ORGANIZERS
FUNDERS
Projekt se uskutečňuje za podpory Ministerstva kultury České republiky
WORKSHOP AWARDS:
INDEX
Team 6 Tutors 9 Workshop Awards Guests 12 Observers 14 Czech & Slovak Delegation 15
Amazona /CO, IR, BE, UK/ 20 Clare Weiskopf, Gustavo Vasco, Nicolas Van Hemelryck LIST Cheer Up /FI, CA/ 34 Christy Garland, Liisa Juntunen OF Emergency Exit /BE/ 44 Lieven Corthouts, Jan De Coster, Emmy Oost Holy Cow /DE, RO, AZ/ 54 PROJECTS Imam Hasanov, Philipp Gromov, Veronika Janatkova, Andra Popescu H*Art On /CZ/ 64 Andrea Culková, Thomas Ernst, Christian Falvey Thy Father's Chair /IT, ES, US/ 74 Antonio Tibaldi, Alex Lora, Enrica Capra Ukrainian Sheriff s /LV, UA, DE/ 86 Roman Bondarchuk, Kateryna Gornostai, Darya Averchenko, Uldis Cekulis, Tanja Georgieva IFP Guest project The Road from Hainan /USA/ 100 Nanfu Wang, Michael Shade Guest Projects Journey to Success /SK/ 113 Daniela Meressa Rusnoková, Janka Vlčková, Mario Homolka
Organizers 120 Media Program 122 Evaluation Form 125 Who is Who 130 Location 132 Map 133 Practical info 134
TEAM TEAM 6/7
Andrea Prenghyová /CZ/ Head of Program Graduated in journalism at Charles University and in documentary direction at FAMU. She has been working as a reporter for the Refl ex magazine, shooting and producing documentary fi lms for the Czech Television as well as for private broadcasters. In 2001 she stood at the birth of the Institute of Documentary Film, which under her 10 years leading developed into the biggest NGO supporting documentary fi lms in the Eastern European countries. From 2003 to 2007, she was a member of EDN Executive Commit- tee. In 2006 and 2007, she joined a working group creating the proposal of the new Czech cinema law, in the years 2007 and 2008 she participated at creating of Audiovisual Train- ing Coalition. Since the year 2011 she is free lance working as lecturer (FAMU, University of New York) director, producer and expert. With DOKLeipzig she started DOK.Incuba- tor training project focused on new tools in documentary marketing and distribution.
Mail [email protected], Tel. /DE/+49 0151 2351 1251
Tereza imíková /CZ/ Program Manager Tereza was graduated at the Film Faculty of Academy of Performing Arts in Prague and works as a documentary director, journalist and translator from Italian. Author of fi ve documentary projects – e.g. Grandmap, or Double life of Saint Vit, awarded on the international festival of science documentaries AFO in 2006. Since 2003 she’s a member of a non-profi t organization TRK, aiming to reconstruct a Czech- German cross border communication and creative activities among teenagers. As a journalist and fi lmmaker she deals with gender issues, social, political and historical context of the daily life and cultural identity of a nation.
Mail [email protected], Tel.: /DE/+49 0151 2351 1293
ofie Strachotová /CZ/ Head of Production While studying Arts Management at the University of Economics in Prague, Žofi e started to work at One World in schools program of People in Need. For 4 years, she has been pro- duction manager of screenings for schools during International Human Rights Documen- tary Film Festival One World, coordinated preparations of audiovisual portal jsns.cz and organized other activities there. She participated in production of various cultural events such as United Islands music festival, Tribute to Václav Havel, Association of Czech Cine- matographers awards. In 2014, she worked as a production manager of accompanying program of International Documentary Film Festival Jihlava. She is currently a student of FAMU, focusing on Production, where she has produced number of student fi lms.
Mail zofi [email protected] Tel. /DE/+49 0151 2358 2224 DOK.INCUBATOR
Marco Weisse /DE/ Local Production Manager Worked ten years at offi ce and studying business economics (M.Sc.) now. Marco is a member of the local Baptist church where the workshop takes place.
Mail [email protected] Tel. /DE/+49 0173 8489 184
Hana Gomoláková /CZ/ Consultation/Observer coordinator After attending the University of Economics in Prague Hana had worked in many diff erent business areas until she decided to pursue a fi lm career with focus on documentaries. Since 2008 she has worked as freelance translator as well as journalist reporting from major fi lm festivals and cultural events in the Czech Republic for the leading Prague-based media in English including The Prague Post or Prague Daily Monitor. During three years she lead the program department of the Jihlava International Documentary Film Festival and helped develop creative documentaries as part of Creative Group for Social Aff airs and Documentaries in Czech Televison for nearly two years. Mail [email protected] Tel. /DE/+49 0175 1226 595
Myrtille Mamelle-Perrot /FR/ Workshop Assistant Born in 1995 in France, Myrtille studied at the SSLMIT (School of Modern Languages for Interpreters and Translators) of the University of Trieste in Italy. She is currently studying Intercultural Communication and Management at ISIT in Paris.
Mail: [email protected] Tel. /DE/+49 0151 2351 0995 TEAM 8/9
Tereza Ritterová /CZ/ Program Assistant Tereza Ritterová (born in 1988) graduated from Multimedia and language culture at UHK (2012) – she also completed the program Animation as a learning tool (VIA university, Viborg, Denmark). She has been continued in Film and Theatre Studies at Palacký University in Olomouc. During this study she worked as an intern at the postproduction company Films at 59, the production company Tigress production (both based in Bristol, GB) and for the event East Doc Platform in Prague, where she has been assisting since then. She also worked for local international festival (One world in Mladá Boleslav, Jihlava International Documentary Film Festival, PAF – Festival of Animation Film, AFO – Academia Film Olomouc).
Mail [email protected] Tel. /CZ/ + 420 608 412 666
Tomá Kraus /CZ/ Technical Support Tomáš successfully fi nished the Film school in Zlín. During his studies he cooperated on about twenty fi lms and now he continues his education at Hradec Králové University, studying informatics and new technologies. He works in company 3heads, developing technical equipment for recording sport matches.
Mail [email protected] Tel. /DE/ +49 0151 2351 1090
Peter Morávek /SK/ Technical Support Peter was born in 1988. He is a fi fth-year student at the Film and Television Faculty of The Academy of Performing Arts in Bratislava. During his studies, he has worked on several festivals and workshops as a technician. He has cooperated as an editing assistant on a few documentaries, e.g. Velvet Terrorists of Peter Kerekes. Peter has cooperated as a fi lm editor in the feature fi lm début of Iveta Grofova, Made in Ash. Last year, he was a member of the student jury on IFF Bratislava.
Mail: [email protected] Tel. /SK/ +421904820935 TUTORS
Per K. Kirkegaard /DK/ Editor Per is one of the most established editors in the Danish fi lm industry. He edited numerous critically acclaimed documentaries and features, among them, Accused, awarded with the European Film Academy Discovery Prix Fassbinder. His latest merits include fi lms like Armadillo, for which he awarded an Emmy for best editing of a long format documentary; TPBAFK: The Pirate Bay Away From Keyboard, recently selected for the Berlin Film Festival; The Sound of a Revolution, a Greenlandic documentary, premiered at this year's CPH:DOX; and Chuck Norris VS Communism, selected for this year's Sundance Film Festival World Cinema Documentary competition.
Yael Bitton /CH/ Editor Yael has been working extensively as a fi lm editor since 2000, for both cinema and television. She has been editing in the USA, France, and Switzerland, cutting mostly documentaries and experimental fi lms; her fi lms have been shown in festivals worldwide, and won numerous prizes. Yael currently works a lot with young fi lmmakers, accompanying them in their creative process. She currently tutors students at the HEAD in Geneva. In the past she has also participated at Greenhouse, tutored at FEMIS, CINEDOC, at New York University, DCTV, and has taught fi lm-making in psychiatric hospitals.
Claudio Cea /CH/ Editor Claudio Cea is a Motion Picture Editor working in feature fi lms, documentaries, commercials, and fi lm trailers. A member of the European Film Academy, the Swiss Film Academy and the Canadian Cinema Editors, Claudio is an alumnus of the Vancouver Film School in Canada and the International Film School of Cologne in Germany, and an AVID Certifi ed Instructor. In addition to his diverse portfolio of theatrical work, he also shaped over 100 factual/reality, documentary, and dramatic programs for SRF Schweizer Radio und Fernsehen (Swiss National Radio and Television) over fi ve years. Claudio Cea is in the Jury for the 2015 Canadian Cinema Editors. TUTORS 10/11
Sigrid Dyekjær /DK/ Producer /Danish Documentary/ Sigrid Dyekjær has worked as a producer on both feature fi lms and documentary fi lmssince 2000. She was the producer of ”The Monastery”, winner of the JorisIvens Award at IDFA in 2006, and nominated for a European Film Award and several other Awards. Sigrid Dyekjær is one of the most experienced producers in Denmark both when it comes to national documentary fi lms, but also international documentary fi lms in fi nancing, producing and creative consulting on fi lms. In her spare time she teaches at the National Film School of Denmark, as well as doing master classes and lectures at fi lm schools around the world and courses in documentary fi lmmaking like “Bridging the Gab”, and pitch sessions around the world. She is educated in dramaturgy from the University in Århus, and has been a part owner of the production company Tju –Bang Film before she became part owner of Danish Documentary Production. Christine Camdessus /FR/ Producer / Alegria Productions Christine Camdessus (former CEO of Gaumont Television), launched her own production company in 2001: ALEGRIA PRODUCTIONS, to produce creative documentaries. Productions of ALEGRIA are distributed in most of the world and include The House of Saud directed by Jihan El Tahri, Hammer and Tickle directed by Ben Lewis, Pakistan Zindabad directed by Pascale Lamche, The Lost war of the Vatican? by Patrick Benquet, Five Broken Cameras by Emad Burnad and Guy Davidi (Oscar nomination and International Emmy Award), Divided Korea by Pierre-Olivier François. Christine is a Jury member and permanent Expert in NIPKOW (Berlin). She was director of the Master in European Audiovisual Management (MEGA) from 2000 to 2011. She is elected at the board of USPA (leading television producers union in France), member of European Documentary Network and of the European Film Academy.
Claas Danielsen /DE/ Filmmaker & festival and script consultant After working as a journalist and getting practical training in fi lm production companies he studied documentary directing at the Munich Film Academy. He made seven documentaries of which several did an extensive festival tour, won international awards and were sold to European broadcasters. In 2000 he became Head of Studies of Discovery Campus, an internationally highly respected training initiative for documentary professionals and up-and-coming talents who want to enter the international non-fi ction market. In April 2004 Claas Danielsen was appointed Artistic and Managing Director of the International Leipzig Festival for Documentary and Animated Films, the biggest German and one of the leading documentary festivals worldwide, which he has developed into an important meeting place of the international non-fi ction industry. TUTORS
Freddy Neumann /DK/ Publicist / Neumann PR & Communication/ Freddy has 25 years of experience with media consulting and strategic handling of image for companies, individuals and products. The last 15 years specializing in the Danish and international movie industry based in self- owned company. His focus area includes daily execution of press strategy with the responsibility of creating, maintaining and evauluating the client's positioning in the media landscape. He has developed and eff ectuated campaigns and strategies for numerous documentary and fi ction fi lms, which has succeded in moving the message of the fi lm from the screen of the Cinema and TV to the agenda of the media.
