, ewerk Oliver Rübenkamp, Miriam Linnert, Talent Campus Guadalajara Lorena Rossette Riestra, Marjorie, Merle, Michael, Nicole, Oli, Sebastian, Sirkka, Friedrike Helmchen. Ana de la Rosa Zamboni. Sophia, Stefan, Susann and Tobi; to all photo­­graph­ers, fatboy P.F.H.A. van den Maagdenberg, Denise Bruens. Talent Campus Sarajevo Ivana Pekušić, volunteers, angels, service suppliers and technicians. Festival internazionale del film di Locarno Ivana Kalember, Asja Makarević. Nadia Dresti, Mario Timbal. Talent Campus Tokyo Akiko Yukawa, Eiko Mizuno. Many thanks to our location partners FFA – German Federal Film Board Peter Dinges, Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer. Christine Berg, Birthe Klinge. TESIRO Richard Shen. FIDMARSEILLE Jean-Pierre Rehm, Fabienne Moris, Theaterkunst Susanne Franke, Nikola Fölster Anaëlle Bourguignon. and Birgit Raabe.

Service | 06 Team / Imprint Page The campus team 2012 78

Berlin International Film Festival Hands-on training Event Agency Publisher Festival Director Score Competition Gorol & Partner – Stephan Gorol, Berlin International Film Festival Dieter Kosslick Marcie Jost, Janne von Busse Verena Zimmermann, Berlinale Talent Campus Berlinale Talent Campus 2012 Campus Studio Leonie Würfel Potsdamer Straße 5, 10785 Berlin Programme Manager Andreas Westphal, Kevin Murphy, IT Project Management Phone: +49 30 259 205 15 Matthijs Wouter Knol Stefan Pethke 20sec.net – Jens Rietdorf Fax: +49 30 259 205 19 Project Manager Doc & Script Station IT Technology [email protected] Christine Tröstrum Sirkka Möller, Arne Kohlweyer; serve-u – Phillip Sünderhauf www.berlinale-talentcampus.de Programme Coordination Meet Coordinator: Consultants Andrea Rieder Gabriele Brunnenmeyer Peter Cowie, Sigrid Limprecht An initiative of the Berlin International Events & Administration Talent Project Market Imprint Film Festival, a business division of the Kultur­­ver­an­staltungen des Bundes in ­ Nicole Münch Dr. Kathi Bildhauer, Circulation 4.000 Berlin GmbH. Communication Coordination Sonja Heinen Editorial Office & Project Manager Talent Press Oliver Baumgarten, Aily Nash, Berlin Today Award Oliver Baumgarten, Aily Nash Matthijs Wouter Knol, Campus Team 2012 Christiane Steiner Talent Actors Stage Jona Armborst, Daniel Bickermann (from left to right): Head of Press Anja Joos Cartography Marjorie Bendeck, Marcus Forchner, Susann Pataki Berlin Today Award Runze & Casper, Berlin Marcie Jost, Ana de la Rosa Zamboni, Assistant Press & Communication Christiane Steiner, Katrin Wirth Photography Kevin Murphy, Assistant Berlin Today Award Guest Managers Berlin International Film Festival, Sebastian Gutierrez Perez, Katrin Wirth Jana Daedelow, David Ausserhofer, Anja Joos, Christiane Steiner, Assistant Events Anna Lässer David von Becker, Andreas Böhmig, Andrea Rieder, Anna Lässer, Sebastian Gutierrez Perez Trainee Chiara Ferrau, Lydia Hesse, Lira Lousinha, Katrin Wirth, Editor Website Merle Kasprzak Peter Himsel, Ute Langkafel Matthijs Wouter Knol, Daniel Bickermann Intern Programme and co­op­eration partners, Christine Tröstrum, Tobi, Online Editor & Community Manager Jona Armborst distributors, film productions Anne Flavie Germain, Marcus Forchner Intern Press Photography Cover Nicole Münch, Talent Administration Coordination Cressida Greening Nora Bibel Cressida Greening, Jona Armborst, Marjorie Bendeck, Lira Lousinha Interns Talent Administration Print Daniel Bickermann, Selection Commitee Anne Flavie Germain, Druckzone GmbH & Co. KG, Merle Kasprzak, Susann Pataki, Marcie Jost, Kevin Murphy, Sophia zu Lynar Cottbus Arne Kohlweyer, Marjorie Bendeck, Administration Support Design Andreas Westphal Ana de la Rosa Zamboni Michael Hoffmeister jobs und böhm, Sonja Jobs and Michael Hoffmeister.

Berlinale Talent Campus #10 We would like to thank our international network for its support

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

In cooperation with MEDIA – Training programme of the European Union, Medienboard Berlin-Brandenburg and the Robert Bosch Stiftung. www.berlinale-talentcampus.de