CENTRE INTERNATIONAL DE LIAISON DES ECOLES DE CINÉMA ET DE TÉLÉVISION THE INTERNATIONAL ASSOCIATION OF FILM AND TELEVISION SCHOOLS CILECT NEWS

November 2004 Issue No 41

VGIK y th 85 anniversar Page 2 November 2004 CILECT News No 41

Contents

VGIK 85 years 3 Congress and General Assembly 2004 4 A Talk with Frank Daniel, Part II 8 New Technologies Update 16 Alexander Mackendrick 19 News from the Schools 21 Curio 27 CILECT NEWS No 41 November 2004 Page 3

Всероссийский Государственный Институт Кинематографии

VGIK 85 Years VGIK, the Russian State Institute of Cinematography, is the oldest CILECT film school in the world. It celebrated its 85th anniversary last October 2004 and held its 24 t h International Student Film Festival.

CILECT’s Executive Council was invited to take part in the celebrations. .

Caterina d’Amico present-

“I am very honoured to be here tonight, to bring birthday greetings to VGIK on behalf of the filmschools of the world. CILECT is the International Association of Filmschools, and also CILECT is celebrating its birthday, the 50th. VGIK was one of the five founding schools of CILECT, together with the Italian film- school Centro Sperimentale di Cinematografia, of which I am now the Dean. Today CILECT consists of over 120 schools from more than 50 nations, and VGIK continues to play an honoured and respected role. VGIK Rector, Alex- Because VGIK was the first filmschool, and to be the first is to be the model, to set the standard. The idea ander Novikov was that started here in Moscow 85 years ago, of connecting theory and practice, technical skills and cultural awarded the title awarness, is the world model for film education and is encoded in CILECT’s DNA. In that sense, VGIK is of “Chevalier dans l’Ordre des Palmes not just here in Moscow. Whether we like it or not, whether we know it or not, VGIK is in Rome, in Lodz, Académiques” of in Beijing, in Sao Paulo, in Helsinki, in Singapore, in Los Angeles. All you have to do to find it is to look the French Republic at the curricula of the CILECT filmschools, and there you will find the spirit of VGIK. Thank you, VGIK. And happy birthday.” Caterina d’Amico Page 4 November 2004 CILECT News No 41

CILECT’s 50t h Anniversary Congress at UIAH

ILECT’s 50 t h An- of the topics of the congress. This issue School of Motion Picture, Television niversary Congress was addressed by long-term delegates and Production Design in the Uni- was held, May 17- Wolfgang Längsfeld, Donald Staples, versity of Art and Design Helsinki, 23 in Helsinki, Fin- and Dick Ross, in a panel chaired by and the renowned production de- land. The Media the current vice-president for publica- signer Alex McDowell, whose work CentreC Lume at UIAH was the host tion and research Henry Breitrose, who integrates digital technologies with institution, under the able guid- researched and wrote a history of CI- traditional design to allow unprec- ance of its director, Lauri Törhönen. LECT in celebration of its anniversary. edented control over the look of a film. The Congress was divided into two After acknowledging the histori- Stanislav Semerdjiev, Vice-President parts: a conference and the General cal event, the congress proceeded to for Programme Development chaired Assembly, interspersed with infor- discuss pressing current and future a panel on Student Film Festivals, mal opportunities for conversation. concerns, Vice-president for finance which have been an important focus The Helsinki Congress featured Donald Zirpola chaired a panel on of CILECT activities for many years: two keynote addresses. Finnish one of the most pressing curricular Three panelists, Julio Nogueira, a writer/producer/director Jörn Don- trends, Production Design. The irony student at a CILECT school, USB, São ner gave an eloquent personal remi- is that the very first CILECT Congress Paulo, a graduate of a CILECT school, niscence about how, as a young man, discussed production design, long Cath Moore from AFTRS, Sydney and he had to invent his own equivalent before the advent of the digital tech- Antonia Carnerud, a professional to a film school, and reflected on the nologies that are revolutionizing the producer/distributor gave their views. art of pre-visualizing, conceptualizing, evolution of film education and the Then, the delegates joined discus- and realizing the “look” of a film. film art and industry. The venue was sion groups for in-depth discussion the elegant neo-classical City Hall. The panel consisted of Marieke of the issues raised by the panelists. CILECT’s former president Colin Schoenmakers, the Director of the After the discussions, a survey ques- Young reflected on CILECT’s first 50 Netherlands Film and Television tionnaire was distributed to the del- years, and the lessons of the past for Academy, Katriina Ilmaranta who egates, a report of the discussions the future of the association was one teaches production design at the and a summary of the survey were CILECT NEWS No 41 November 2004 Page 5

presented to the General Assembly Lauri Törhönen, Congress Host Mobility of Students and Teach- ers was the subject of another panel, that had particular relevance to Euro- Elections pean Union institutions affected by Caterina d’Amico was re-elect- the Bologna Declaration on student ed president of CILECT, Don Zir- mobility, but was of interest to many pola was re-elected vice-president other schools whose students wish for finance and fundraising, and to study at other institutions. The Henry Breitrose was re-elected panel explored trends, opportuni- vice-president for publication and ties, problems, and prospects for research. Each will serve until 2008. student and teacher mobility among CILECT officers serve stag- CILECT schools and relevant in- gered terms of four years. Con- dustries, under the chairmanship tinuing until 2006 are vice-presi- of Victor Valbuena, Vice-President dent for Conferences and Festi- for Regional Liaison of CILECT vals Stanislav Semerdjiev, and The panel consisted of Pavel Jech, vice-president for Training and Academic Director of FAMU Inter- Development Victor Valbuena. national, Wolfgang Längsfeld, who re- cently retired from HFF-Munich and has had much experience as a visiting teacher, and Malte Wadman, Artistic Director of the Norwegian National Film & TV School in Lillehammer. A full report of the conference, and texts of the keynote addresses is in preparation and will be published as a special issue of CILECT Newsletter. Page 6 November 2004 CILECT News No 41

CILECT History Session at the Congress Raymond Ravar, former Secretary General, in Karlovy-Vary in the 70s

Colin Young, former President, in the 70s and at the 2004 Congress CILECT NEWS No 41 November 2004 Page 7

main film critic at Dagens Nyheter, at ceived another prize in Venice in 1964, Congress that time Scandinavia´s biggest daily. and my films brought me to faraway The former critic had committed suicide. places like Sydney and Mar del Plata. At the same time, aspiring French film- Then commercial realities inter- Keynote Speaker makers used the Cinémathèque Française vened. Suddenly, and almost without as their own film school. I felt pride when advance warning, I was not popular Jörn Donner the founder and director, Henri Lang- with the Swedish production compa- lois, invited me to show my films there. nies. They claimed that my films didn´t My aim was to be able to make films make money. It was true, they didn´t, myself. at least not in the short run. I therefore moved back to my home country, Fin- The newspaper gave me the opportunity land, and circumstances forced me to to visit film festivals and travel quite freely become producer as well as director. in Europe. I had been to Cannes for the first time in 1954, in other words 50 years But this is not the end of my story ago. At that time, there were 150 accredited about Sweden. I came back and became critics and journalists. Nowadays they are a film bureaucrat, eventually as managing 15,000. The crowd is too big for my taste. director of the Swedish Film Institute. My ongoing contacts with Bergman had I had met Ingmar Bergman in 1952 given birth to a friendship with him that when he visited Helsinki and delivered has lasted more than 50 years. It eventu- a lecture. Jörn Donner was born in Helsinki, and ally caused me to produce his last theatri- educated at Helsinki University. He worked Later, in Sweden, I learned that cal film, Fanny och Alexander in 1982, as a literature and film critic for publications nobody had written a serious monog- which was to receive four Oscars. It is per- in Finland and Sweden. raphy about his films, despite the fact haps beside the point here, but Bergman In the early 1970’s he was Director of the that at that time – early Sixties – he had no inkling of the technicalities of Cinematheque and International activities of was already well-known internationally. filmmaking when he made his first film in the Swedish Film Institute and served as its head from 1978 until 1982. He served three I therefore decided to write that book, 1945. But when he made Fanny & Alex- terms as Chair of the Finnish Film Foundation, which was published in 1962. ander he had about 50 films behind him. and as Finnish Consul General in Los Angeles I still wanted to make films myself. I do not want to imply that film schools in 1995 and 1996. Ingmar helped me to make a short are unnecessary, quite the contrary. There He wrote and directed 12 feature films, and at Svensk Filmindustri, the com- are more moving images than ever several documentaries, produced some 50 pany where he worked. The film round the world. Young people in this feature films and documentaries. One of computer and digital age learn to master them, Fanny and Alexander, directed by was lousy, but I learned something. those images at an early age. Heavy film Ingmar Bergman, won four Academy Awards The intellecual climate in Sweden in 1984. equipment will be replaced by light dig- in the first half of the Sixties was ital cameras, and some day making im- Jörn Donner is the author of 52 books, and fertile for young people wishing to ages might be as inexpensive as writing. has been an active citizen of his country, in make films. The production compa- local and national government as a member nies wanted to invest in new talent. Schools and universities can teach of local government and member of the you almost anything about the craft of Finnish Parliament. Several young writers, I among them, were able to write and direct their filmmaking, they can nurture talent, first films. Mine was called A Sunday they can inspire you to use your imagi- THE RULE OF NOBODIES in September. It was shown in Venice nation, and hopefully they do that. Still, I belong to a generation which had and received the Opera Prima Prize. extreme talent will remain a mystery. no chance to attend a film school at any I beg you to note that there was I have spoken here about making level. This means that I had to learn only a single individual who made the films. This does not exclude the reality by doing films and by looking at films. decisions about my film, and that was that most films, regardless of the tech- Doing, at that time in the early fifties the owner of the production company. nicalities of filmmaking – are made for meant that I, together with some friends. television. Television consumes almost Nowadays, it is not the case, at least produced a few documentary shorts everything, 24 hours a day, on hundreds not in Europe. Look at the number with almost no money. Those films are or thousands of channels worldwide. of institutions and companies accom- forgettable. I learned to load a camera, panying the main credits of almost Nevertheless I am still looking for the I learned some editing, I listened to any film. I call them ”Gatekeepers.” personal vision, which was embodied in the others. This was my film school. None films of Ingmar Bergman and many others. other existed in the Nordic countries. Sometimes they are individuals, but most often they are committees consist- If you ask me why I don´t make Looking meant that I consumed films. ing of persons without a name or a face. films nowadays, my answer is, that I When I was eighteen years old, I started do not like committees to make artistic I call it the rule of nobody, or nobodies. to write film criticism in a small leftwing decisions. Therefore I prefer writing. newspaper in Finland. Over the years I I was extremely lucky at that time But please go ahead and teach, the wrote for several other small newspapers in the Sixties. There was an inter- world needs images that have a story to until I started as a film critic for a respect- national market for Swedish films, tell, documentary or fiction, computer- ed literary monthly in Stockholm. As a and my films had some modest suc- wise or through the lens of a camera. consequence of this I later was appointed cess in Sweden and elsewhere. I re- Page 8 November 2004 CILECT News No 41

Originally printed in CILECT Newsletter, June 1989.