Gitte Hansen /DK/ Sales Agent / First Hand Films In 2002 Gitte started at First Hand Films, where her work includes project development, fi nancing & packaging, marketing strategy, executive producing, sales and acquisition. Previously Gitte was Head of Information and Promotion with Filmkontakt Nord for fi ve years, coordinator of the Nordisk Forum for Co- fi nancing of Documentaries, was preparing the fi rst edition of the EDN TV Guide and a study on the European Documentary sector regarding co- production and fi lm fi nancing. She has joined Vertical Strategies, Eurodoc session, Transmedia Next and is a consultant and lecturer at local and international workshops and events where she works for colleagues like EDN, Eurodoc, IDFA, Crossing Boarders and Ex Oriente. Gitte has served on several international fi lm festival around Europe and holds a master in Film and Rhetoric from the University of Copenhagen. WORKSHOP 12/13 AWARDS GUESTS
Vincent Lucassen /NL/ VOD distributor /Under the Milky Way/ Vincent Lucassen was born in the Netherlands. He studied sociology at the University of Wageningen and worked as a lobbyist in Brussels. After fi nishing his studies at the Media Academy in Hilversum he moved to Vienna where he set up the production company WILDart FILM, together with Ebba Sinzinger. In 2001 he co-founded dok.at, the Association for the Austrian Documentary Film, in 2004 he created DocuZone Austria – a collaboration between right holders to promote fi lms in the age of digital. DocuZone was part of the world’s fi rst international digital cinema network: CinemaNet Europe. In 2011, Vincent became part of Under the Milky Way and is fi lm aggregator for Germany, Poland, Austria, Switzerland, Hungary, Bulgaria, Romania, Czech Republic, Slovenia, Slovakia, the Baltics and Turkey.
Michaela Struhařová /CZ/ BEEP Production manager who will smoothly lead your sound from fi eld recording till the fi nal beep in sound postproduction studio. Always with smile and enthusiasm. Here to hear you out when it comes to sound.
Michaela Syrová /CZ/ SPOON Production manager with almost ten years of experience in video postproduction and full spoon of smile. Eff ectively oversees the visual scenes and eff ects. WORKSHOP AWARDS GUESTS
Pavel Dvořák /CZ/ Studio Virtual Prague Sound engineer, since 1994 founder and CEO of Studio Virtual Prague.
Jordi Niubo /CZ/ IO Post Jordi Niubo was born January 16, 1965 in Ústí nad Labem. During years 1987-1992 studied at FAMU, directing. He made fi lms and a number of music videos. OBSERVERS 14/15
Nele Jeromin /DE/ Nele Jeromin was born in 1985 in the Ruhr area and lived in Oberhausen till 2006. Then she moved to Hildesheim (Lower Saxony) to study "Scenic Arts". 2012 she fi nished and started to study “Media Art” with focus on directing at the Academy of Media Arts in Cologne. There she discovered in addition to her already existing passion for documentaries her interest in directing fi ctional fi lm. During her study she works as a freelance media educator and editor. CZECH & SLOVAK DELEGATION
Ivana Hucíková /SK/ Ivana has just recently graduated from the Academy of Performing Arts in Bratislava in documentary directing. For her fi nal school short fi lm she chose to make a very intimate and gentle portrait of a family, which consists of only women – 4 generations of mothers and daughters sharing not only one big house together, but some life similarities as well. Ivana has recently been working on fi nding themes for her debut fi lm.
Jana Durajová /SK/ After years spent by focusing on advertising, Jana has decided to switch for her aff ection to documentary fi lms and photography. She is currently fi nishing her Masters degree at the Documentary department of the Film and Television Faculty at the Academy of Performing Arts in Bratislava.
Dorota Vlnová /SK/ Dorota Vlnová lives in several places around Slovakia, where she also gets inspiration for her fi lms and stories. She fi rst studied fi lm theory at the Film and Television Faculty at the Bratislava Academy of Performing arts but later switched to documentary fi lm. Now she's working on a movie about a place, where people lost the reason to live and had to fi nd substitutions to chase away misery (as there are many lokations like this in Slovakia). She's preparing to spend one semester at Falmouth University College. CZECH 16/17 & SLOVAK DELEGATION
Martin Vronsky /SK/ Martin Vronsky is currently student of documentary fi lmmaking at Peters Kerekeš atelier. His bachelor studies were done in Banská Bystrica so he is taking slightly diff erent approach at VŠMU. Currently he is focusing on documentaries based on strong sociohistorical context with overlap to present time. Martin is working on his fi nal student movie of magister degree where the main subjects are anti-regime computer games created during late 80s in Czechoslovakia.
Květa Přibylová /CZ/ She was born in 1987 in Prague. After fi nishing grammar school she studied at the Faculty of Social Sciences, Charles University, later realizing her subject didn't fi t her. She started making fi lms by a coincidence and now she is in the last year of her studies at FAMU in Prague.
Jan Látal /CZ/ He studies documentary at FAMU in Prague, but he has started his career in audiovisual in 2001 already. He cooperated on many projects for Czech Television (Alžírsko Nablízko, To nedokážeš), created spots for noncommercial companies and his own movies were screened on many festivals (Jihlava, FamuFest). CZECH & SLOVAK DELEGATION
Josef Krajbich /CZ/ Josef graduated from the Faculty of Science at Charles University and the Department of editing at the Prague FAMU. He edited two documentaries which won awards as the Best Czech documentary fi lm at Jihlava IDFF – Coal in The Soul (2010) directed by Martin Dušek and Ondřej Provazník and Into The Clounds We Gaze (2014) by Martin Dušek for which he also wrote the screenplay. With the director Robert Sedlaček he edited fi ve fi lms from the series Czech Century (2013). He is currently completing a feature-length documentary for HBO, America.
Barbora Berezniaková /SK/ Barbora Berezniaková graduated from Film and Tv Faculty of University of Perfrming arts in Bratislava in 2011. She has also studied fi lm directing at NYFA in New Yorku, and animation and postproduction at Bellas Artes at UPV in Valencia, Spain. Currantly she is working on various independent projects in fi lm, animation and video instalations in Slovakia and NYC, focusing on her documentary debut called Never Happened.
David Čorba /SK/ David is a graduate of Academy of Performing Arts in Bratislava, major Film and TV production and management. In 1998, he cofounded a fi lm production company LEON Productions, which specializes in the creation of documentary fi lms and TV shows. As a fi lm producer he took a part in 5 full length documentary fi lms such as Jaro Vojtek’s Here We Are (2005) and The Border (2009), Zuza Piussi’s The Grasp of the State (2012), Martin Šulík’s Milan Čorba (2014) and Alena Čermakova’s Anton Srholec (2015).
LIST OF PROJECTS 20/21
Picture Lock Date:
2015-10-23
Term of the Film Release:
2015-01-25
Place/Festival of the Film Release:
Sundance / Berlin
Approximated Length of the Current Cut:
77 minutes
Planned Length of the Cut:
80 minutes
Status of the Film:
EDITING: We are happy with the actual cut but we POST: next week we will meet with the image and sound still need to work on the opening, fi nal and on writing companies to set the post plan starting on November. Clare's voice (character and themes development). DISTRIBUTION: we are building a strong plan. MUSIC: we are working with the composer and he already MARKETING: we are working for the fi nal poster, stills, has been sending drafts. and texts. PREMIERE: we will apply to Sundance and Berlin.
Urgent Problem/Needs:
EDITING: help us polish the fi ne cut (Clare's voice NETWORKING: help us meet the Decision Makers that and details), make the Trailer and select the scenes for could support the fi lm. presentation. DISTRIBUTION AND MARKETING: help us polish both plans and materials.
Financing Plan for the Whole Film:
On request AMAZONA
After a tragedy, an English woman decided to follow her dreams, left her kids and family behind, and escaped into the Colombian jungle. Thirty years later her daughter decides to confront her and try to heal the wounds of the past as she struggles to define motherhood on her own terms.
This is the story of Val and Clare: a mother and a daughter. Now Clare is pregnant and decides to confront her mother, After the tragic death of her eldest daughter, Val left her heal the wounds of the past and try to defi ne motherhood kids and family behind and escaped into the jungle in on her own terms. Together they go on an intimate order to search for her identity. Clare was 11 years old journey exploring the boundaries between responsibility when her mother left and couldn't understand what she and freedom, the power of love and the meaning of family. was looking for. A son who became an addict, three break- ups and a fractured family remained behind. PRODUCTION 22/23 COMPANY
CasaTarántula
CasaTarántula is a Colombian Production Company After that it has been awarded the IDFA Bertha Fund, the devoted to fi lmmaking, specially author-driven Tribeca Film Institute Fund and the Colombian Film Fund, documentaries. It combines the experience of Clare and has been selected for Dok Incubator, EAVE Puentes Weiskopf and Nicolas Van Hemelryck, who have worked producers Workshop, IDFAcademy and IFP’s International for over 10 years in the design, development and Film Week. production of audiovisuals. They began working together They are actually developing projects with other for TV on 2009 undertaking several subjects in Bosnia- fi lmmakers and are beginning the development of their Herzegovina, the United States and Spain. Clare Weiskopf next fi lm. won two Simon Bolivar Colombian National Journalism Awards with some of these productions. The company was created to produce To the Amazon, their fi rst feature-length documentary. To the Amazon began with a successful crowdfunding campaing that reached 142% of it goal from 322 funders in 28 countries. TEAM
DIRECTOR: Clare Weiskopf Filmmaker and journalist, Clare has been working on diff erent social topics for more than ten years, ranging from the armed confl ict in Colombia to the spread of cumbia music in the world. She won the Simon Bolivar Colombian National Journalism Award twice. She has been selected for IDFAcademy and her work has won the IDFA Bertha Fund, Tribeca Latin Fund and Colombian Film Fund (Proimagenes-FDC). She recently fi nished directing a couple of television documentary series in Colombia.
EDITOR: Gustavo Vasco After fi nishing fi lm editing studies at La Femis (2006-2010), I started my professional career in France as an assistant editor in feature fi lms, mainly with editors Martine Giordano and Julien Lacheray. Then I quickly began working as an editor in several French and Colombian productions. Thus, since 2011, I have approached both fi ction and documents.
PRODUCER: Nicolas Van Hemelryck Filmmaker, photographer and architect. As a fi lmmaker his work has been awarded the IDFA Bertha Fund, the Tribeca Latin Fund, the Colombian Film Fund and he has been selected for the EAVE-Puentes Producers Workshop and IDFAcademy. He has worked for TV documentaries and for the feature- doc ‘Euritmia’. Between 2010-12 he was the producer of Violentology by the US journalist Stephen Ferry. His work has received national and international awards and has been exhibited in America, Europe and Asia. FILM 24/25 MARKETING
Facebook page: www.facebook.com/totheamazon
Twitter and other pages: none
Film website: www.totheamazon.co
Publicist / PR-Agent: none Relevant PR Partners:
In process
Marketing and Distribution Co-Partners:
PART ONE • Women aff airs institutions (study groups in Universities, 1. HARD-CORE BUSINESS WOMEN, WRITERS women-rights and organizations) THAT CARE ABOUT FAMILY VALUES, POLITICIANS, • Liga de la Leche Internacional JOURNALISTS (BOTH MOTHER’S AND THOSE WHO • ForbesWoman Top 100 Websites for Women: DECIDED NOT TO BE MOTHER’S) AND MEN THAT CAN http://www.forbes.com/2011/06/23/100-best-web-sites- SUPPORT US for-women-blogs-2011.html INTERNATIONAL: http://www.forbes.com/sites/ • Arianna Huffi ngton, meghancasserly/2013/08/20/the-100-best-websites-for- • Elizabeth Gilbert (writer) women-2013/ • Angelina Jolie • Engender – Scottish feminist organization • Isabel Allende COLOMBIA • Jess Search (Britdoc – Good Pitch). • Liga de la leche Colombia: http://lllcolombia.org/ NATIONAL: • Mesa Regional de Apoyo a la Lactancia Materna Bogotá • Florence Thomas (feminist writer on women issues) Cundinamarca • Juanita León (director of politic news website : La silla 3. WOMEN & FILM ORGANIZATIONS / EDUCATIONAL: vacia) • Bertha Foundation, UK. Could be a good allied given the • Claudia Lopez (liberal politician) fact the we won the IDFA Bertha Fund. • Angelica Lozano (liberal politician) Already interested in • EWA (European women’s audiovisual network) Eva collaborating. Rybkova (One World Human Rights Film Festival put • Andrea Echeverry (singer) me in contact and we already began the conversation. • Shakira (singer) One World organize a panel debate on women & fi lm • Margarita Rosa de Francisco (actress) in march on the festival and they are interested on • Ana Marta de Pizarro (Director of Bogota Theatre the fi lm. They have ambassadors on every country in Festival) Europe. http://www.ewawomen.com/ • Diana Bustamante (Film producer) and Festival manager • WMM (Woman make movies) (Debra Zimmerman) • Pia Barragan (Cine Colombia) • Women in Film • Diana Uribe (Hystorian) • ROCO Films International (Sue Turley) / Sales agent • Hector Abad Faciolince (escritor) • Chicken & Egg (Wendy Eggelbert) • Ricardo Silva Romero (periodista) • Film Fatales: leah@leahmeyerhoff .com Met her at • El Malpensante magazine (intellectual) Angel Unfried y the IFP. Film Fatales is a collective of female feature Mario Jursich directors who meet regularly to mentor each other, 2. WOMEN ISSUES ORGANIZATIONS & WOMEN collaborate on projects and create a supportive NETWORK GROUPS community in which to make their fi lms. INTL * Use the access to the public libraries in the US to get free access to search organizations using keywords on the Encyclopedia of Associations / Associations Unlimited (every non-profi t on the US) Film Genre and Sub-Genre:
Intimate Drama
Core Audience:
Primary Secondary WHO? For all of them who had a mother WHO? Parents (30-45) WHY: Generates refl ection and sparks questions than WHY? they can relate to it personally because they have everybody has had to their own parents. been through the same confl ict. WHERE? Mostly in Europe and North America but also WHERE? Europe (middle and upper classes), North in Latin America. We will attract them to the cinemas America and Latin America (educated middle class). because they like to go to the movies. Probably they will watch it online. Primary Supportive niche: WHO? 30+, movie selectives, doc lovers (mainly women) WHO? People interested in motherhood, family and WHY: women issues (Mostly women) WHERE? Mostly in Europe and North America but also WHY? They can use this story to get a broader in Latin America. We will attract them to the cinemas understanding of contemporary issues. because they like to go to the movies. WHERE? Universities, NGO’s, study groups. Secondary Make educational screenings WHO? Men and women who have had the dilemma Supportive niche: between having a family and pursuing their career. WHO? People interested in everything under NEW AGE WHY: interested, inspired and questioned by the WHY? character, her lifestyle and the environment. WHERE? WHERE? Mostly in Europe and North America but also WHAT INTEREST THEY HAVE? Women issues, sex in Latin America. We will attract them to the cinemas equality, family vs. career. because they like to go to the movies.
Potential Ambassadors:
PART TWO [email protected] Escribio: “Quiero compartirlo 4. WEBSITES AND BLOGS ON WOMEN ISSUES, con mis estudiantes por que esta pelicula siento que MOTHERHOOD problematiza y cuestiona el consumo del concepto de * Use the tool ‘inky’ http://www.inkybee.com/ to fi gure "maternidad" y de lo que es ser "una buena madre" y una out on the internet who blogs the most on specifi c "buena mujer." Enseño Comportamiento del Consumidor subjects. en el departamento de negocios. Me interesa mucho esta • Networking mujeres y madres: A secret Facebook group perspectiva que presenta no solo en términos academicos created in Colombia where mothers and women support pero también a nivel personal. Creo que puede trer una each others. It has 6,079 members in Colombia and there discusion muy interesante a clase.” are chapters in other countries. Clare has just been invited • Nancy Schwartzman (Borderline) Impact producer as a member and she will invite them to support the fi lm. specialized on Genre studies fi lms campaigns. • momsrising.org : where moms and people who love them 7. TED TALKS ON WOMEN ISSUES. go to change the world. “First, a handful of women came • Jennifer Senior: a contributing editor at New York together, and then that handful became hundreds, the Magazine, where she writes profi les and cover stories hundreds became thousands, and through friends telling about politics, social science and mental health. In her friends, MomsRising is now more than a million members book "All Joy and No Fun," she examines the social science strong and growing!” around modern parenting. • mamasconpoder.org (Spanish version) http://www.ted.com/talks/jennifer_senior_for_parents_ • momsnet. UK website happiness_is_a_very_high_bar?language=en. • Motherlode: NYTimes publication on Parenthood. KJ 8. AMBASSADORS VOLUNTEERS Dell'Antonia (director) • Malgorzata Wabinska. Poland. Producer. Met at Dok. 5. PROFESSIONALS SPECIALIZED IN MODERN Incubator 2 – Slovakia. Wants to be ambassador in Poland PARENTHOOD Her friend has a mothers website!. • Carlos Gonzales, Jean Liedloff , Rosa Jove, Rebeca Wild, http://www.ted Laura Gutman 9. JOURNALISTS 6. EDUCATIONAL & PROFESSIONALS SPECIALIZED IN COLOMBIA: GENDER STUDIES • Nadja, Stephen Ferry, Juliana Muñoz, Luis Gonzales, • (CONTACTED US) Claudia Wright – Professor in the Melissa Serato. Gender Studies department at University of Utah, Salt 10. ORGANIZATIONS WORKING WITH ALTERNATIVE Lake City, UT, USA. LIFESTYLES And Democratic Congressional Primary Candidate 2010. • Le quatre volte (Slow food org.) 26/27
Positioning:
A very strong fi lm about the never ending discussion on where far away. And the daughter is pregnant while the mother-daughter relationship, where a daughter goes making the fi lm. to visit her unusual mother in the middle of the jungle They say it really makes you think about your own mother to try to understand why she left them when they where and how you are/will be as a parent. How to balance kids. The mother is a British woman that lived a free-spirit freedom and responsibility. nomad life and settled in the amazon, while their children
Marketing Elements:
POSTER: STILLS • Two faces and river: A mother and a daughter. The • Show scenes where mother and daughter are together mother is unconventional (hippyish). The Amazon river and also scenes that build the exotic atmosphere. gives the atmosphere and is a symbol of the umbilical cord and at the same time separates the two women.
Social Media Strategy:
- Create a mailing list in the webpage. Use Distrify to sell - Find bloggers, journalists and writers that specialize on movie but now only have teaser online. the topic of parenthood. (view list above) - Find ambassadors (view list above) through connections - Find Facebook sites and websites that specialize on the in journalism, fi lm, and directly. topic of parenthood. (view list above) - Contact Ben Kempas and tell him about the idea to make - Use NATION BUILDER (Community building software) an international world premiere on mother’s day. to keep track of the online followers and understand - Set-up meeting with Andy from Distrify to begin process. their profi le.
PR Opportunities / Story Angles / Press Strategy:
EVENTS ADDITIONAL CONTENT OR DISCOURSES • mother’s day screening (premiere) • Educational material STORIES FOR PRESS • Therapists treating women on crisis after giving birth. • Valeries story of life + her books + her cd. • How Clare dealt with not growing up with a mother
Success Criteria:
• Specifi cally we would like to use the movie as an element • Create discussions-groups about the role of Mothers in to support a topic that has been discussed in Colombia the contemporary world. (and in many other countries like the US) for the last • Make money to: be able to take care of our daughter, couple of years: parents maternity leave. Actually in sustain the family business, and assure funds to begin Colombia fathers get 8 days and mothers 3 months. We, our next fi lm. as parents, are convinced that this amount is unfair and • Set us both as international fi lmmakers and our company distanced from the reality of having children and the as the leading company in Colombia in documentary demands this change has upon a family. We are getting fi lmmaking. Find new fi lmmakers to develop and in touch to ally with the organizations that are leading produce their movies. Find partners in other countries to this cause. We think this should be considered both for co-produce fi lms. mothers and fathers. • Have a great festival run and be able to travel with the • Attract attention to women dealing with issues of fi lm. contemporary parenting crisis (therapists, groups, etc…) Your Unique Brand Value:
WHAT MAKES TO THE AMAZON UNIQUE? • It defi es expectations because it is not the typical fi lm • Clare (the fi lmmaker) is doing a fi lm about her mother of the fi lmmaker looking for forgiveness, but here the (great access.) fi lmmaker is on a personal quest to fi nd a solution to • It’s in the Amazon (exotic and special place) an internal and universal dilemma: how to be ready to • Her mother is an attractive and inspiring character who become a good parent. had a remarkable and adventurous life. •Rather than looking for answers, this fi lm rise complex • It deals with the tabu subject of the expectations society questions and open up conversations. has for women who are thinking of becoming mothers • Authenticity of the character, questions it rises and (every women faces this, although they are not allowed mother-daughter relationship. to do it). So this fi lm will be used to spark debates.
Budget for Marketing and Promotion:
For an AA-Class Festival we should have between US$ BUDGET 5,000 to US$ 15,000 for PR. Social media management (webpage, facebook, twitter) Then we should have at least other US$ 15,000. Trailer MARKETING AND PROMOTION FINANCE PLAN clips on fi lm POSSIBILITIES synopsis (pitch) US – Women making Movies stills US – Impact partners poster COL – Proimagenes Fund marketing UK – Bertha connect fund description of fi lm DISTRIBUTION 28/29
Distribution Format:
• DCP (one for each version), Bluray, DVD, VOD (Apple pro res HIGH). Maybe HDCAM, • 80’ and 1 hour version.
Pre-Sales Done:
None
Sales Agent:
None
What are the Primary Drivers for Releasing Your Film?
• Career launch But I never did it, something was always missing... until • Something else – what? I decided to become a mother. I felt that in order to do so, I had to go deep into our story and I understood that I always wanted to make a fi lm about my mother because making this fi lm was the best way to do it. I knew she was a great character and had a great story.