AN INFORMAL TALK WITH FRANK DANIEL Part II

hen it was announced that Frank Daniel was leaving Columbia University, the students from the first year (graduate programme) asked to spend an afternoon with him. They had all had two semesters of scriptwriting in which they first wrote about ten different types of assigned scenes, developed six Wto eight outlines of short scripts and wrote one of them into a 20-30 minute script. In the next semester they developed a 30-40 page treatment of an original feature script. At the. same time, they attended the script analysis class (2 semesters), acting/directing class and the directing workshop, where they shot and edited several types of scenes and a short story on video. They knew that they would not have Frank as their teacher in the second year’s scriptwriting III and IV, and, therefore wanted to hear at least a brief -summary of the method and approach that he was using in his classes. The Informal, improvised talk was taped and the following pages are edited transcript. Columbia University, School of the Arts, Film Division, 5th May 1986

T HE O UTLINE the story begins to unravel and then actor needs to perform the part. You You should ask yourself why. Why you have a chance to feel quite safe. need to do the same thing. You’d bet- does this character have to be in a You begin to have an outline, and ter know everything that could and story? What is it I feel about him or you can, after that, begin to write. might happen to your character. It’s about her? Because then you begin to There are people who don’t believe not writing yet. It’s just the ideation, find out why you want to write the in outlines, so they start writing the just the thread count. It needs to be whole story, and what the passion of script without knowing where they combined with this other side of the that character is, and why he wants are going. What they end up with process which is asking sober-minded what the wants. Eventually you reach is something that resembles a script, questions like: What is the story the moment where you can dream for because it’s typed in the format, and about? What’s the main characters your character, where you can remem- looks like a script, but it’s not a script, problem? What is the difficulty, the ber for him or her everything that hap- and it’s not a story, although it resem- stress, in which the character can be pened in his or her past. When that bles it, and then, although they have put and how can the character solve it? happens then you’re absolutely safe. written over a hundred pages and The character will find his or her way discovered something, they have to W RITING D RAFTS towards the resolution of the story. go back and decide finally what it is Personally I believe in a first draft that they want to write about eventu- At this point the problem is how written as fast as possible. When ally. They have to throw away most of to hit that character in his most vul- you polish each scene as you go, the scenes they have written, because nerable spot. How to put him in the you stop the flow of your imagina- the scenes don’t fit in the new story. worst predicament imaginable, how tion. If you start taking care of every to strengthen that predicament, and The moment you know what line of dialogue and every adjective how to increase, at the same time, his the thread of your story is, you see in the descriptions, you are under desire to achieve his dreams. Once why those etudes, those explora- restraint in imagining the total, the you get that, you’ve got a story grow- tions that you should do before you whole story. Well, the moment you ing, and there is no problem what begin to write, are so important. feel that your. character is ready to do next. You just use the rational You all know that actors, for ex- to go on the trip, just start writing. approach and start asking yourself. ample, when they begin to explore The best advisable way is to write What are the sequences in which a part, make all kinds of etudes for the first draft without stopping. this character tries to get himself themselves. They go shopping as the And there - it’s only again, my out of the predicament? And you character. They wake up as the char- advice, some people take it, some put him or her in that predicament, acter, do their toilet, go to a party, don’t, - but my advice is to get used as a rule, in about two sequences, or whatever, as the character. They to regular working hours, and write at of about 10-12 minutes. Then you make up scenes that don’t exist in the least one page a day. For me the best have the steps from the set up of the script, but these explorations, these thing is to write in the morning when dramatic situation to the culmina- etudes, help them to understand all your mind is more or less fresh, (and tion. When you can see the sequence, the trivia, all those elements that an if it’s not, if you have a hangover, for CILECT NEWS No 41 November 2004 Page 9 instance, then you write from a feeling down the note of the greatest idea stiff. You needed three scenes to tell of guilt, and that’s not bad either). that he has ever stumbled over. Then us what the guy is about, because you If you have one finished page writ- he goes blissfully to sleep. The next illustrated his relationships, his likes, ten every day that means 360 pages morning he wakes up, rushes to the his dislikes, and that is why the first a year, which is enough. That’s three notebook and reads, “Boy meets girl”. part hiccups. It doesn’t flow, it doesn’t drafts of a script, if you rewrite it The outlined approach to the first roll, and it’s too long. Exposition is completely. But you will learn that draft helps you get rid of many prob- always too long in the first draft, and the second and third drafts are usu- lems. Nobody can keep two hours of you should be prepared for that. It’s ally written much faster, so 360 pages a story in his mind in all its complex- just going back and using the method can be two scripts a year. That’s just ity. You have to simplify the process of “looking at the story backwards”. writing one page a day. It gives you for yourself. In the outline you can, Since you know where the char- a feeling of freedom. You can waste in the abstract form, see the begin- acters will arrive at the end, you can the rest of the day and nothing hap- ning, middle, and end. Then you can now put yourself in the position of pens. You have done that one page broaden it and start thinking in terms a Greek God on the Olympus who and you feel comfortable and relaxed. of sequences. Sequences are still too looks at them as they are starting At the same time something else large to be in one’s mind clearly. their journey. What you see as a is happening. You don’t necessarily That’s why you go into scenes and the rule is that it’s too easy. So you put think consciously about writing for scenes helps to shape the sequences, obstacles in their way, take care of the rest of the day, but subconsciously and finally help to propel the story to complications, and force them to you still do. Your imagination is at it’s final fruition. When you finish the find more inventive ways of coping work, unforced, at its leisure. And first draft, you know it’s a first draft. with the situation, and you don’t al- the next page next day is better. Now, with the word processors, it’s a low them to get too resilient until the pleasure to rewrite, because you know resolution. That’s how you begin to Also, you shouldn’t ever try to that you can make changes, you can see all the possibilities for flourishing finish everything that is clear in your make cuts, you can edit, you can shift scenes, because a scene is good only mind in one writing session. If you do scenes. You can do anything that the when it’s difficult and demanding you will find yourself at an impasse. first draft needs, and if you save the for the character. If you don’t put You’ll be stumped. But if you leave disc, you feel safe. The draft is there, obstacles in the scene, it’s flat, and it part of the scene, or part of the se- as long as the copy is there. The doesn’t offer anything to the others. quence that’s clearly in front of your next draft can only be better because eyes for the next day, you won’t have Another usual problem in the first you can always go back to the first. that awful feeling of getting started draft is that it has three endings and again, because you just continue, and Looking at the story backwards three culminations. And that’s natural the moment you begin to continue obviously in the first draft there because usually you need three basic with the things that were clear the will be a lot of soft spots, errors and characters in the story, and each of the day before, new horizons usually gaps. The major problem, as a rule, characters requires a culmination, and open immediately. That’s because is that the beginning doesn’t work. each of them requires a resolution. the imagination begins to work. In my writing classes the first two In the first draft you write them So one page a day - and that’s it. sequences are always rewritten couple as a rule, one after the other, and Next day sometimes, just before of times until they work, and then the then you try to combine those three going to sleep, suddenly you get that students finish the whole first draft. culmination scenes and find one wonderful moment, - it doesn’t hap- That’s because I believe that one event in which all three can happen. pen often, but when it happens it’s needs to know and see the dramatic That will create the impact, within great -, where the characters begin to predicament as clearly as possible. one strong scene, that we, the spec- play for you the scene you are work- If you don’t build the set-up of the tators, are waiting for, and then the ing on. They lay out the conversa- dramatic situation, you cannot have resolution is easy. If the culmina- tion, they do things that you’d never a second act. And no way can you tion of all the characters happens at thought of, and you know that it’s have a third act, because the third act one time, you can see more clearly. right, great, perfect. If you fall asleep is the answer for the question you put How to tie up all the loose ends. you lose it. It can never be recovered. into our minds in the first act. That’s Sometimes there is a problem with Well then, when it happens, force why we rewrite the first act until it’s resolving the subplots. To take care yourself to sit up and take notes, solid. But that doesn’t mean that it’s of this, you just need to do what a because these lucky moments won’t finished, because what happens dur- director does. You go through the repeat. It’s not necessary to polish the ing the writing of the whole script story with each character separately notes. It’s enough to put down just the is that your characters begin to live, - main characters, as well as subplot essence of the scene that you were see- you begin to know them better, and characters. You examine their lines ing and hearing. The next day it will the relationships begin to clarify and of action, their “spines”, and make be there. You can sleep without any sharpen. The characters develop as sure that their stories are clear, that anxiety. There is a joke about a young you write, and when the first draft is they have been completely told. Did writer who was given this advice, so finished you see that at the beginning you introduce a character with a he zealously wakes up and scribbles they were not alive yet. They were problem, and then the poor creature Page 10 November 2004 CILECT News No 41 never appeared again, or appeared class we talked about the difference sophistication and cinematic magic? without being able to cope with the between tension, suspense, mystery Costumes are never taken care of problem? You’d better correct that. and surprise. If these devices are not in the first draft. Again, from the anal- The tension in the second act fittingly put to work the sequence ysis classes you learned that you have sometimes suffers from the fact that won’t have sufficient power. Appro- to be aware where change of costume the relationships between the charac- priately you ask yourself, what am I becomes a part of the dramatic build- ters are static. They like each other or working with? Is it mystery, suspense up in your story. Again, it’s something hate each other and nothing is there to or surprise? And then you sharpen that you can play with in the second help develop a line of progression. So the applicable means. To determine draft. The dress of a character can you look at that relationship and open what solution to use, you ask: what be more expressive than a whole it, put the characters at the start as far does the viewer know, and what “monologue. It can let us know what from each other as you can, so that does the character know? Because has happened to the character. If he they have space to fight and to accom- that’s what the-devices of suspense or she is “dressed for the occasion”. modate themselves. Then you are able and surprise are always based upon. The viewer reads, guesses the mean- to find interesting scenes for them. Usually, in the first draft, sound is ing of it, and becomes more involved. used only in the most pedestrian natu- These are things, that, if you are ralistic form. There are special ways M ONOTONY aware of them, can help your scripts that sound can help create the most to be better, and more professional. Monotony is a problem in first metaphoric effects for example, sound Transitions between the scenes drafts as well. There are several that means something for the charac- can have tremendous effectiveness. reasons for it. One usually is the fact ter: You introduce it at the beginning In the first draft, as a rule, scenes are that the scenes follow in the forbid- and it pays off later. Suddenly just written in their entirety. People come den pattern: and then, and then, the sound of a train, or a jet landing, into a room, say good morning, take and then, and then. In such a case or whatever, assumes meaning that their hat off put it on the hanger, and immediately you have monotony. dialogue cannot even express. Well, although the scene actually starts five In a dramatic story the pattern usu- pay attention to sound and explore minutes later, you get into it at the ally for the connecting scenes is: its dramatic and poetic possibilities. “and then”, “but”, “therefore”, beginning. That’s why the transition “but”, and towards the culmination Another thing. The first draft is from one scene to the other cannot “meanwhile” (that’s because near the very rarely written in colours. It’s have that desired sparking power. culmination the subplots have already always black and white. It pays off Try to jump into scenes as late as been developed and you need to to look at the script from this point possible. Ask, how you can elimi- jump from one wagon to the other) . of view also, and to think how you nate all that unnecessary early stage can use colours for dramatic impact. of the scene that makes the writing If you don’t have this “but” and Most of the scripts, in the first draft, flat, banal, anti-dramatic. That’s “therefore” connection between are lit in a television manner. Every- where you see more exciting possi- the parts, the story becomes linear, thing is clear, there are no shadows, ble connections between the scenes. monotonous, just narrative. Diaries no darks, no overly bright scenes. These tips are a sort of shopping list and chronicles are written that way, So that’s another element that you that you can keep, and use whenever but not scripts. There is no way of look at and try to use for the point you go back to your first draft with the heightening the conflict and continu- of contrast and emotional reaction. ing the suspense in such a pattern. goal of changing it into a full-fledged Locations in the first draft are script. They may help you. And they Another reason for monotony is very often completely cliché. Masters may foster the realization that there that there is not sufficient contrast be- always try to figure out how to make are no mysteries in our craft, that you tween the scenes and sequences. That the locations special. Do it their can master all the tricks of the trade. can be helped, completely rationally, way. Ask how the place can help the if you are aware of it. You look at the scene, how it can work against the script and you try to find out how the character, or for it, how it can create N ARRATIVE VS D RAMATIC scenes or sequences can contrast with obstacles, offer difficulties, and how The most difficult thing to learn, each other. There are always ways to you can get rid of the stereotypes. as I’ve seen it so far, is not the achieve or heighten the contrast if Props are not properly used in the structuring of a story. Finally, that you use everything that’s variable in is based on the psychological truth the medium: rhythm, tempo, colours, first draft. They are introduced and they are not continued. Props have a of the characters’ behaviour and light and sound. One scene is silent, on the logic of events. Far more the other can be ebullient. One scene tremendous power of poetically en- lightening the story. You have seen it difficult to acquire is the awareness is slow, the other can be fast. Stac- of how the anticipation of the audi- cato, legato, long smooth camera in the analysis classes, you know now how they can be used. If you look at ence should be built and structured movement, short cuts, “chopped” into the way the story is presented. scene, etc. Anything that the scene any of Billy Wilder’s or Lubitch’s pic- tures you know what props can do as The difference between the narra- suggests to help you awaken the tive and the dramatic, if you want. audience’s attention. In the analysis bearers of metaphors. Why not learn from them and help your script to gain CILECT NEWS No 41 November 2004 Page 11