Launch of the Film
Being such an intimate story with a universal theme We would like to create a short piece that could be we believe this fi lm will have the opportunity to reach selected for a website like NYT OP-Docs (Katheen Lingo a broad audience and have a long life since the festival @ IFP) or The Guardian and published just before the run, to the TV broadcasting, VOD, until the community Premiere. and educational screenings. A warm-hearted fi lm about • INTERNATIONAL PREMIERE women, this intense personal story debates on how you – PLAN A: Sundance 2016-01 (contact: Caroline Libresco, should balance family and the accomplishment of dreams, David Courier & Hussain Currimbhoy) on a journey that takes two women into the Amazon. – PLAN B: Berlinale 2016-02 (contact: Javi Martin – We aim to get the best Sales Agent for the fi lm. Delegate for Latin America) We plan to fi nd ambassadors for the fi lm amongst hard- – 2016: Festival run core business women (e.g. Arianna Huffi ngton, Elizabeth – Sheffi eld Doc/Fest (Anne Parker). Met her at the Gilbert), women & fi lm organizations (Women Make Edinburgh Pitch. Movies, Women in fi lm, Chicken and Egg) and experts, – International launch on mother’s day: 2017-05 journalists and bloggers on parenthood and family issues (Theatrical and VOD) Organize forum’s about women (momrising.org, Jennifer Senior, Florence Thomas) issues. We already contacted Ben Kempas to consider the We want to build an international campaign with Ben possibility of working together. Kempas to launch the fi lm on mother’s day at the same • NATIONAL PREMIERE (COLOMBIA) time as we organize events in several countries where – PLAN A: FICCI : 2016-03 (Invite press, engaged women and family issues are discussed. audiences, hard-core business women. Make a private We will use the free partnership with Distrify we won as screening for them.) the Best Project on the Edinburgh Pitch to be able to put – THEATRICAL RELEASE: National launch on and sale the fi lm globally on our website. This way we will mother’s day: 2016-05-08 Organize forum’s about be able to build a broad database and connect directly with women issues. people interested on this fi eld. – VOD release 2016-08-01 when they come back from vacations (geo-blocked) What is your biggest challenge for your film’s launch/release?
• It’s time consuming, we need allies, interns, partners and • We need to get an AA Festival Premiere to become visible friends. globally. • We need a Sales Agent to help us build-up our Distribution and Marketing Plans.
International / Local Distribution Strategy:
• Open a Distrify link on the webpage off ering ‘Buy the • then VOD in Colombia geo-blocked. fi lm’, but only have teaser and say ‘it’s not yet ready but • International theatrical release on mother’s day 2017. sign to the list and we will let you know when it is ready’ Maybe use a Ultra-VOD (3 weeks before theatrical or let people pre-order. Make everyone embed it (blogs, release) or Premium-VOD (at the same time) to have ore websites…) word of mouth. Try to partner with TV channels to show • Find partners and build up a network according to our some things about the fi lm before the release. ambassadors. • then VOD. Keep rights to sell fi lm directly on our site • Look for a great International premiere and success after 2-3 years. before showing it in Colombia. • Then make a ‘Screening in a box kit’ for community • Use Indiegogo to promote the fi lm (Kristen Konvitz, met screening like what ‘Maid in L.A.’ did. I am already in her at IFP). contact with the producer who can help us. • Premiere in Colombia and have the theatrical release on mother’s day 2016.
What Kind of Distribution you Want to Go for and Why you See The Potential?
We know this fi lm can have a great success on Festivals. So already been in contact with several festivals that have we are planning a long festival run that should begin with proposed to waive the fee, so that is a great thing to reduce the Launchpad of an AA-Class Festival: Sundance, Berlin, participation costs. Toronto, IDFA. I don’t include Cannes because maybe We would like to have a world-class sales agent on board this is not the kind of fi lm for them, but it is worth to give and work with him hand in hand. We need someone with it a try. After the world premiere we should go for other experience in north America, a very important territory A Festivals like Tribeca, SXSW, L.A. Film Fest, Locarno, for our fi lm. Telluride, Hotdocs, Thessaloniki, Sheffi eld, CPH:DOX, We expect to have a theatrical and VOD exposure and sale DOK Leipzig, Karlovy Vary, Busan, Edinburgh, San it to TV in several countries. Sebastian, Guadalajara, Nyon and Cartagena in the local We know the fi lm can have a long life in forums on panorama. Then, look for all the other festivals: Full women issues. Frame: interested on World docs, True/False, . We have
Intended Festivals / Markets:
AA-Class Festival: Sundance, Berlin, Toronto, IDFA. After Thessaloniki, Sheffi eld, CPH:DOX, DOK Leipzig, Karlovy the world premiere we should go for other A Festivals like Vary, Busan, Edinburgh, San Sebastian, Guadalajara, Nyon Tribeca, SXSW, L.A. Film Fest, Locarno, Telluride, Hotdocs, and Cartagena in the local panorama. DISTRIBUTION 30/31
Intended Presales/Sales:
INTERESTED BROADCASTERS: BBC (Joe Lapping), Arte • ITVS (Louis Voisson) US. • ITVS Independent Lens (Karen Michaels), Canal + (Iñigo Trojaola), YLE (Jenny (Walker Nolan) US Westergard) Finland. • SVT • MDR/ARD (Claudia Schreiner) Germany. • Señal Colom- (Charlotte Madsen) Sweden bia (Jaime Tenorio) Colombia • POV (Nicole Tsien) US. • Univision, US. • ZDF (Marita Hubinger) Germany. • HBO (Lisa Heller and Gregory James Rhem) • Discovery BROADCASTERS THAT COULD BE INTERESTED (Ryan Harrington) US
Intendended Territories:
Europe, North America, Australia and New Zealand, South Africa, Latin America
Networking:
Ambassador list Festival list Marketing partners Bloggers IDFA, TFI, Proimagenes, Dok Incubator, IFP, EAVE
What Are Your Biggest Distribution Concerns?
• It’s our fi rst movie, and we want to be ambitious. build a database and connect directly with interested • We are building the network. audience. • The director should be able to keep the right to put • Get into the US and UK markets. and sale the movie on the webpage to earn income, TIME SCHEDULE FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
World Premiere Early 2016:
Colombian Premiere at FICCI March 2016 or 2017
Festival Run 2016-2017
theatrical launch on mother's day 2017 + VOD after. SWOT ANALYSIS 32/33
Strengths Weaknesses
Production: Production: • Independence • Need fi nance to cover our salaries, marketing and • Finance in place for Post-production distribution. • Good team • We don’t have a co-producer. • Flexibility • It’s our fi rst movie.
Marketing: Marketing: • Strong, inspiring character: British woman that lives • A % of dialogues is in Spanish (for International a spiritual, alternative lifestyle / free spirit. audience). • Filmmaker is a character • Personal story Distribution: • Strongest fi lm that refl ects on the mother-daughter • No pre-sales relationship. • Colombia is a bad market for national fi lm and for • the ambiguity (love-hate) it creates towards the mother documentary (we hope to break the rule). amongst the audience: sparks debate. • It’s our fi rst movie. • A very emotional journey in the exotic Amazon • We are building our network atmosphere, paradise. • Universal: through an intimate drama the fi lm sparks the debate upon the dilemma of women today as they become mothers and feel the pressure to abandon their paths. • Colombian fi lm with a high % of dialogues in English (For Hispano-American public) • It’s a documentary
Distribution: • The project has a good trajectory, support from visible organizations • Many sales agents and broadcasters interested. • Dok incubator
Opportunities Threats
Production: Production: • The network we are building with EAVE, Dok Incubator, • Issues during post-production. IDFA, Tribeca, TFI. Marketing: Marketing: • Colombian fi lm’s bad box offi ce. • Documentary is becoming trendy • Not getting an adequate international sales agent • Colombian fi lms success, specially, El abrazo de la who understands that this fi lm should be exploited in serpiente. a hybrid way. • It can be use for educational purposes, allying with women organizations and university studies on Distribution: contemporary women issues. • Latin-American partly Spanish fi lm. • FDC-Proimagenes distribution funds. • Similar fi lms usually do not go theatrical. • Successful crowdfunding campaign. • Film has many layers: alternative lifestyle, spiritual.
Distribution: • IFP spotlight on documentaries selection. • Grassroots concrete community. • On the US: many organizations interested in this kind of fi lms. US: educational market. NOTES 34/35
Picture Lock Date:
2015-11-09
Term of the Film Release:
2016-01-09
Place/Festival of the Film Release:
Sundance, Berlin, South by South West
Approximated Length of the Current Cut:
70 min
Planned Length of the Cut:
70 min
Status of the Film:
The fi lm is being edited until the end of October it is eligible to apply from NFTF. We have had a meeting with estimated, possibly until mid-November. NFTF and we are rushing the broadcasters to give us quick We have chance to get further fi nancing from Nordic TV replies. broadcasters (Sweden, Norway) and then we would be
Urgent Problem/Needs:
The fi nal cut of the fi lm. We are focusing on the fi nal stage We are also preparing visual materials and working on the of the edit the most at the moment. log line along with the edit.
Financing Plan for the Whole Film:
Media development Support 25 000€ confi rmed Hot Docs Completion Fund 42 000€ (60 000 CAD) YLE 38 000€ confi rmed confi rmed Finnish Film Foundation 165 000€ confi rmed AVEK (Finland) 30 000€ confi rmed To be applied Finnish Church Media Fund 10 000€ confi rmed TV sales NRD Norway 5 000€ Rovaniemi City (Finland) 10 000€ confi rmed NFTF 30 000€ Super Channel (Canada) 35 000€ (50 000 CAD) confi rmed CHEER UP
The worst cheerleader team in the Arctic Circle, Finland tries their best to get better and look perfect doing it, while really, life just sucks. For them finding out who they are, where they belong and what family means is much more important than any trophy.
Miia, the ambitious coach of Finland’s worst competitive their teenage lives. For them, the cheerleaders are like cheerleading team, is sick of losing and stuck in another family, a stepping stone and a source of support Rovaniemi, on the Arctic Circle. So she takes a trip to the along the path of life. Miia thinks a winning team is all she motherland, Texas, where she’s inspired by the American needs, until life until life steps in and surprises her. mindset and focus of the world’s best cheerleaders. Cheer Up takes us into the teenage lives of a team of losing Returning to Finland a tougher coach, she pushes her girls cheerleaders who try their best to get better and look to the breaking point… but is that what perfect doing it, while really, life just sucks. For Patricia, the team really wants? Aino and Miia, fi nding out who they are, where they For Aino and Patricia, the team’s success is the least of belong and what family means is much more important their concerns as they struggle to fi ght painful battles in than any trophy. PRODUCTION 36/37 COMPANY
napafi lms ltd.
Napafi lms oy was established in 2009 by Liisa Juntunen. projects of the company have been or are international Napafi lms has produced several short documentaries coproductions such as DoxWise Finland, 2012, between and has currently in production a couple of feature all fi ve Nordic countries (Finland, Denmark, Sweden, documentary fi lms such as Cheer Up (by Christy Garland, Norway, Iceland), Mother with Croatia and Cheer UP with Canada) and Grey Violet (by Reetta Aalto, Finland). Canada. Currently napafi lms is developing along with Napafi lms produced fi rst short fi ction fi lm in 2014 documentary fi lms also a short and a feature length fi ction called Mother, directed by Otto Kylmälä. Majority of the fi lms. TEAM
DIRECTOR: Christy Garland Christy's fi lms unearth compelling, intimate stories using a style that combines observational documentary with fi ctional narrative technique. From 2010- 2011, Christy took part in the Binger Film Lab in Amsterdam. Award-winning THE BASTARD SINGS THE SWEETEST SONG premiered on CBC Documentary and DR2 Denmark, look for it on Netfl ix. It was recently featured in the European Documentary Network DOX magazine.
PRODUCER: Liisa Juntunen Liisa Juntunen established napafi lms ltd in 2009. She has produced documentaries and has currently in production feature documentary fi lms such as Ice Queens (Christy Garland, Canada) and Grey Violet (Reetta Aalto, Finland). Napafi lms produced fi rst short fi ction fi lm in 2015 – Mother. Several of the production were international coproductions such as DoxWise Finland 2012, with all 5 Nordic countries (Finland, Denmark, Sweden, Norway, Iceland), Mother with Croatia and Ice Queens with Canada. FILM 38/39 MARKETING
Facebook page: www.facebook.com/cheerthefup
Twitter and other pages: instagram/ cheerup_movie
Film website: tba
Publicist / PR-Agent: tbc Relevant PR Partners: tbc
Marketing and Distribution Co-Partners:
Finland: Nuorten Akatemia, an organization who does teens. The pilot for the campaign will be done in early campaigns for youth/teens to keep them active in society 2016 and then apply for bigger support for the campaign and prevent social exclusion. Together we are developing to get it spread around Finland as wide as possible. We a campaign concept Cheer Up for schools in Finland will together contact governmental funding bodies with the aim to get as many teens active in diff erent and develop the campaign even further with other kind of hobbies as possible to avoid social exclusion and organizations and partners. loneliness. The campaign ties up schools, parents, teens Internationally: tbc and diff erent organizations in each county, who work with
Film Genre and Sub-Genre:
Documentary, Human interest, women
Core Audience:
Parents of teenagers. Teenagers. Women of all ages.
Potential Ambassadors:
Internationally: Rooky (US), Fair Play sports organizations, Therapist association, young sports stars, Cancer survivor families.
Positioning:
"Heart gribbing fi lm about sad teenage cheerleaders. times when growing up and they do cheerleading as Things are not going too hot for them on or off the gym." a hobby." "About sweet teen girls who are going through tough Marketing Elements:
Three key elements should come across in all PR and Circle/ Rovaniemi. The last one means the exotic marketing materials: Teenage girls (Patricia & Aino), surroundings. Cheerleading, Arctic
Social Media Strategy:
To contact ambassadors, who are active in social media/ To get them talking about it on their own fi rst. media in general. Diff erent ambassadors for both target Collaborating organizations to talk about it as well and audiences: bring in the fi lm point of adult and teen audiences. view.
PR Opportunities / Story Angles / Press Strategy:
Mother – teenage daughter interviews. The coach point of view, what do coaches of teen sports Stories about adults who have gone through losing have to go through and be prepared for. How do they vent a parent while a teenager or social exclusion or living off ? alone under aged etc. Known athletes to talk about their youth and growing up.
Success Criteria:
In Finland: To have as many schools engaged to Cheer Up Internationally in general: to have it spread as widely as campaign as possible. possible and perhaps to copy the Cheer Up campaign to For fi lm makers: to premiere in A festival. Have lots of other festivals. countries as well.
Your Unique Brand Value:
Location: exotic Arctic Circle The setting: cheerleading.
Budget for Marketing and Promotion:
Tbc DISTRIBUTION 40/41
Distribution Format: DCP
Pre-Sales Done:
Finland, Canada others yet to confi rm
Sales Agent:
Autlook (fi rst look deal) or Widehouse.
What are the Primary Drivers for Releasing Your Film?
• Money To give women of all ages comfort and support in their • Career launch own lives. To give a bridge, ice breaker for parents and • Mission – we want support topic of the fi lm, change the teens to reach out to each other. as the fi lm will help world to understand and talk about the teenage world and it's struggles.
Launch of the Film
Launch of the fi lm: Berlin or Sundance (received full distribution on other platforms later on. invitation for submission) or South by Southwest. To have The TV/digital release date to be in autumn 2016 after as active and which shortly VOD release. wide festival run after the launch to enhance the
What is your biggest challenge for your film’s launch/release?
To reach the youth we need strong publicity for the fi lm more reviewsand credibility we can show to the youth .The more and bigger festivals we can be screened at the audiences when releasing in VOD.
International / Local Distribution Strategy:
Local/ Finland: Cheer Up campaign for schools starts in ing possibly in early 2017. VOD distribution starts in late early 2016. Theatrical release in autumn 2016 and the autumn 2016, rather quickly after the theatrical release. school campaign runs parallel to it all along. TV screen- What Kind of Distribution you Want to Go for and Why you See the Potential?
Entertaining setting (Cheerleading) with serious back go and watch it with their children or friends. VOD is a big stories makes it a good festival boxoffi ce hit. Theatrical possibility among the youth audiences, should not be release assigned for the parents of the teens, who would delayed much to avoid the "old title" problem.
Intended Festivals / Markets:
Berlin, Sundance, South by Southwest, Tribeca, Hot Docs
Intended Presales/Sales: tbc
Intended territories
Europe, Asia, North America.
Networking tbc What Are Your Biggest Distribution Concerns?
How to deal with US, which is possibly a big market for us. To lock a deal with a sales agent asap.
Overview of the time schedule for your launch and distribution
Launch in January 2016 – March 2016. Theatrical/VOD starts in autumn 2016. TV screenings starts in January 2017. SWOT ANALYSIS 42/43
Strengths Weaknesses
Appealing, entertaining set up: cheerleading at exotic No previous big festival hits from either the director or location. the producer. Serious back stories, substantial meaningful message in Lack of good production stills. the fi lm. Regarding US market the Finnish language is Very strong scenes appealing to youth and adults. problematic. Completed in time for big festivals launch (Berlin, Sundance) Appealing to wide audiences.
Opportunities Threats
Youth oriented fi lm, not so much content to compete Lack of money to complete the fi lm in way desired. with in that market. Cheerleading not understood as a competitive sport in Possible to build up impact campaign with schools and general. suitable NGOs and reach wide audiences (already under construction in Finland) Last bit of fi nancing sought from Nordic channels and NFTF (currently worked on) NOTES 44/45
Picture Lock Date:
2015-11-01
Term of the Film Release:
2015-12-31
Place/Festival of the Film Release:
Berlinale 2016
Approximated Length of the Current Cut:
81 mins
Planned Length of the Cut:
75 mins
Status of the Film:
– rough cut stage. – music composition almost fi nalized. – working on structure and the voice over. – poster design in new brainstorm phase. – briefi ng to novelist Maaza Mengiste in order to rewrite the voice over.
Urgent Problem/Needs:
Further editing consultation in terms of structure and Looking for a sales agent. voice over.
Financing Plan for the Whole Film:
Flanders Audiovisual Fund production 127.500 € Fund Pascal Decroos for journalism 5.000 € Flanders Audiovisual Fund workshops 5.000 € Media – Creative Europe 25.000 € DGD – Belgian development cooperation 35.000 € Partnerships newspapers 5.000 € VRT/Canvas 20.000 € Sundance Documentary Fund 20.000 € Deferral producer 3.434 € (applied) Deferral director 10.000 € Presales (Arte, Al Jazeera …) 40.000 € Sales of image rights 20.000 € TOTAL = 315.934 € EMERGENCY EXIT
Can you build a home in a place called nowhere? (a grassroots insight in the true dynamics of today’s refugee camps.)
Kakuma refugee camp, built in the middle of the Turkana international scholarships, get a job, even build their own desert (Kenya), is the fastest growing city in the region. house. Filmmaker Lieven Corthouts decided to stay in Many of its new arrivals are children sent out of confl ict one of the toughest places on earth and make this camp zones by their parents. Against all odds, these children his home. While fi lming his friends for more than 4 years, grab all opportunities in the camp to rebuild their life. he unveils the accomplishments of these strong, smart While waiting for her mother to return from South Sudan, children and the true dynamics of a refugee camp. Can Nyakong (8) starts to go to school. Slowly she creates Kakuma really off er a future? Or is it just a waiting room, a new home in the camp. At the age of 17, teenagers where the only option is to plan your journey to Europe? like Claude and Khadijo consequently compete for PRODUCTION 46/47 COMPANY
Cassette for timescapes
Cassette for timescapes produces fi lms that combine innovative vision and social or political engagement. We focus on documentary and all its crossovers: to art, to fi ction, to digital interactive. Cassette for timescapes is a small company around producer Emmy Oost and 2 collaborators. We prefer to remain small and fl exible in order to keep up the close connection to our directors. We prefer to remain small and fl exible in order to be able to experiment and develop thoroughly. TEAM
DIRECTOR: Lieven Corthouts Lieven Corthouts is a self-thaugt fi lmmaker who travelled the world before living in Ethiopia for 10 years. There he made 2 feature documentaries: My Future and Little Heaven. Both fi lms are about teenagers and their fi ght to get further up in life , brought in a very intimate and positive way. My Future (2009, 50’) won the Prize Best Debut at Miradasdoc. Little Heaven (2011, 70’) premiered at IDFA, was sold by Taskovski and obtained support from the Bertha Britdoc Connect Fund.
EDITOR: Jan De Coster Jan De Coster graduated as a fi lm director at Brussels fi lmschool RITS. With fellow student Lieven Van Baelen he made in 2000 the short fi lm “The Thread”, which was met with a wide response in several European festivals. Jan De Coster assists choreographer and director Vandekeybus in realizing two short movies for which he wrote the script as well as did the editing. The friendship with Wim Vandekeybus leads to a collaboration on “Los Hervideros”, a short fi lm Jan De Coster wrote, directed and edited. For Inti Films Jan De Coster edited Renzo Martens’ “Enjoy Poverty” which would become the opening fi lm of IDFA in 2008. Since then Jan De Coster has edited a wide range of documentaries, mainly in Brussels and Amsterdam, but also in Vilnius and Madrid.
PRODUCER: Emmy Oost Emmy Oost studied Germanic Literature and Linguistics and started working as a fi lm producer for Johan Grimonprez, an internationally acclaimed fi lmaker and artist from Belgium who directed a.o. Double Take (premiered in Berlinale & Sundance). Since 2009 within her company Cassette for timescapes, she mainly focuses on documentary and crossmedia projects with social or political engagement. She received the support of Creative Europe for a slate about migration. FILM 48/49 MARKETING
Facebook page: www.facebook.com/emergencyexitdocu
Twitter and other pages: @emexdocu
Film website: “FIND ME IN KAKUMA”, the interactive webdoc linked to the fi lm. A 1st version will be available for January 2016.