All the techniques of suspense, You were talking about sound col- bles express thing that otherwise would surprise, mystery, irony, etc., exist be- our, props, and costumes, and that’s have to be stated in dialogue, in words. cause of the viewer’s anticipation. If the place where I feel a little weak. Can there is no anticipation, there cannot you tell me some directors that you In Lubitch’s Ninotchka the hat that be tension, there cannot be suspense. think are really good at doing that? Ninotchka buys elucidates her whole And you can learn to understand it. Wilder is the best. If you look at character. It expresses the change of William Archer, in his book Playmak- “Lost Weekend” ‘or “Sunset Boul- Ninotchka from a dogmatic Russian ing says that dramatic writing is a evard” you’ll see. commissar into a loving woman com- pletely. That’s the use of props, not for constant preparation: think about it. “Lost Weekend” starts with a pan the purpose of more interesting acting over the New York skyline, and the What else are we doing; but prepar- business, but for dramatic emphasis, for camera stops and sees a bottle hang- ing the audience for the resolution of creating poetic images, and metaphors. the story? Where does the viewer’s ing from a window. In the room there anticipation come from? What is it is a guy packing, and his brother is talking about their forthcoming long Would you talk a little bit about subplot based upon? Somebody must put it in and how to know if your subplot is actually weekend, and convincing him how, the picture. And who else can it be, if moving the story towards a culmination? . not the writer? He tries to “use all the after all those things he has been pointers”, all the elements that lead through he’ll have fresh air, water, and It’s not that difficult. You check to the future. That’s why he weaves mills, and the guy is suddenly upset. each scene as you write, or better all the fears, all the hopes, all the He doesn’t want to hear about those when you finish the first draft against desires, dreams, plans, and warnings dull liquids. Immediately you make a the main tension of the story. See if into the texture of the story. That’s connection between the bottle outside, it helps, or if it leads somewhere else, the secret and it’s odd to see how and then, when he tries to smuggle the or if it’s actually diluting the tension. most students resist accepting this bottle into his suitcase you are hooked. Then you can decide if it’s used prop- simple truth. They have the feeling From that moment, the bottles, glass- erly. That’s what needs to be done, that somehow it is not necessary. But es, jiggers and snifters are props and you always try to find out what watch films. Look at the way the writer that go through the whole picture. the thematic connection of the subplot with the main theme of the story is. and the director keep you excited. There is one scene in the movie Is it a variation? Is it the opposite of when the main character first meets his Anticipation is the device. It’s get- the main character’s? Is it preparing girlfriend at the opera. He watches the ting you to wish, to want, to predict new obstacles eventually? How does drinking scene in La Traviata. People what’s going to happen, to make it relate thematically and plotwise are standing with champagne in their you be afraid, to hope. It cannot be to the main theme and the main ac- hands, sipping it and singing. That part in the story on its own. It must be tion? Does it heighten the tension? put there. It’s too late to think about of the movie you should especially these things when the picture is shot. look at. It has some brilliant staging. In By the way, another thing, I might have mentioned, that hap- Another difficulty for a beginning the centre of the image there is always some drink. Bottles, glasses; more bot- pens often in the first draft, is that scriptwriter is the realization that we the third act scenes are, as a rule, too are not writing characters but parts. tles, and more glasses, and people with glasses. Finally, the poor guy can’t take long, they are usually dealt with in As a scriptwriter you are writing it anymore and he just leaves and goes a manner that is proper for the first roles for actors: you have to give the to the cloakroom for his coat, because part of the picture, but not when actors something exciting to play. he has a bottle of whisky in the pocket, the story is reaching its resolution. Dialogue is the least valuable thing but he cannot get his coat. Because of The scenes in the third act have to be you can give an actor. Difficult ac- a mistake with the tickets, he is given much shorter, much more condensed, tion, physically or psychologically, a ladies fur coat. He has to wait until and much more energetic because of embarrassing moments, moments the whole opera is over to get his coat the passions that collide into one- an- that require the actor to do something back, and that’s how he meets the other after you have reached the cul- considerable, memorable, unheard of, girl. They exchange coats and the mination. Usually the beginning writer chances for the characters to display coats begin to play a part in the movie. tries to say too much there, and we, the their intelligence, their inventive- At the end of the picture he takes audience, have no patience at that time. ness, their skills. That’s what you are her coat and goes to the pawn shop: obliged to offer. Actor are the first you believe that he is going there to get So when you’re doing a first draft or a ones who are going to make the deci- money for it, but he is going there to treatment, you really have to know what sion whether or not the film will be the subplots are? get his gun, to kill himself. She comes made, and they can become your al- to get her fur coat back, and she is in If you don’t then you have to go lies in the hard world of filmmaking. his raincoat. back and give them the proper function And you will need allies, believe me. and meaning. In the first treatment If you look at the way alcohol is Well, why don’t we stop here so you ever written, the first script, you are presented in that movie you’ll see that can ask questions. not ready to deal with all the people at it became a character. It goes through the same time. It is enough to be able the whole story and the glasses and to jump from one character’s shoes in bottles and the circles they leave on ta- Page 12 November 2004 CILECT News No 41 a scene, and if you have to take care much for a writer. It can’t show that he and in our medium there is no other of five story lines, it’s a little too much. knows how to divide those two hours way to communicate emotion excepts You have seen Fellini’s 8 1/2 into moments of full involvement, by evoking it, i.e. by using the story where he doesn’t have any problems relaxation, surprise, build up. That material, human conflicts and human with it, but if you look at La Strada is something that comes only led by relationships, and situations that cre- or White Sheik you’ll see that he was constant studies of films and scripts, ate sympathy, empathy, hope and fear. learning too! He could, at that time, and then by writing, writing, writing. If you start dealing just with the story, develop only two main characters, Once in a while, I’ll see a movie, and you are only doing half of your job. because he was just gaining muscles. I’ll like it very much in the beginning and Is there a time when what you want to Miloš Forman, you know, started even in the middle, and then when it gets leave the audience with starts emerging? with small scale stories, with one to the end I sort of feel let down, like it Is it as you’re developing the character? didn’t really live up to what it set out to do. character in the centre. And then he It’s actually just very simple math- develops and directs Amadeus, and There can be different reasons for ematics. You have a main character takes care of the whole world. One that. For example, we had a problem that brings with him or with her a de- needs to learn to be able to do that. with Desert Bloom. In the first edition sire. That desire creates the obstacles. the end wasn’t there at all; and the We identify with the character. Now, Do you think there’s a difference problems of developing each scene when the story ends, what happens to between setting out to write a feature in full length, and slow pacing were that desire is the length or say half hour script. Is it more making key to the emo- difficult or easier to write a short script? i t a l - Do you apply all the same logic to it? tional impact. most For real masters, stories are vehicles. Well, to write a good short is not Are we glad impos- They don’t tell stories to tell stories. that he reached that simple, but it is easier because in a sible to They tell stories to create emotions short you deal with just one event, one what he was wrap after, or do we situation that the story turns around. up the And usually you need a very small hate him at the story end because he number of characters, because other- properly. So it was necessary to wise you couldn’t afford to shoot it. It reached it? Are we sad he didn’t make shoot some pick up shots, and then, it, or are we glad that he couldn’t. takes less time and less energy to write by condensing the final sequence, a short than a feature, and that’s why the film got an ending. It still is not There are millions of possibilities, at our school it’s obligatory to write completely as it could have been, but but you must look at each conflict. Spe- shorts before you go onto treatments, the end of the picture is there, because cifically. That’s when you determine and then to a feature script. It’s also a the story always had an ending. So what the tension is, what we hope for question of those dramatic explosives the reason for the unsatisfying feeling and what we are afraid of. Because the that you need for a two hour story. might be the execution, as it was in basic theme is carried by the passion- The conflict in a feature film must this case, or it might be the three end- ate action of the main character, the be strong enough to keep people ings that we talked about that make result comes in the resolution and our watching it for two hours. And then you feel quite impatient if not angry. response depends on what happens to there is the whole question of strat- that passionate desire at the end. It’s Sometimes it is a problem with simple... and it’s very difficult each time... egy. How do you open the conflict? the final effect of the story itself. The How do you force the characters to reason why the story has been told is What do you have to say about come with the passions and the fights not clear: Every writer is obliged to and where do you place the ups and the script for Dr. Zhivago? Is it ask himself what will the audience a different process to adapt a novel? downs? That comes from experience, leave the movie theatre with? What As you know we don’t recommend from repeated exploring, and trying. do I want them to feel? Not, what do adaptations in this program, for sev- There’s a generic difference, I would I want them to think? They’ll think eral reasons. say, between short and a feature. what they want, but feeling is some- It’s not that any of us has any- For a beginning director it’s quite thing that is in your hands. If you thing against it. It’s a totally le- different. A director can show his di- don’t know how they should feel the gitimate form, and film is entitled rectorial capabilities in a short almost end cannot be there. You just end the to use any material that lends it- completely. You can see that he knows story, but you don’t end the film. Did self to be made into a good film. how to work with actors, that he you ever see a Fellini film? When you knows where to put the camera, that are leaving the theatre after “Nights But adaptations are really more he knows how to edit, that he knows of Cabiria”, or after “8 1/2”, or “La difficult for a beginning writer than how to use music, and so on. As a di- Strada”, you know why he made the original stories, and paradoxically, you rector you can have a calling card that’s film, what he wanted you to feel. don’t learn as much from an adapta- ten minutes long and people will know For real masters, stories are vehicles. tion as you do from an original story. that this guy is a potential director. They don’t tell stories to tell stories. Then there is the danger, when They tell stories to create emotions, But a short film doesn’t do too a beginning writer starts adapting a CILECT NEWS No 41 November 2004 Page 13 narrative piece, that he starts indis- characters and know your characters which means with action, and action criminately transplanting things that before you tell them what to-do. Then without tension is pure nonsense. It are proper in one form; in the other at the end you said that you need to doesn’t exist. Action immediately form without the due transformation. write parts, not characters, I’m confused. brings tension. So the awareness of Look at any of Hemingway’s There’s no controversy in it, I mean the tension, and the clarification novels. Look at the dialogue, and you first have to know the characters, of what the nature of your tension imagine actors saying the dialogue but what you write are parts. In a is, helps to build the whole script. as it is in the novel. It would al- novel you can write characters, be- Now, the character aims towards most inevitably sound stupid. But cause you have time to go into their the goal, the objective, and you have it’s so brilliant on the page! To un- thinking, and into their memories, the first meeting of the obstacles derstand what each form requires their dreams, and their self evaluation and antagonists or circumstances, takes some experience, trade skills. and examination, in other persons’ and you have the rising action. Usually when you adapt it is best views of them, even in the narra- The fast sequence usually presents to read the novel as many times as tors analysis and commentary, and the alternative solutions. What are you can without any effort to start therefore, you really write characters. the choices? What should be done? writing. Then you put the book aside In our medium they must do it all. And the character selects one alter- and begin to imagine the film until We portray people in actions. And native and if it’s skilfully handled, you see it so clearly that you can the actor must have ways of showing it’s the worst one. Then he selects start an outline, but a film outline. who the character is, externalizing another one and in the meantime When you are able to tell the story emotions and thoughts, and this is the rest of the alternatives are elimi- in a film outline form you still don’t go what leads to the parts. When you nated. Then one of the ways to back to the novel. You work on the treat- have a scene in which two people solve the predicament seems to ment, just scene, scene, scene, scene. can sit down and talk as long as work. The character finds some they wish, you haven’t got a scene. expedient that seems to work and Only then do you open the novel that’s usually the first culmination. and start seeing how its material can be plugged in, and what can be used Would you explain the fast But, and that’s the “but” and culmination of the second act? for the film. The reading you do at “therefore”, that we talked about, it’s the beginning is, let’s say, to analyze Okay. Well, it’s not really the just not that simple, because there are the novel for yourself. Why does he proper word, but it’s used. So why consequences of things that happened start where he starts? Why does he not stick with it? The story starts at before that he didn’t take into con- give some of the sequences in the the moment when the character is in sideration. He offended somebody, form of report and other sequences trouble. I didn’t go into this in detail he didn’t do things that he was sup- in scenes? Why does he use a certain with “8 1/2” because that would have posed to do, he forgot about things. point of view, first person narration, brought in new and different stuff. You bring those things back in the third person narration, omniscient Anyway, in open stories like 81/2, second part of the act and at that time narrator? That helps you under- the conflict has started before the they can be entered almost without stand what the stylistic decisions are film begins, and that’s why it’s dif- motivation, because anything that based on, how the novelist came up ficult to point out where the first act works against your character at that with this accomplished narrative. ends. In this case you discover the time is acceptable. Any accident, Then you have to find equivalents problem of the character, the conflict any coincidence, is fine because it for these elements. For example, to doesn’t happen in front of your eyes. makes his predicament worse, and transcribe a novel in the “I” form into You discover what the nature of the therefore we enjoy it. Also, it helps a film is not that simple. Even worse is conflict is. Is it the wife, the lover; to explore the validity of the desire, when you have a subsidiary character the problems with the production, of the dream. So it’s testing the telling the story about the protagonist problems with the meaning of the character until you close the story, and antagonist, because the subsidi- story? All those things are presented, and at certain point before the final ary character is there to tell the story, and the summary of those creates culmination he has tried everything but as a rule he doesn’t have anything, the first act, but he has been in that he could, and there is only one way or very little, to do in the story itself. trouble already. So that’s a little dif- left, because the alternatives were ferent strategy or “dramaturgy”. presented and eliminated. You see You saw “Sophie’s Choice”, so you that, for some reason, he cannot use know what happens when the narrator, Usually the story begins at the any of them any more, and therefore subsidiary character, stays in the story moment when the character faces the you have the final culmination, the and the problem of the point of view difficulty that he or she has to solve, confrontation with the inevitable. has not been satisfactorily resolved. and it better be a clear difficulty, and he’d better realize that he must do After that you have the descend-

something. Otherwise we don’t have ing part of the story where we You talked about characters being the feel that something has started, see what happened after the evil more important than plot in the begin- and the tension cannot be installed. won, lost, or whatever. You see ning, that you have to think about your We are dealing with dramatic form how they live afterwards: And the Page 14 November 2004 CILECT News No 41 function of the twist in the mid- are introduced doesn’t matter, but adapt. Sometimes it’s the style. That dle of the third act is the last test. you have to do the whole job, and be can be the case with a humoristic clear about it: The main. characters story, for instance, where the whole You wouldn’t believe the solution, and the exposition of their world, of beauty is in the way things are told, very often, if it came directly from their desires and dreams, of their pre- and, when you start putting the scenes the resolution. So you come with dicament, and of the circumstances. on paper, they are not funny at all. something that once more offers the It’s the way they are seen when they How you start doesn’t matter. character a possibility to try for the are described, and that, in the end, is Sometimes you can map out the world last time. In some cases we see the impossible to develop into a movie of the story for yourself. You can make problem first , in a different manner. because you lose something that was all kinds of shopping lists to help your- Before we introduce the main charac- the beauty of the narrative form. ter, and sometimes we see the antago- self. You just take a sheet of paper and start putting down all the people that What is the best way to deal with nist first and then the main character. dreams and visions? should be in the story. Then you start a It’s supposed to be a truism that you have list of the most exciting and important Well it’s the same thing as deal- to write a lot of bad pages before you begin locations, and then all possible events ing with emotions and thinking. You writing well. Is that right? Do you have that can happen or usually happen in externalize it. For instance, dreams to write some bad scripts before you start? that environment. It’s not necessary and visions can be used directly, as It’s not necessary. There are people that you use them later; but if you ask you have seen in many movies. You who come with a first script that’s what happens in a small town during can demonstrate, you can perform excellent. It’s necessary to write a the year, you can find events that help the dreams, and if the intention lot, and it’s necessary to rewrite even you to feel at home in that environ- and the main thrust of the story is more. But don’t try to be perfect in the ment. And then list the relationships. based upon those dreams, and di- first draft. In the first draft don’t worry If you look at “Star Wars”, you can rectly connected with them then if you don’t have the right expression, guess George Lucas had a shopping there is no problem if they come true. the right words, just put anything list - on paper or in his mind - of every- If you have a dreamer as the there, underline it, and go full speed thing he remembered from the movies main character then obviously we forward, because you’ll find it later. he saw as a teenager, and then put all must get into his dreams. How There will be times that you drag those teasers in the movie. He used his dreams and his reality conflict your mind for weeks to find that elements of thrillers, and westerns, with each other complete the story. really perfect sentence, but that’s and fairy tales, and everything else It can be played on two levels; one after the first draft. If you start do- that attracted him as a boy. And, from is the dream, the internal stuff, and ing it during the process of putting that shopping list, the stew was made. one is the reality around the character. the story on paper, then you will In “8 1/2” you have nightmares. It never finish, and script writing is Can you have a story that’s a story starts with one. Then you have a total mainly rewriting. That’s a real truism. but it’s not a film? Can you waste time daydream about Claudia Cardinale. If the scene doesn’t work, you fooling yourself into thinking that it is The main character’s daydream is start asking why doesn’t it work? It’s a film? How do you apply an acid test? his belief that she will help him find too flat, no obstacles. It’s because it There are stories that are totally a solution to all his problems. Then was not prepared properly. Is it in introverted, and yet they are stories you have remembrances, of his child- the right place? What if I shift it? and you cannot turn them inside hood, school, etc. And then you have Cards are also a very good help, but out Externalization is very essen- the realities, so there are four layers only after the script is written. You put tial to film, so in a case like that of story material. The style in which each scene on a card and play with the you find out after a while that you those different levels of dreaming continuity by shuffling them around. don’t have a chance to succeed. are dealt with is distinct, and they Before that they don’t help too much. are all distinguished from the reality. The main, thing is to feel the flow There’s no chance to externalize what’s I don’t think Fellini was looking of the story. That fever that you found going on? for some formula, he just relied upon yourself into, as the characters are going If you can, then it’s wonderful. himself and the writers and their somewhere and you must follow them. Then the story lends itself to cinematic own experience. Real dreams and That’s what you need to pour the story treatment. I had an experience with nightmares look different from our out. And then the build-up begins. adapting a short story which was total- daydreams. So you just dig out the things that you know from your own Some people say scripts are first ly an internal story, and there were no experience. If they are your dreams, written, and then they are built. And scenes to use in the movie. I took a year and if they are your demons, then I think this is close to the truth, that and gave up. It was a paradox that eve- they’ll look true; and everybody will the building comes afterwards. It can rybody liked, but not a real situation. understand them. How our mind be any way. You can have an idea of So sometimes it is infeasible. It’s operates is one of the areas that film nice location, a deserted house for not understanding what the attrac- should explore. Unfortunately there instance. That’s how the story starts, tion is that makes it so difficult to are so many clichés in the use of flash- with the atmosphere. The order they CILECT NEWS No 41 November 2004 Page 15 backs and memories that it’s usually tries to figure out what the meaning of not an exploration but simple theft. the main story is somethimes you get into his shoes. You pity the character. You can feel compassion for him. Do you classify thinking in terms of genre as part of critical thinking? But the main story, the main iden- I don’t believe that ignorance is tification, is with the main char- useful. Knowing about genres helps, acter. Otherwise there is no uni- one should know as much as possible, ty, no unity of effect, which is the and to understand genre cannot hurt major objective that we are after. your writing. All these things are common sense. But if you start with a desire to write This is not something that people in- the genre story, you have eliminated vented, or created to come up with a part of your creativity, because you theory, or a prescription, or whatever. are actually giving up. You are putting That’s why it’s not really mysterious. yourself under a certain ossature. You can always find out, if you look at a script carefully, why it So at what point do you bring that into doesn’t work, and what’s wrong. the process? A film is just a presentation, in If you get an idea for a western, action, of a story to create an emo- because you know something that has tional impact on the audience. So not been told, then write it. Then, when the characters must be in action. you have written the story of yours, You cannot have characters just you can ask yourself all those ques- talking, because then you change the tions like, did I steal it from somebody? audience into listeners instead of view- You have to understand the basic ers, and motion pictures were created techniques of humour if you want because of the motion. That’s how to write a comedy. But that doesn’t movies differ from still photography, mean that you start repeating old why Lumière and Edison invented it. stories, old patterns, old gags. I would Action is the only tool that you have like to write a screwball comedy. You for painting characters. And action ask: What do I need? A screwball doesn’t mean only physical action. Ac- character. Do I know any? When tion is a purposeful drive of the char- you get a screwball character, the acter towards an objective. It includes story begins to emerge, and then thinking. It includes feeling. It includes the genre grows from that naturally. planning, remembering, doubting, hesitating, talking, asking, lying, I’m confused about who the main dancing, singing, laughing, whatever. character in Amadeus is. The story is about Mozar but it’s more about Salieri. Okay. Good Luck! Amadeus is the main character. Salieri, the narrator in this case, helps to see the main character’s story with an additional irony, or ad- ditional insight, but you don’t identify with Salieri. To some extent you do. You identify with every character in the movie if you have scenes in which the main character is not present. At that moment it is somebody else’s scene, so you are getting into the shoes of a subsidiary character. If you have an omniscient point of view you can change your allegiance accordingly. You can be in the shoes of different characters, and if you use a subsidiary character as a narrator, or “a raison- neur”, a type of narrator, who is part of the action, and at the same time Page 16 November 2004 CILECT News No 41 NEW TECHNOLOGIES UPDATE