Publicist / PR-Agent: HERRIE / NOISE Relevant PR Partners:
INTERNATIONALLY: UNHCR, Oxfam + interest from IN BELGIUM: broadcaster VRT/Canvas – newspapers The Guardian De Standaard / Le Soir
Marketing and Distribution Co-Partners:
INTERNATIONALLY: IN BELGIUM: Potential interest from Arte & Al Jazeera broadcaster VRT/Canvas Potential interest from distributor Ro*Co Films interest from distributor Dalton VOD distributor attached: Under the Milky Way interest from festivals Mooov & Docville schoolproject with Mooov & Lessons in the dark newspapers De Standaard / Le Soir
Film Genre and Sub-Genre: creative documentary, social impact, human issues
Core Audience:
1) adults interested in politics, current aff airs, migration 3) Late teenagers (17, 18 years old), watching in school issues context. Or via internet and social media, triggered by 2) 1st line followers of the big humanitarian organizations the interactive documentary “FIND ME IN KAKUMA” UNHCR, Red Cross, Unicef, Terre des hommes… going to watch the fi lm. to fi lm festivals & watching television. 4) Teachers 5) Nurses 6) Politicians Potential Ambassadors:
– UNHCR as the offi cial global responsible for refugees and – Valentino Achack Deng Foundation around the South refugee camps. Sudanese cause, Dave Eggers and his book “What is the – Angelina Jolie as UNHCR ambassador & special envoy. what“. Positioning:
We get a very deep inside view about the everyday at the age of 18. workings of the big refugee camps. We learn how children Western audiences might start to see the refugees in take all opportunities off ered to them to build a better Europe not just as economical migrants but humans, as life against all odds. Refugee camps seem places of people who were once brave children that already did opportunities at fi rst but gradually young adults discover a tremendous accomplishment in their childhoods... that there is a glass ceiling and that the opportunities stop
Marketing Elements:
– Unique position of Lieven Corthouts in the camp from Western people after the recent migration crisis. – “FIND ME IN KAKUMA”: an interactive web The need to understand the why’s and how’s. documentary online that engages Western audiences – poster, stills, synopsis identifi es refugees as active through stories of unaccompanied minors in Kakuma. and positive people and refugee camps as vibrating Help them to fi nd back their parents. When you donate communities. Refugee camps are not just white tents to the search app “FIND ME IN KAKUMA”, you will help and people passively waiting. them in real time to fi nd back their families. As Western viewers, we can have local impact, you can actively do something. – current interest and activism in migration and refugees
Social Media Strategy:
Goals : Platforms: 1st phase: create awareness among the fi rst line stake – Wikipedia page (info seekers on the net) holders: followers of aid organizations or communities – Twitter around the issues of migration (Eg. UNHCR, Red Cross, – Vimeo : trailer and fi lm clips, behind the scenes footage, Unicef, … ). Have several leading bloggers on the subject how to footage (eg. How do they build a concrete house talk and/or tweet about the fi lm. in Kakuma? 2nd phase: – engage parents via the theme of unaccompanied How does the registration offi ce look like, enjoy a soccer children; game in Kakuma…) – engage Angelina Jolie, in order to engage his/her – Facebook (posts about the daily life in the camp, updates followers; about screenings and festival selections, personal stories – engage young adults via the accompanying interactive of the 3 characters from the fi lm, exclusive images from doc “FIND ME IN KAKUMA”, where we meet the the camp (unique position of Lieven), in depth articles characters from the fi lm in bite size pieces. about subject coming from newssites, the importance of International Refugee Day, International Day of Peace, Target Audience : etc..., fi lm fragments linked to our Vimeo account... – Adults interested in politics, current aff airs. – Website – 1st line followers of the big humanitarian organizations UNHCR, Red Cross, Unicef, … Potential partners: – Late teenagers (17, 18 years old) – We’ll be building up a relationship with bloggers such as – (Young) Adults interested in documentary and fi lm BLERI LLESHI in Belgium (https://blerilleshi.wordpress. Messages com) and Deborah Goldberg at Voice of Witness, both We show where boat refugees come from. having a background in documentary and now dedicated We tell positive stories of a refugee camp. to the themes of social change and human rights. We’ll address an emotional universal theme: children – We’ve analyzed the social media content and reach having to live without their parents. What if you would of NGO’s and will provide them content about the lose all contact with your children/parents? KAKUMA- documentary, adapted to the diff erent Western people have diffi culties understanding what platforms, which they can share with their audience. the camp is, we show the basics of the reality of refugee Ngo’s such as Médécins sans Frontières, International camps, the daily life. Organization of Migration, Caritas, 11 11 11, ECRE Exceptional and unique closeness of Lieven to the people (European Coucil of Refugees and Exiles), Kauri (Belgian and the daily life in Kakuma meeting point for sustainability), UNHCR... – Online newspapers and news websites (New York Times, The Guardian, De Standaard, Le Soir...) 50/51
PR Opportunities / Story Angles / Press Strategy:
Positive stories of a refugee camp: they are not just white Nyakong and ends up making a mobile app for her, to tents with people waiting around. They are people that increase the chances of fi nding back her mother. actively build a community. – How Western people can make the bridge from here to How children build up a new life, all by themselves and the there, to understand where refugees come from, to be dignity with which they do it. better informed about the current migration crises. Example of concrete stories for newspapers: – How we might invest diff erently in refugee camps in – the story of Lieven & Nyakong: how Nyakong was order to prevent teenagers from undertaking the journey brought to refugee camp for educational reasons and to Europe. looses all contact with her mother. How Lieven met
Success Criteria:
To make an attractive fi lm, with a clear message and change their understandings of the refugee camps. Only a narration that makes Europeans understand an African then, audiences will have the correct information to judge refugee camp. that the West should invest more in these camps instead That as much audiences as possible will see the fi lm and of closing its borders.
Your Unique Brand Value:
– Unique access of Lieven Corthouts, living in the camp, – We show the workings of a camp without being an among the people for 4 years and shooting in a place, NGO fi lm. Everyday life is used to encourage audience where it is impossible to shoot. identifi cation. – Refugee children portrayed as friends with gentleness – There are a lot of fi lms about refugee journeys, while our and humour. They are smart, strong human beings – fi lm is one of a PLACE they are empowered and not portrayed as victims. – Positive, active atmosphere. Refugee camps are no places of misery and violence.
Budget for Marketing and Promotion:
The interactive project “FIND ME IN KAKUMA” that Social media & comm. mngr 6 months: 6000 euro will be used as online promo tool for the fi lm: is part of Total = 10.250 euro a diff erent budget. Development funding is in place, we are now going Ideal budget for the other marketing & promo costs: forward to secure production funding the coming Poster & photos: 2000 euro 3 months. Trailer: 1500 euro Film website: 2000 euro Tight budget for the other marketing & promo costs: Social media & comm. mngr 12 months: 12.000 euro Poster & photos: 1500 euro Trailer: 750 euro Total = 17.500 euro Film website: 2000 euro DISTRIBUTION
Distribution Format:
75 mins + 60 mins cut down for television
Pre-Sales Done:
VRT-Canvas (Belgium)
Sales Agent: not yet
What are the Primary Drivers for Releasing Your Film?
• Mission – we want support topic of the fi lm, change the we want to change migration policies and the nature of world refugee camps
Launch of the Film
INTERNATIONAL: BELGIUM: 1) world festival premiere: Berlinale 2016 5) festival premiere: Mooov & Docville – April 2016 2) festival tour: 2016 6) theatrical release: Doc Poppies around World Refugee 3) cinema releases/ event releases: 20 June 2016, world Day – 20 June 2016 refugee day (simultaneously with the webdoc) 7) tv broadcast VRT/Canvas autumn 2016 (simultaneously 4) int broadcasts arte, Al Jazeera, BBC, … with the webdoc)
What is your biggest challenge for your film’s launch/release?
There are a lot of fi lms about migration and there is a lot of the constant stream of refugees from Africa). news coverage about migration. People should be triggered to go see a fi lm about refugees We have to clearly state what is in it for Western via a positive message. Avoid stereotypical “migration” & audiences: a unique & intimate story + comprehension of “refugee (camps)” images.
International / Local Distribution Strategy: see above
What kind of distribution you want to go for? Why you see the potential for your film there?
- festivals (via own company or via sales agent) - event screenings (via social media, via stake holders, - television (via previous market pitches, via Dok Leipzig organized via own company) pitch, via sales agent) - VOD & educational (via Under the Milky Way, via education distributor) 52/53
Intended Festivals / Markets:
Sundance, Berlinale, Nyon, Hotdocs, Sheffi eld.
Intended Presales/Sales: arte, al jazeera, ikon, rtbf, bbc, …
Intendended Territories:
Europe, north-America, north-Africa
Networking:
Autlook Filmsales, First Hand Films, Rise & Shine…: audiences in the Horn of Africa Berlinale to bring the project to the market + work on event + Sundance: for credibility and market visibility Britdoc: screenings (to change the world) Arte: to reach the for outreach campaign bigger European audiences Al Jazeera: to reach the local
What Are Your Biggest Distribution Concerns?
The number of migration fi lms on the market
Overview of the time schedule for your launch and distribution:
Activities/Distribution window Goal / Core audience Television INT & BE Date/Period of Time – 2 versions available: 75 & 60mins International festival premiere: Berlinale: – full web project “FIND ME IN KAKUMA” online Active – FB page & twitter cooperation with the Red Cross, UNHCR, … for audience – 1st version of interactive doc “FIND ME IN KAKUMA” building. online Festival audience + 1st target audience: + Huge amount of followers of the webproject that can be stakeholders as the followers of UNHCR, Unicef, Doctors informed about the tv broadcasts. without borders … – Online audience building: + partnership with Belgian Tv (linear + online) November ’15 – January 2016 Autumn 2016 – Premiere: 1 Febr 2016 VOD Cooperation with Under the Milky Way. – Applying for The Good Pitch in Oct/Nov ’15? 2016-2017 Belgian festival premiere: Mooov & Docville April 2016 School circuit Europe Cooperation with the educational – full web project “FIND ME IN KAKUMA” online – 1st online platform “Film Platform” target audience, Belgian divisions: stakeholders as the 2016-2017 followers of UNHCR, Unicef, Doctors without borders, … School circuit BE The edit of the fi lm has been followed by – Cooperation with Belgian newspaper De Standaard 2 Belgian schools. They and other schools will see the fi lm Online audience building: Nov ’15 – April ‘16 when fi nished through the distribution network “Lessons – Premiere: 20 April ‘15 in the dark” Cinema release INT & BE 2017 - full web project “FIND ME IN KAKUMA” online Active School circuit USA Potential interest from Sue Turley of cooperation with the Red Cross, UNHCR, … for audience Ro*co fi lms. 2017 building. Screenings in African camps & markets Via Britdoc + Huge amount of followers of the web project that can be Connect Fund. 2017 informed about the cinema releases. + Cooperation with The Guardian 20 June 2016: world refugee day SWOT ANALYSIS
Strengths Weaknesses
Production: unique access, long fi lming period Production: tough working conditions in the camp dedicated team use of aerial images of Yann Artus limited fi nancing Bertrand lots of postproduction clean up in image & sound
Marketing: important current aff airs subject matter Marketing: What is our fi nal message? director & producer with track record Do audiences want to see a fi lm about refugees? A good pitch trailer Distribution: important current aff airs subject matter unique access Distribution: No presales were possible yet, because story and message have been unclear during production.