from this issue of the Cilect Newsletter, New Technologies Update will change the format so that you will be able to find even more information about the technologies and equipment we believe could be of your interest.

Nenad Puhovski, Chair NT Committee

ACOMPLETELY NEW FILM CAMERA? CANON XL2 – FINALLY!

The Swedish manufacturer Ikonoskop has After a couple of years of research and launched a completely new Super 16 film development, Canon recently introduced camera. It is the smallest, lightest and probably the last, ambitious 3 chip DV most affordable S16 camera in the world. camera recording in the Standard, not High A-Cam is compact enough to be carried Definition. But, what a camera! and used wherever and whenever, and can be handled without complicated preparations.

Canon's new XL2 camcorder offers an Called A-Cam, this camera is a real bare- evolutionary design and new professional bone piece of equipment without a reflex features including a choice of 60i, 24p or viewfinder and using only 30-meter film 30p frame rates , 4:3 or high-resolution spools. However, with the price of $ 5.000 16:9 aspect ratio, new 680,000-pixel this camera could be (and already is) used progressive scan CCDs, and a full line of as a second camera, for steadicam and customizable controls for cine-looking mini - jib configurations (with the additional results. Along with its new 20x mini video camera attached) in pop videos interchangeable lens, this new Mini-DV and commercials, etc. camcorder empowers cinematographers A-Cam is delivered with: and videographers with a completely customizable broadcast and feature film Kinoptik 9 mm f/1.5 cine lens quality acquisition tool. Parallel mounted optical viewfinder 12 V Lithium battery 2 rolls of KODAK color negative film CILECT NEWS No 41 November 2004 Page 17 SONY HDR-FX1, THE FIRST REAL PROSUMER HD CAMCORDER

First prosumer camcorder capable of designed to ensure smooth transition recording in 1080 lines of resolution, Sony picture quality. The picture quality is such HDR-FX1 is reaching the market as you that footage can be played back on TV read this article. screens with a picture resolution that is 4 times greater than that of the DV digital In the way similar to the famous VX 1000, video format. The new CCD features a 1/3" the first 3-chip DV camcorder, HDR-FX1 is 1.12 megapixel x3 CCD. Each CCD representing the milestone in the captures RGB (Red/Green/Blue) luminance, affordable HD program acquisition, so the color reproduction is claimed to be boosting also the development of the much stronger than a single CCD chip. postproduction tools. Moreover, its wide megapixel configuration makes 16:9 aspect ratio widescreen shooting possible. Sony has produced a new "HD Codec Engine" to capture and process four times more information than the standard digital video format. According to Sony, this exclusive real-time MPEG encoding/decoding system can achieve a high compression ratio with high picture quality, and with this system the HDV format can record and playback at a high bit rate. An HD codec engine enhances the compactness of the files, whilst requiring longer battery life stamina... The 3-CCD HDR-FX1E is fitted with a Carl Zeiss Vario-Sonnar T* lens that is claimed to deliver a high optical performance whilst reducing chromatic aberration and ensuring high-resolution images. The camera can also record HDV picture quality onto current DV tape stock, though a new tape is due soon. Lens The HDR-FX1E is equipped with a 72mm filter diameter new Carl Zeiss Vario-Sonnar T* lens. It is claimed to deliver high contrast and excellent color reproduction, as well as capturing real light quality. In addition, the lens has a 12x optical zoom and an optical image stabilizer, ensuring the kind of consistently high picture quality expected by a professional user.

Specification The HDR-FX1E conforms to the HDV1080i specification, which was universally agreed in September 2003, and is one of the standard formats in broadcasting Page 18 November 2004 CILECT News No 41 Record and play back on DV tape, Other features MPEG2 recording The HDR-FX1E has a 3.5" color LCD Though Sony will launch a new DV tape display, which is located on top of the designed for HDV material, the new camera's handle, complementing the 1080i camcorder is able to use standard Mini-DV compatible HD CCD and the viewfinder. tape, and with the same record/replay The camcorder is equipped with an duration. The new high performance DV InfoLITHIUM L battery, which will provide up format tape will possess higher to 6 hours 25 minutes of continuous specifications, higher output, lower noise shooting with 7.4W low power consumption. and enhanced error margin - ensuring a The camcorder is also equipped with a stable performance, under the wide range range of manual and customization of operating conditions, however. functions to suit the user's needs, with the key manual functions being "Manual Focus", "Gain Control" or "Iris Control". The key customizations are "Shot Transition" or "Picture Profile", such as "Cinematone Gamma" and "Cineframe".