Opportunities Threats
Production: Interactive webproject: can generate extra Production: Limited fi nancing fi nancing African novelist for the voice over Marketing: Western people have diffi culties understanding what the camp is, to get the basics of the Marketing: Interactive webproject: online audience reality of refugee camps building Emotional universal theme: children having Why do we care? (Boat refugees coming to Europe!) to live without their parents. What if you would lose all contact with your children/parents? Distribution: A lot of projects & news coverage about Interest from the Guardian (online project) migration, refugees (saturation) A 75 and 60 min version necessary Distribution: Interactive webproject: story continues online, additional content. Interest from Arte & Al Jazeera (60min)
54/55
Picture Lock Date:
2015-10-30
Term of the Film Release:
2015-11-18
Place/Festival of the Film Release:
IDFA First Appearance
Approximated Length of the Current Cut:
72 minutes
Planned Length of the Cut:
78 minutes (to be eligible for a USA theatrical release, if the case)
Status of the Film:
We have been shooting for more than 2 years and before scheduled till the middle of October, when the sound we go to the 3rd workshop, we have to make one more design and the color grading start. We are happy we were shooting. awarded the DOK Incubator prize with postproduction From February on we are working on parallel on the provided by studios in Prague. We will release at the IDFA editing with the editor Philip Gromov. The editing is 2015, the competition for the fi rst appearance.
Urgent Problem/Needs:
To manage the last shoot (the closing scene) and on time is very challenging in the short time frame we coordination of all the postproduction. To fi nish the fi lm have.
Financing Plan for the Whole Film:
AZERBAIJAN € 61.550 30,67% Rise & Shine MG confi rmed € 7.000 3,49% Doha Film Institute Grant confi rmed € 40.000 19,93% ROMANIA € 44.149 22% Georgian National Film Center confi rmed € 1.000 0,50% European Cultural Foundation confi rmed € 1.400 0,70% Prince Klaus Tickets Fund confi rmed € 550 0,27% Sundance Documentary Fund TBA € 30.000 14,95% Hubert Bals Postproduction Fund TBA € 20.000 9,97% Conset own investment confi rmed € 12.749 6,35% GERMANY € 95.000 47% Arte ZDF confi rmed € 58.000 28,90% TOTAL FINANCING PLAN € 200.699 100% Berlin Bradenburg Medienboard confi rmed € 30.000 14,95% Financing in place € 150.699 75% HOLY COW (Müqeddes inek)
One man's dream of bringing a European cow in his picturesque village in Azerbaijan unsettles the conservative community that wants to keep their secular traditions intact. “Holy Cow” is about the fear of unknown, tolerance, and innovation challenging the old ways.
Tapdig has a dream of bringing a European cow into his breed. But Tapdig is ready to risk it all and challenges picturesque village in Azerbaijan to improve the condition the conservative mentality to open up and rethink the of his poor family. He decides to call it Madona. attitude. His passion unsettles the traditional community, the How do human beings handle change while remaining Old Men see a threat in having a foreign cow among true to their own traditions? Holy Cow questions the them as they say its milk is full of chemicals. Even his prejudices against the unknown and how ready are we to wife Vafa does not want to take care of such a strange accept a newcomer. PRODUCTION 56/57 COMPANY
Kloos & Co. Medien
Kloos & Co. Medien, founded by Grimme Award winner POV/PBS. We focus on creative documentaries and like Stefan Kloos and his partner Anja Dziersk, produces high to combine classic docu work with cross-media concepts quality documentaries for TV and cinema. Our fi lms have or animation. PLANET GALATA was the fi rst cross-media been selected by more than 100 fi lm festivals, won awards project by ZDF/ARTE. We are members of AG DOK & like Max Ophüls Prize, First Steps and Grimme Prize, EDN and regularly participate in major industry events. and have been honoured at e.g. Sundance & Hot Docs. In 2008, Kloos & Dziersk also founded the world sales We are experienced in international co-production and company RISE AND SHINE that today ranks among the successfully collaborate with broadcasters worldwide incl.: top global documentary distributors. ZDF, BR, WDR, MDR, RBB, SWR, ARTE, YLE, DR, and
Free Art Conset Films
Free Art was founded by Imamaddin Hasanov in 2008 Articulating the society through art. as an independent production company based in Baku, With a keen interest in the ones who dream the Azerbaijan. Free Art envisions author driven, art house new reality, in the unique voices coming from fi lms and creative documentaries with local impact and underrepresented cultural scenes, we drop all genre and global relevance. technical as well as racial and gender structures, and dive full-throatedly into fi lmmaking for the postmodern era. TEAM DIRECTOR: Imam Hasanov Imam Hasanov is an upcoming fi lmmaker from Baku, Azerbaijan, and Holy Cow is his fi rst feature fi lm, after years of directing TV dramas. Imam has also been an active fi gure of the Baku underground theater scene in the last decade, where he founded the fi rst independent theater in Azerbaijan and constantly stages plays that travel to diff erent festivals in Iran and France. He is currently in post-production with a documentary short fi lm, The Virgin’s Happiness or the Invisible Side and is developing his fi rst fi ction feature fi lm, The Basket. His fi rst documentary fi lm, Holy Cow, will premiere at IDFA 2015, in the First Appearance Competition. Imam Hasanov is an alumni of Sarajevo and Berlinale Talents.
EDITOR: Philipp Gromov Philipp Gromov was born in 1983 in St Petersburg and is living in Germany since 1997. He studied music at the University of Music (HfM) Detmold. Since 2004 he is working as a freelance editor and is living in Berlin. His main interest lies in the fi eld of documentaries and music productions. Gromov has worked on national and international productions in several countries in Europe and Asia. His experience, knowledge and feeling for the right cut and the right fl ow help him to create unique masterpieces.
PRODUCER: Veronika Janatkova Veronika Janatkova joined Kloos & Co. Medien in 2011 as a producer for documentaries and a project manager for cross-media projects. Among others, she worked on the ARTE-productions IT'S MORE THAN TV, YOU DRIVE ME CRAZY and AWAY FROM ALL SUNS. Before joining Kloos & Co. Medien, she worked as a producer and production manager in Prague and Paris with a focus on creative documentaries. She is a graduate of FAMU, Prague and alumni of the European Workshop "ExOriente", "ArchiDoc" and "Clearview".
PRODUCER: Andra Popescu Andra Popescu is a Fine Arts graduate from Bucharest National University and an alumni of EAVE B'Est and Talent Sarajevo. After spending one year in Baku, she discovers the talented Azerbaijani fi lmmaker and theater director Imam Hasanov, with whom she collaborates as a producer for his fi rst documentary fi lm, Holy Cow. The fi lm was nominated for Robert Bosch Co-production Prize in Berlin, Docu Talents from the East in Karlovy Vary, Independent Filmmaker Project in New York and Qumra Meetings in Doha. Andra is based in Bucharest, working amid one of the most successful generation of Romanian fi lmmakers. FILM 58/59 MARKETING
Facebook page: www.facebook.com/fi lm.holy.cow Twitter and other pages: Film website:
Publicist / PR-Agent: Noise Film PR Yard Promotion (street PR)
Relevant PR Partners: tba Marketing and Distribution Co-Partners:
Sales Agent Rise and Shine World Sales, German theatrical release
Film Genre and Sub-Genre:
Documentary fi lm, social driven, human interest
Core Audience:
We will have a very honest and funny fi lm about making based theatrical distribution. As a reference could be our dreams come true, prejudices against the unknown mentioned the fi lm Domino Eff ect. and staying true to our own traditions. This fi lm will not We want to attract also people interested in the Caucasus. only give an insight into the traditions and the people of The fi lm brings a unique opportunity for an inside view Azerbaijan, but it will also show how human beings handle into the culture of a country we know so little about. We change and react on globalization when it aff ects them reach them through cultural organizations and travel directly- even if it is the smallest village in the mountains agencies. of Eurasia. Film raises question on integration and "being opened to Classic fi lm festivals will be drawn to the feature length new". We want to partner up with organizations focusing edit of the fi lm; non-theatrical and educational outlets will on cultural exchange and on those protecting cultural be happy to have a choice of the 52 mins TV-edit, as those heritage. events would be framed by Q&A or discussions. It is crucial for us to bring it to the local Azerbaijani We believe our story can talk to the audiences worldwide audiences, in culture centers and organize community and we are working on the reach out to the television slots screenings in alternative spaces, on a cinema on wheels together with our sales agent RISE AND SHINE WORLD approach. We hope that the international recognition of SALES, one of the leading boutique sales agents for the fi lm will allow a theatrical release in Baku. For this, documentary in the world. we count on a strong social media campaign to constantly Our primary audiences are art house and documentary engage with our audience and to keep them updated on lovers. We will reach them at fi lm festivals and by event the next screenings.
Potential Ambassadors: cultural centers, associations preserving cultural heritage, NGOs based in Baku promoting young artists (next universities – anthropology students, cultural exchange, year’s focus is on cinema productions), NGOs operating in integration, migration centers, initiatives driven by the Azerbaijan in the human rights fi eld topic of opening borders, agriculture chambers. Journalists focusing on the region Schools – unknown topic, unknown country (educational license) Positioning:
We would like them to wonder where Azerbaijan is on the Find a parallel in their daily life – how to open our minds map and be curious to fi nd out how are common people towards "a new"? living there.
Marketing Elements:
We are currently working on defi ning the visual identity Madona, street sign with the cow, community observing. and the fi nal version is yet to come. Elements we are working with are: Tapdig bringing
Social Media Strategy:
We have a Facebook page with 324 likes and we will working with Noise Promotion PR that will support us in continue to update it in regard with the presence of the our release campaign as well as with the theatrical release fi lm to diff erent festivals, screenings, workshops. in Germany. Our sales agent Rise and Shine World Sales has been
PR Opportunities / Story Angles / Press Strategy:
Leading subject of the fi lm is being open minded, general people know very little of this country. We will confronting traditions, migration, Azerbaijan. work with the news from there as well as from Caucasus. Azerbaijan has been present in news only recently – Awareness campaign on the region – multicultural Eurovision and recently the European Games. But in tradition, rights of women, emancipation etc.
Success Criteria:
To release at the IDFA is a huge success for us! For success we would be happy to get to 40+ festivals and In long term goals it is to raise awareness about Azerbaijan, have more than 10 territories sold for the TV version. create the parallel on Europe policies regarding the The fi lm will be released theatrically in Germany. Ideally migrant issues and contribute to the debate. we would like to start in 10 – 15 cinemas in spam of 6 month.
Your Unique Brand Value:
Unique opportunity to see a fi lm from Azerbaijan and get an inside view to the culture. Address the metaphor on the migration and globalization.