The HDR-FX1E uses MPEG2 as the recording format, and can shoot not only HDV (1080i) but also DV (576i) in PAL. Users can switch between 1080i and DV while recording, as specific needs and circumstances require it. The HDR-FX1E camcorder also has playback compatibility with current recorded DV tape. The HDR- FX1E can down-convert the HDV material from 1080i to 576i in order that it can be viewed on a normal TV with high picture Accessories quality. This function allows footage to be edited with a personal computer using Sony plans to introduce a range of suitable PC editing software. For users dedicated accessories for the HDR-FX1E. who don’t have HDV editing software for These include a shoulder brace (the VCT- capturing and editing, it is possible to FXA), wide conversion lens VCL-HG0872 choose to record with 1080i or DV. The and filter kit VF-72CPK containing a circular HDR-FX1E is claimed by Sony to be “best polarizing filter and multi-coated lens for special viewings or editing with current protection filter. The rain jacket (LCR-FXA) DV editing software”. is specially designed to protect the camcorder from rain and snow. In addition, a soft carrying case LCS-VCB and a hard carrying case LCH-FXA will also be available. CILECT NEWS No 41 November 2004 Page 19

Alexander Mackendrick: On Film-making Paul Cronin

n 17 January 1994, important and respected directors a teacher that Sandy found his true an earthquake shook end up spending the last twenty-five métier,” says Mackendrick’s widow the San Fernando years of his life teaching film in Los Hilary, “and I suspect his remarkable Valley and deci- Angeles, where he is still revered by critical faculties were more appropri- mated the campus former students and colleagues alike? ate to teaching than to film-making. I of theO California Institute of the Arts, Arriving at Ealing after the war, know his last ten years were his most just north of Los Angeles. The main Mackendrick was, in his own words, fulfilling.” As historian Philip Kemp damage was due to the intense shaking “horrendously spoiled” by producer has written, “Mackendrick maintains of the building’s foundations which Michael Balcon who had created an he never quit making movies – since caused the mechanical equipment on environment for writers and directors training future film-makers is an inte- the roof to slide out of control, pulling gral part of the movie-making process the ductwork apart from its fixtures, – but simply stopped directing them.” shaking books off the library shelves Passionately interested in the peda- and file drawers out of their cabinets. gogy of cinema (‘Film writing and Papers and books in every room were directing cannot be taught, only then thoroughly doused by the water learned, and each man or woman from the emergency sprinkler system. has to learn it through his or her But everything from the office of Ca- own system of self-education’), he lArts’ long-standing member of staff, became one of film’s most legendary former film director Alexander ‘Sandy’ instructors. Aspirant film-makers Mackendrick – a man who, according from around the world chose to study to Martin Scorsese, made ‘some of at CalArts because of Mackendrick’s the best work in the middle of what is presence there, and even today copies now remembered as the Golden Age of his carefully composed classroom of British film comedy’ – was snug and handouts – which he called “my life’s dry in his garage, many miles away. work” – remain prized possessions The reason for this is that Sandy among CalArts graduates, who speak Mackendrick, director of the Ealing where they could learn their craft and, of their mentor with veneration. Those Studios classics The Man in the White just as importantly, earn a weekly pay who worked with Mackendrick when Suit and The Ladykillers, both starring cheque. Mackendrick directed some he was still directing also remember Alex Guinness, and cult Hollywood of the studio’s most important post- his didactic streak. Ronald Harwood, favourite Sweet Smell of Success with war films, but only a few years later, who won an Oscar for his script of Burt Lancaster and Tony Curtis, had after Ealing’s demise in 1955 and his Roman Polanski’s The Pianist, worked died the previous Christmas. Within move to Hollywood, Mackendrick with Mackendrick on the screenplay days his son Max had hired a truck, discovered he had been lulled into a of A High Wind in Jamaica. “Much driven to his father’s office, and false sense of security. “I found that in of what I know about screenwrit- emptied it of all the papers he could order to make movies in Hollywood,” ing I learnt from Sandy,” he says. find, particularly those relating to the he said in 1990, “you have to be a Designed to guide students through possible publication of a textbook, deal-maker. Not only did I really have the disciplines he called Dramatic including many original drawings no talent for that, I had also been con- Construction and Film Grammar and storyboards which hung on the ditioned to have insufficient respect (‘the narrative and visual devices that walls of his room. How fortunate for for the deal-makers. I realised I was have been developed through inventive students of cinema around the world in the wrong business, and I got out.” direction and performing during cin- that this voluminous archive survived Where Mackendrick went after ema’s short history’), Mackendrick’s the costliest natural disaster in Ameri- walking away from the film industry provocative writings are masterful can history, for it has provided most of in 1969, at an age when many would studies of the two primary tasks the texts found in Mackendrick’s book consider outright retirement, was the confronting the film director: how to On Film-making: An introduction to the newly established CalArts, which had structure and write the story he wants craft of the director, published thirty- been funded by the Disney family. to tell, and how to use those devices five years after he retired from film Here he threw himself into his new particular to the medium of film in directing and became founding Dean career with incredible fervour, in the order to tell that story as effectively of CalArts’ School of Film and Video. knowledge that he would probably as possible. Devoid of obscurantism, How did one of Britain’s most never make another film. “It was as they concentrate on the practical and Page 20 November 2004 CILECT News No 41 tangible rather than abstract concepts at the service of the narrative, whether writing and directing, but also en- of cinema as ‘art,’ and together make it was lighting (“What mood and emo- sured they had a healthy perspective up an invaluable book – one of the tional tone can be established through on the industry they hoped to enter, most important on the subject – even if the use of light and shadow?”), editing and many of his ideas about cinema Mackendrick was himself suspicious (“If I cut here, what will be revealed are equally applicable to other realms of publishing his thoughts on cinema, to the audience, what will be left of creativity. As Mackendrick’s best suggesting that “Talking about film is out, and how will this help tell the known student, James Mangold, something of a contradiction in terms: story?”), framing and shot size (“If I writer-director of Heavy and Copland, it is already in the wrong medium.” use a close-up here rather than a long has said of his teacher, “If I turned As any student of screenwriting is shot, what am I asking the audience in a 10-page short film script, Sandy well aware, there exist a huge number to think about?”), camera movement would come back the next day with of authors claiming to know the se- (“If I move the camera, from whose 11 pages of handwritten notes. I think crets of writing for the cinema. Why point of view will the audience be the most important thing he taught Mackendrick’s contribution to this experiencing the action?”), or acting me was just how much hard work thriving genre succeeds where most (“How can I use this prop to convey goes into film-making. He was lead- fail is that his is a book about film- a particular story beat to the audience ing by example of industriousness.” making (both writing and directing) without saying anything?”). ‘Every “I wake up every morning with an actually written by a film-maker, a bit of a film,’ wrote Mackendrick in eager mixture of exasperation and director who had the talent not only 1953, while still at Ealing, ‘ought to be curiosity,” declared Mackendrick to make exciting and lasting works a necessary part of the whole effect.’ in 1977. “I’m not sure I have any of cinema, but also to articulate with The critical link between his Dra- answers. If I do have anything it’s clarity and insight what that process matic Construction and Film Gram- an instinct for how to organise the involved. Compared with the over- mar classes was his passionate belief in questions.” Ten years after his death, whelmingly shallow and self-serving the collaborative nature of film-mak- and fifty years since his legendary The publications of most screenwriting ing, something often lost on auteur- Ladykillers, how fortunate we now teachers, Mackendrick’s lucid and driven film students (or hyphenates, as are to have his perceptive questions invigorating prose has genuine literary Mackendrick called them, those who – and his even more enlightening qualities. It also, thankfully, eschews insist on being ‘writer-directors’). He answers – contained between the the ‘Believe In Yourself’ and ‘Maxi- felt it was vital that the screenwriter covers of a single, unique, volume. mize Your Creative Powers’ approach understand, at the most fundamental so many ‘how-to-write’ books take. level, the medium he is writing for. And though written many years ago, “A true movie”, wrote Mackendrick, it still seems fresh and compelling, in “is likely to be 60% to 80% compre- Paul Cronin is the editor of Alexander part because of his reluctance in large hensible if the dialogue is in a foreign Mackendrick’s On Film-making: An part to resort to anecdotal tales about language.” A story told in shot-to-shot introduction to the craft of the direc- his own career. ‘I can easily imagine images with imaginative use of camera tor (Faber). His educational documentary a college without a film program movement, lighting and sound, and Mackendrick on Film has been screened building a curriculum around these also through the actor’s ability to take at several colleges in the US and the UK. writings,’ writes Martin Scorsese in advantage of props and costumes, is Contact pauljcronin@hotmail. the foreword to Mackendrick’s book. likely to be more memorable than a com for photos of Mackendrick But even more importantly, rather dialogue-driven screenplay, suggested (portraits, on various film sets, in than basing his teachings on an almost Mackendrick. As such, his students the classrooms of CalArts) etc. scientific analysis of story structure, studied what he called the ‘pre-verbal as so many teachers of screenplay language of cinema’, those conven- writing do, Mackendrick focuses his tions laid down by the silent film- attention on the structures of cinema makers in the first few years of the itself, those elements that make film twentieth century. One of his most such a unique medium of expression, entertaining and important handouts even an ‘art’ (though he was loathe is ‘Cutting Dialogue,’ in which Mack- to admit it). As far as Mackendrick endrick describes re-writing a scene of was concerned, the technical con- a dozen dialogue filled pages, ultimate- cerns of film grammar were never to ly trimming it to a mere four words, be explored independently of story, though remaining ‘absolutely faithful while at the same time any competent to the playwright’s original story.’ piece of cinematic storytelling was an Mackendrick retired as Dean at inevitable example of how, as he often CalArts after ten years, but spent the told his students, ‘form can never be rest of his career teaching, and loving entirely distinguished from content.’ it. He gave students not only a solid Mackendrick was keen to empha- grounding in the nuts and bolts of size that everything in a film should be CILECT NEWS No 41 November 2004 Page 21

knowledge of dialog, effects, and music edit- ing, foley & ADR recording and editing, and AFDA, Capetown re-recording for feature film and television. Because LMU uses the Pro Tools platform for digital recording and editing, expertise in “SOLDIERS OF THE ROCK” that system is essential. Professional experi- WINS MELVIN VAN PEE- ence or experience in teaching production B LES AWARD FOR BEST TENURE TRACK POSITIONS IN FILM, sound or re-recording is highly desirable. SCREENWRITING, AND RECORDING FILM AT SAN FRANCIS- ARTS OPEN AT LOYOLA MARYMOUNT CO BLACK FILM FESTIVAL Additional information for all applicants: UNIVERSITY’S SCHOOL OF FILM AND AFDA – The South African School TELEVISION These are full-time tenure track appoint- ments beginning Fall 2005 at the Assistant of Motion Picture Medium and Live Professor level. Salary is competitive. The Performance would like to announce successful candidate will have strong teach- the winning of Melvin van Peebles 2 Positions in NARRATIVE FEATURE ing and professional experience. Although a award for Best Feature Film at the San FILMMAKING terminal degree is required (M.F.A. or Ph.D), The successful candidate must demon- highly exceptional candidates with wide Francisco Black Film Festival. “Sol- strate wide-ranging expertise in all aspects ranging, industry recognized, celebrated and diers of the Rock”, AFDA’s flagship of Feature filmmaking, with special empha- distinguished professional careers will also be feature film was awarded the prestig- sis given to strong skills in narrative visual considered. Committee work, advising, and ious prize which was presented by Lai- storytelling. Extensive experience working continued research/creative work are required. with and directing actors is also required. la Ali, daughter of Mohammed Ali. It The deadline for applications is December is an award that acknowledges emerg- We are seeking individuals who encourage 1, 2004 (no late applications will be accepted). innovation, collaboration, and an appreciation Applicants should send: a letter of application ing filmmakers for taking the types of for humanism and the interconnectedness of which includes a description of the applicant’s risks required to present unique and the arts; whose strong professional creden- experience and a vision statement; curriculum authentic images of blacks on film. tials represent the best of mainstream studios vitae; undergraduate and graduate transcripts; and/or the diverse world of Independent three references including names, addresses, “Soldiers of the Rock” recently Feature films, and whose teaching can help and telephone numbers, and mail materials to: screened at the Metro FM festival to effectively prepare and connect our stu- Chair, Search Committee in Cape Town, Durban and JoBurg dents to the broad landscape of the industry. (c/o Associate Dean) and negotiations are in progress for Significance will be given to the candidate’s School of Film and Television its theatrical release in South Africa skills in teaching, advising and mentoring stu- Loyola Marymount University dents in the entire collaborative process of 1 LMU Drive, MS 8230 with Ster Kinekor. Norman Maake narrative Feature filmmaking. The successful Los Angeles, CA 90045-2659 21 year old at the time of directing candidate will have a dynamic understanding the film and director of new television of, and wide-ranging teaching and professional The School of Film and Television has series “Homecoming” is amazed at experiences in story and script development, over 700 students majoring in Film Produc- directing, pre-production, production and post- tion, Television Production, Screenwriting, the incredible number of awards and production. Candidate will teach classes at Recording Arts, and Animation. The school festivals that this film has triumphed both the undergraduate and graduate levels. e+ncourages original thinking in a sup- at worldwide. The film is scheduled portive environment consistent with the to attend a minimum of 10 more University’s ethics and humanistic goals. Position in SCREENWRITING FOR FILM international festivals extending Loyola Marymount, a comprehensive The successful candidate must have pro- university in the mainstream of American into 2005. These will include a tour- fessional credits in studio and/or independent Catholic higher education, seeks profes- ing festival which forms part of the narrative feature film writing, with evidence of sionally outstanding applicants who value teaching experience at the university level, the New York African Film Festival, the its mission and share its commitment to National Geographic Film Festival ability to communicate the basic elements of academic excellence, the education of the screenwriting, an understanding of classic and whole person, and the building of a just soci- and locally the Awakenings Film alternative structures, and a working knowl- ety. (Visit www.lmu.edu for more information.) Festival, the Zimbabwe Film Festi- edge of the art, craft, and business of feature film development. Three classes will be taught LMU is an equal opportunity institu- val and ZIFF in Dar Film Festival. each semester during the academic year (six tion actively working to promote an in- Grand Prize at Toronto total) at the graduate and undergraduate tercultural learning community. Women levels in the following areas: Beginning, Inter- and minorities are encouraged to apply. AFDA – The South African School mediate, and Advanced Feature Film Writing, of Motion Picture Medium and Live Adaptation from One Medium to the Other, Performance announce the winning Genre, Writing for Production, and Rewriting. of the Grand Prize for the award- winning short film UNDER THE Position in RECORDING ARTS RAINBOW (directed by AFDA The successful candidate should have pro- Honours Graduate Dean Blumberg) fessional credits in motion picture sound and a at the Old Cabbagetown Short Film broad understanding of recording arts as ap- plied to film and television, both in production and Video Festival in Toronto, Canada and post-production. In production sound the (www.oldcabbagetown.com). Its most ideal candidate would have experience with prestigious award won so far has analog Nagras as well as the newer genera- been Best Film at the World Student tion of digital recorders, and will have worked with double-system recording for film as well Film Festival in London in 2003. as single-system video cameras. In post-pro- duction, candidates should have a working Page 22 November 2004 CILECT News No 41

A festival of another kind The Toulouse “corrida audiovisuelle” ESAV-UTM

The Toulouse “corrida audiovi- ing styles, cultural approaches, and that were established at the Helsinki suelle”, ESAV-UTM (Ecole Supé- to discover the creativity of budding CILECT Congress: Bulgaria, NAFTA rieure d’Audiovisuel - Université de film-makers coming from extremely Sofia; Cuba, EICTV San Antonio de Toulouse-Le Mirail), 21-28 April 2004 varied backgrounds, but also to enable los Baños; Finland, UIAH, Helsinki; the participants to discuss teaching France, Femis Paris; Great-Britain, theories and practices in the field of LFS; India, FTII Pune; Uruguay, Es- nce again, last April, film-making. What does it mean to cuela de cine del Uruguay Montevideo; our annual CILECT study/teach film-making? Can one USA, Temple University Philadelphia encounter worked mag- learn to become a film-maker or is ic. This year, the event All our guests have already ac- O it a question of talent or personal- cepted our invitation and are ready had a particular meaning for all the ity? What is it that film-school stu- ESAV students and teachers , since to take part in an intense moment dents do or do not learn at school? we had just moved into a brand new of pedagogical exchanges. Another building, in a magnificent historic Each film is presented and defended way to give some of the CILECT college splendidly refurbished by le in front of a large audience by its own schools an opportunity to share some Conseil Régional de Midi-Pyrénées, director. Every member of the public is of “their best-kept secrets”, which our regional authority, ideally located welcome to voice his/her personal re- the Bratislava encounter (which in the centre of the city, right across actions. What follows is often a heated ESAV would have doubtlessly joined, the street from the Cinémathèque de debate, even though no bull is ever put had it not been for a tight budget) Toulouse, which puts every year its to death in the arena of the film theatre. aimed at last month in its own way. screening facilities at our disposal Last year, in April 2004, our guests Here are a few reactions of our guests for what remains one of the most were: PROFIS, Ouagadougou, Burki- to last year’s edition. As you will see, important student film festivals in na Faso; IESAV, Beirut, Lebanon; the there is still some room for improve- France, a unique encounter between Vancouver Film School, Canada; the ment, but the guests are pretty unani- teachers and students from all over Centro de Capacitación Cinematográ- mous on the uniqueness of the experi- the world, gathered to watch student fica, Mexico City, the Potsdam-Ba- ence and the stimulation it provides. films, debate teaching methods and ap- belsberg Hochschule für Film und I should also add that this en- proaches to film education, and above Fernsehen, Germany; Den Norske counter is a way to stimulate student all to share our passion for cinema. Filmskolen, Lillehammer, Norway, exchange programmes : for instance, Quite a few of you, CILECT the Escola Superior de Teatro e Cin- the Burkinabese student who was members, have already experienced ema, Amadora, Portugal; the Ecole represented his school last year is our audiovisual bullfighting tradi- Louis Lumière, Paris, France. coming to study at ESAV for the whole tion, but let me remind you of its Thanks to the help of the embas- university year. One of our students, concept: the ESAV-UTM invites sies and to the support of our regional on the other hand, is currently attend- two representatives, a student and a authority, le Conseil Général de la ing an editing course in Lillehammer. teacher, from eight CILECT schools Haute-Garonne, we covered all these This is the reason why I insist- from all the continents, to present delegates’ travel expenses and accom- ed at Helsinki that, in my opin- their school and its teaching practices modation. Each of the foreign students ion, one of the roles of CILECT as through a selection of student films. was, as usual, invited to share one of regards student film festivals was As our encounters are not a festival our students’ flat, a host-system which to preserve and support diversity. helps create a feeling of proximity and that awards prizes, what we encourage Christine Decognier solidarity among the group of students our guests to do is select a student and International Relations, ESAV bring a selection of his/her exercises and enables all of them to discover and films over the years so that we the cultural diversity of the “corrida” have an opportunity to perceive the and learn more about each other. evolution of the student, and to un- And as the university is starting a derstand how the curriculum of the new year, the small “corrida” organis- school helps the student to evolve, ing team has launched itself again in mature and become a film-maker. the preparation of this year’s encoun- This is thus a unique opportunity not ter. Here are the schools that we have only to confront different film-mak- invited this year, after the contacts CILECT NEWS No 41 November 2004 Page 23

TALENT CAMPUS BUENOS AIRES

Universidad del Cine proudly announces the first edition of Buenos Aires Talent Campus which will be held in coopera- International Student Film Festival tion with the Berlin Festival – Berlinale Talent Campus Buenos Aires and the Buenos Aires Independent International Film October 4-9, 2004 Festival (BAFICI) on April 8 to 12, 2005. Organised by Universidad del Cine

Every February, the Berlin International Festival organizes Best Fiction the Berlinale Talent Campus. Annually this event attracts Un Viaje, Gabriela Monroy, CCC, Mexico the attention of filmmakers from all around the world. After some recent successful experiences in India and Ukraine Best Cinematography and soon in South Africa and Korea, the Talent Campus will A Rainy Day, Eric Liu, Columbia University, USA take place in Latin America for the first time. Best Script Universidad del Cine will host the Buenos Aires Talent Campus Junebug and Hurricane, James Ponsoldt, in the context of the Buenos Aires Independent International Columbia University, USA Film Festival, where during four days, workshops and lectures will be held by professionals, academics and intellectuals Best Argentinean Short from the region and the entire world. These will provide the Tiempos Modernos, Simon Franco, young filmmakers both a theoretical and practical approach Taller Martin Suarez, Argentina that will enhance the cinematographic education. Best Latin American Short Directors, screenwriters, cinematographers, and producers Gente común en lugares comunes, Cristian Jara, from Argentina, Uruguay, Ecuador, Perú, Colombia, Brazil, Escuela de Cine Arcis, Chile Chile, Paraguay, Bolivia and Venezuela will be able to apply. Once selected, they will be invited to Buenos Aires with travel Best Animation costs and accommodation covered. After the Buenos Aires Play, Matt Abiss, RCA, UK Talent Campus comes an the end all talents will have the chance to attend the Buenos Aires Independent International Best Documentary Film Festival to introduce themselves so as to complete the Sur terre comme au ciel, Jean Dubrel, experience. Ateliers Varan, France

The main goal of the Talent Campus is to generate an envi- Creativity in Post-Production ronment of exchange where young professional filmmakers El Patio, Milagros Mumenthaler, can interact and learn from accomplished experts in every Universidad del Cine, Argentina discipline, while developing new projects and ideas. Page 24 November 2004 CILECT News No 41 From Hollywood to TAU International Student Film Festival The list of guests at TAU’s Department of Film and Televi- the festival included sion, in which students prepared 10-minute French directors Pa- documentaries on 17 residents of the trice Leconte (Ridi- community. “Run together, the films cre- cule, The Man on the ated a mosaic of types in this legendary Train) who presented community, including illegal foreign his new film, Intimate workers, new immigrants and veteran Strangers and Cather- Israelis, and presented a microcosm of ine Breillat (L’Homme Israel’s social problems,” say the students.

Facile), who presented A FREE HAND her new film, Anat- A unique feature of the event is the free omy of Hell; Danish hand the university gives the students film director Thomas in planning and organizing the festival. Vinterberg (The Cel- About 90 student volunteers worked ebration and Its All an entire year to put the festival to- About Love); and cin- gether, including organizing the logistics ematographers Adam and gaining funding and sponsorship. Greenberg of the US hat brought Richard Gere, star of and Israel (Terminator 2, Judgment Day) WINNING ENTRIES WPretty Woman and Chicago, to give and Ricardo Aronovich (Providence) This year’s winners were, in the Best Fiction master classes to film students? from France; as well as Moroccan direc- category: Between US directed by Laurits Gere was in Tel Aviv as guest of honour tor Nabil Ayouch, who came for a special Munch-Petersen of the National Film at TAU’s 10th International Student screening of his film Prince of the Street School of Denmark, Copenhagen; Best Film Festival, which took place this in East Jerusalem. This was the first Documentary: The Baker by Kristin Melt- year not only in Tel Aviv but also in time that the director, son of a Jewish on of the Götenborg University School of the southern city Sderot (by the Gaza mother and Muslim father, had agreed Photography and Film, Sweden; and Best border) and in the Arabic city Nazareth. to attend an event of this kind in Israel. Israeli Film: Make Me Know by Yuval The biennial festival brought students TAKING THE FESTIVAL TO THE from 68 film schools and 43 countries PERIPHERY to Israel to participate in competitions, As part of the 2004 festival’s workshops and academic conferences. theme of social involvement Festival directors Zohar Lavi, a TAU and awareness, the organiz- alumna who has been accepted to gradu- ers decided to take it beyond ate studies at Columbia University Film Israel’s cultural centre – Tel School in New York, and Yariv M. Aviv – to the towns of Sderot Mozer, a fourth-year student in film in the south and Nazareth in production, say that Gere readily agreed the north. “Visiting these out- to attend the festival as its guest of lying areas gave our visitors a honour when they approached him. wider view of Israeli society Richard Gere with Festival Directors Yariv Mozer and Zohar Lavi. that they just don’t see on the Shimoni of the Tel Hai Communications PROMOTING PEACE THROUGH FILM news,” says Yariv. “Moreover, the meet- Center Film and Digital Media School. Gere believes that initiatives involving ings in Nazareth were an excellent starting young people – through dialogue and Can winning the festival further an point for future cooperation between Is- film – are a key to promoting peace in the artist’s film career? “It certainly con- raeli Jews and Arabs in the realm of film.” Middle East region, says Zohar. “He also fers credit and prestige,” says Zohar, HOPE FOR A NEIGHBOURHOOD believes that young filmmakers breathe noting the meteoric rise of director new life into the film industry.” During This year’s festival featured another special Thomas Vinterberg, who won TAU’s the festival Gere expressed his will to project, “People of Hope,” that focused 5th festival with his film, Last Round, support a competition for young Israeli on Tel Aviv’s disadvantaged Ha’Tikva and has gone on to win wide acclaim. and Palestinian scriptwriters in Israel. (“Hope”) neighbourhood. The project More details in TAU’s website: www. was based on a special course held by taufilmfest.com CILECT NEWS No 41 November 2004 Page 25

50th anniversary HFF Konrad Wolf, Potsdam-Babelsberg

50 Jahre HFF

Die Hochschule für Film und Fernsehen (HFF) “Konrad Wolf” Potsdam-Ba- belsberg feiert am 05. und 06. November 2004 ihren 50. Geburtstag. Dieses Jubiläum wird am 05. 11. mit einem feierlichen Festakt und an- schließender Party begangen.

Sam Spiegel Film & TV School Jerusalem awarded Best School Programme at Karlovy-Vary and Moscow

The Sam Spiegel Film and Televi- sion School - Jerusalem was awarded the Special Jury Prize for the Best School Programme for the films “Slid- ing Flora” by Talya Lavie and “Sab- bath Entertainment” by Mihal Brezis and Oded Binnun at the Moscow Student Film Festival, October 2004 The same programme, together with “A Different War” by Nadav Gal and “Blue and White Collar Crimi- nal” by Noam Kaplan won the Best School Programme prize at the Kar- lovy Vary Freshfilmfest last August.

Sliding Flora Page 26 November 2004 CILECT News No 41

50th anniversary Beijing Broadcasting University Beijing Broadcasting Univer- outstanding place among all uni- Yearbook, Yearbook of sity (BBU) celebrated its 50th versities in China for its distinctive Consuming Activity and Liv- anniversary last September. features and unique advantages. ing Condition Survey and so on. An important part of the birth- BBU now has established sixteen BBU has a group of professors and day celebration was a ceremony schools, namely, Journalism and Com- scholars well known both at home in the Great Hall of the People, munication, Television, Advertising and abroad. There are 1700 teach- elevating the school to the status Studies, International Communica- ing and administrative staffs, among of “key university” and re-naming tion, Media Management, Social which are 886 full-time teachers, it the Communication University Sciences, Film and Television Arts, over 50% of whom are professors of China. President Liu noted that Presentation Art, Recording Arts, and associate professors. Over 100 the CUC is one of only four uni- Animation, Literature, Information well-known experts and scholars versities with “China” in its name. Engineering, Science, Computer and are invited as consulting profes- Software Technologies, Continuing sors and adjunct professors of BBU. The following is an excerpt from Education and Net-Communication. BBU is vigorously promoting BBU’s webpage. The university can offer seventy-one international academic exchanges Beijing Broadcasting University bachelors degree programs, three post and has established friendly linkage (BBU), is one of the national-level doctoral research programs, thirteen with over 130 universities and media major universities in China. Intensely Ph. D programs, twenty-nine Masters organizations in about 40 countries engaged in a broad-spectrum of higher degree programs, six programs for and areas, including the United learning in the education of talents for professional degree. The total number States, Japan, Germany, France, the mass media of radio and television of students is more than 28,000, in- Canada, Austria, Russia, etc. Being broadcasting, filmmaking, Internet cluding over 13,000 full time students a regular member of CILECT (the communication, paper and publica- in residence, 3000 graduates studying International Association for Film tions in China alongside its advanced for master and doctor degrees, 15,000 and Television Schools), BBU holds in-depth scientific researches in the correspondent, evening and online various international academic semi- related fields. BBU ranks among the students and 500 overseas students. nars and conferences regularly. BBU highest of educational institutions enjoys increasing fame worldwide. The total floor space of buildings on communications in the country. accounts for 360,000 square meters BBU is regarded as the cradle Founded in March 1954, with sev- and the whole coverage of campus of Chinese communication talents. eral generations assiduous working, is around 700 mu. BBU has an ad- Over the past forty-nine years, BBU BBU has successively developed into vanced public teaching service sys- has been fostering around 50,000 a comprehensive university, which tem, including Facility Management graduates and training about 290,000 focuses on teaching and research, with Center, Computer Center, Multi-me- in-service employees to China’s broad- the harmonious combination of litera- dia Laboratory, Multi-media Campus casting system and other related ture, engineering, arts, management, Network, Digital Cable-TV Transmis- industries. They scatter all over the science, economy, law and education. sion Network, Information Resourc- country, many of whom now holding The university has established es Network and Modern Distance key positions in a spectrum of places multilayer and multi-standard talents Education Network based on the Na- from leading cadres to professionals. fostering system, which includes Ph. D tional Optical Fiber Cable Network. programs, Masters degree programs, The library of BBU holds over a mil- Bachelors degree programs, higher lion volumes of books, 300,000 cassettes vocational education programs and of audio-and-visual materials, 3100 continuing education programs and kinds of magazines and 7800 kinds of so on, therefore BBU has gained an electronic newspapers and magazines. CILECT NEWS No 41 November 2004 Page 27 CILECT NEWS

A publication of the Centre International de Liaison des Ecoles de Cinéma et de Télévision.

8 Rue Thérésienne, 1000 Bruxelles, Belgium.

E-Mail: [email protected]

http://www.cilect.org

Editors: Henry Breitrose Henry Verhasselt ISSN 1563-4442

Contributions are accepted and printed in English, French and Span- ish. They may be edited for reasons of space. In view of the diversity of languages in the CILECT membership, contri- butions in several other European languages can generally also be accepted. However in the case of contributions received in languages other than English, French or Spanish only an abstract prepared by the Edi- tor will be printed in the newsletter.