Budget for Marketing and Promotion:
On the marketing and PR, we are working with our sales 4000 euros for the visual identity (design of the poster, agent and distributor. prints, press pictures, fl yers), for social media campaigns Please fi nd attached the two versions of the budget. (updating the Facebook page) and special events during The third, worst case scenario, would be a budget of releases. DISTRIBUTION 60/61
Distribution Format:
DCP, DVD, Blue Ray, DIGITAL FILES (Apple ProRes, H264), HDCAM
Pre-Sales Done: ARTE coproduction – Wunderwelten
Sales Agent: RISE & SHINE WORLD SALES What are the Primary Drivers for Releasing Your Film?
• Career launch We want to raise awareness about Azerbaijan and • Mission – we want support topic of the fi lm, change the contribute to the debate on the prejudices against the world unknown and how ready are we to accept a newcomer.
Launch of the Film
We are releasing at IDFA 2015. In Baku, it will be premiered in an alternative space, in For the release in Azerbaijan and Germany, we are the only independent theatre in Baku, Oda Teatri, a place considering Novruz Day, 21st of March. It is of special where the director, Imam Hasanov is staging his theatre importance in the culture and the celebration of it is also plays. If the fi lm achieves international recognition, we depicted in the fi lm. During that period people are more are hoping for a theatrical release in Baku, as well. sensitive towards the topic of traditions.
What is your biggest challenge for your film’s launch/release?
Now the biggest challenge is to shoot the footage we need to Azerbaijan and a vision of a simple man from remote for the fi nal scene, making a picture lock and fi nishing in village in the middle of the country. What can bring the time. spectators to cinemas? How to make them fi nd the parallel The way it will be received by the authorities in Baku, if (being open-minded to new) in their life and in the they will allow a domestic theatrical release or not. migrant policies of the western world? Internationally the challenge is to get people attracted
International / Local Distribution Strategy:
As the subject of the fi lm tackles universal social The fi lm has been supported by Doha Film Institute and issues, the fi lm is coming from a region that is not we are counting on screening at the DOHA Film Festival. well represented on the market and for the high Special attention shall be paid to specialized fi lm festivals cinematographic value, we count on a strong interest from in Eurasia, such as the South Caucasus Documentary major fi lm festivals. Film Festival of Peace and Human Rights in Armenia/ In the spring and summer season of 2016, we are aiming Azerbaijan/Georgia, the Antalya Golden Orange Film to leading festivals in former Yugoslavia such as Zagreb Festival in Turkey or the Open Documentary Film Festival Dox and the Sarajevo Film, as well as Visions Du Réel, Artdocfest in Russia. Furthermore we would like to screen HotDocs, Planete Doc Review and the Sheffi eld DocFest. it at the Eurasia Film Festival in New York. What Kind of Distribution you Want to Go for and Why you See The Potential?
– festival release (sales agent Rise and Shine, PR agency (Rise and Shine World Sales) Noise promotion) – cinema on wheels: we plan to screen the fi lm in the – theatrical / community and alternative distribution village of Lahic, Azerbaijan and in an independent (theatrical distributor Rise and Shine Cinema, Noise theatre in Baku; promotion & Yard promotion (GE) – educational license – unknown region – collaboration – TV – ARTE coproduction (Wunderwelten slot) with schools – TV international sales / television/cable/ cable VOD/ Broadband Digital/VOD
Intended Festivals / Markets:
– former Yugoslavia such as Zagreb Dox and the Sarajevo Armenia/Azerbaijan/Georgia, the Antalya Golden Orange Film – Visions Du Réel, HotDocs, Planete Doc Review, Film Festival in Turkey or the Open Documentary Film Sheffi eld Festival DocFest. – fi lm festivals in Eurasia, such as the South Artdocfest in Russia. Furthermore we would like to screen Caucasus Documentary Film Festival of Peace and Human it at the Eurasia Film Festival in New York. Rights in
Intended Presales/Sales:
Sales are being handled by our sales agent. The fi lm is We are aiming for social driven slots, culture and travel being produced in coproduction with ARTE (France & slots. Germany region).
Intendended Territories:
Western Europe and Scandinavia, territories of former Yugoslavia, North America, Caucasus, Turkey, Russia, Arab World
Networking:
We are working with the sales agent Rise and Shine World our fi lm at the festival tour and promote in Germany Sales, in Germany Rise and Shine Cinema is the theatrical the theatrical release as well. Yard promotion – street distributor. PR – Noise fi lm promotion will support marketing for the German release.
What Are Your Biggest Distribution Concerns?
Enough interest in Azerbaijan? Will cinemas be booking? Opt for a good period for the release (March 2016?) TIME SCHEDULE 62/63 FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
festival submission festival audiences from now on
facebook, press kit, visual CV of the fi lm from August 2015 on identity, poster
festival release IDFA festival audiences November 2015
market screening @ Berlinale Industry February 2016
press screening press End of February
booking cinemas theatrical release February
press campaign (6 weeks before contacting journalists, promotion February the release print the materials) tv, press, radio, newsletter
street promotion theater audience Feb / March 2016 in 2 rounds, 1 month and 1 week before the release SWOT ANALYSIS
Strengths Weaknesses
Azerbaijan, exotic, fi rst time director – new discovery unknown director talent cannot talk about the politics in Azerbaijan directly opening up the borders, migration – very current topic multitude of layers in which the story can be read Production: fi nancing – universal metaphor for a change of close-minded societies, dream, vision of a man Distribution: cannot release in Baku
Production: cinematic quality, charismatic protagonist
Distribution: possible festival recognition
Opportunities Threats migration understanding the metaphor borders censorship in Azerbaijan cultural heritage not famous director or a name associated
Marketing: anthropology studies, culture studies, NGOs Production: not getting permission to shoot
Distribution: educational circuits Marketing: migration – parallel with the migrants could be perceived as inappropriate
Distribution: how to form the message how to bring the politics through? 64/65
Picture Lock Date:
2016-01-30
Term of the Film Release:
2016-04-14
Place/Festival of the Film Release:
Visions du Réel, Nyon, (Locarno)
Approximated Length of the Current Cut:
78 minutes
Planned Length of the Cut:
73 minutes
Status of the Film:
We are in the editing phase of the fi lm but are still has been a positive development for Czech distribution in fi nishing some additional shots to build up the storyline that the National Gallery in Prague is preparing an exhibit and the fi lm itself. of Zdenek Rykr, who is an important part of our fi lm, and We have a new rough cut that takes account of input we want a screening during the grand opening in spring of from the Slovakia workshop. We have strengthened some 2016. characters (added scenes), and cut others. The fi lm is now Unfortunately we have not been able to negotiate more layered, both simpler and more complex. a repurchase of the rights from Czech TV for HBO, but We have moved forward on how to communicate the fi lm, we are discussing increased fi nancing from CT for more aware that we are focusing fi rst of all on art-lovers. There demanding post-production.
Urgent Problem/Needs:
An urgent problem remains fi nding a co-producer for and sound master and we need time to do these parts additional investment in order to gain resources for precisely. What’s more, we do not have a marketing unfi nished postproduction. We are focusing heavily on budget. postproduction, we have an experienced editor, animator
Financing Plan for the Whole Film:
Czech State Cinematography Fund – confi rmed 40,740 € Women in Film Finishing Fund – applied 20,000 € Czech TV (in-kind) – confi rmed 22,797 € Co-producer, Investment – required 50,000 € Czech TV (external support) – confi rmed 13,989 € Duracfi lm – confi rmed 12,074 € TOTAL 159,600 € H*ART ON
H*Art On follows several artists shuffling through the fragments of their long-forgotten predecessors Ð contemplating oblivion, struggling to justify their existence and lusting to live beyond life. A portrait of the artist, lost in time.
The artist pushes borders, creates within a maelstrom of who carries his torch? How will they understand what that emotion, provocation, and fi nds worth. Then the artist vibrant life left behind? H*Art On follows several artists puts his brush down and he dies in obscurity. Who will pick shuffl ing through the fragments of their long forgotten it up again, if anyone? The museum guide infatuated with predecessors – contemplating oblivion, struggling to him, half a century after his death? The decadent curator justify their existence and lusting to live beyond life. who inhabits his house? The Czech performance artist A portrait of the artist, lost in time. PRODUCTION 66/67 COMPANY
Duracfi lm
Duracfi lms is a fi lm production company, established in fi lm by Jaro Vojtek, Children, which in 2015 won 2003, focusing on creative documentaries, member of the 3 awards in International Film Festival in Beijing. Three Czech Audiovisual Producers’ Association APA. feature documentaries are in development – Black Light 2005-2012: the company produced short TV Theatre by Saimir Bajo and Good bye Cambodia by Aneta documentaries from fi lm festivals. In the last years, Beránková. There is also a TV serial of 8 documentaries of Duracfi lm fi nished two feature documentary fi lms: 26 minutes in development about important phenomenas In Sight, a fi lm essay about classical and postmodern of contemporary Czech alternative theatre. H*Art On supervision mechanisms, and Tripoint, a social-poetic underlines the focus of Duracfi lm on documentaries from portrait of the easternmost village in the Czech Republic. art environment. In 2014 Duracfi lm coproduced a Slovak feature fi ction TEAM
DIRECTOR: Andrea Culková Film director, visual artist, pedagogue and mother of three, currently working on the Sugar Blues movie. Sugar has become a major issue for her, both in her personal and professional life. She has 10 years’ experience with documentary fi lmmaking. Sugar Blues is her fi rst feature fi lm. Documentary fi lmography as director: Communique (2005), Life To Killed Frog! (2006), Beautiful Prague To Become Olympic (2007), Story Of House No. 100 (2008), Lise Forell – Without Borders (2011), Let's Heal The Czech Republic! (2013), Sugar Blues (2014, in production), ART DETECTIVE STORY (2015, in production)
EDITOR: Thomas Ernst Thomas is a fi lm-editor, post-production supervisor, scriptwriter, head of fi lm editing at Budapest Film Academy and tutor for ESoDoc and Verzio DocLab. He is the head and technical director of WellDone Post Production facility 1996–2002. AVID / Final Cut Pro workfl ow expert. He features fi lms like Bánk Bán with the academy award winner Vilmos Zsigmond., the Mr. Bean Cartoon series for Tiger Aspects London, commercials for worldwide leading brands and agencies, short fi lms, music videos and documentaries are on his long credit list. Through joining each project at a very early stage he co-creates the workfl ow and concept of the production together with the director and to guarantee a smooth editing and post-production process – from the beginning of the shooting to the screening of the fi nished edited fi lm.
COMMUNICATION: Christian Falvey After many years as a radio journalist, I now work in a variety of positions on Czech international fi lm projects, usually handling communications. I’ve been a language consultant and translator for most of the major production companies in the Czech Republic, which has led to many happy diversions into fi lm production and direction in recent years. Originally from the United States, I’ve lived in Prague since 1998. FILM 68/69 MARKETING
Facebook page: www.facebook.com/hartonfi lm Twitter and other pages:
Film website: www.hartonfi lm.com
Publicist / PR-Agent: Christian Falvey
Relevant PR Partners: National Gallery in Prague Marketing and Distribution Co-Partners:
DOX (independent gallery in prague), can make parallel events with artists from the fi lm. Nestlé (supporter of exhibition in National Gallery in Prague), Spiritual bloggers Other galleries, art houses, art events – our fi lm can be Art / alt.lifestyle bloggers, magazines work of art or a way to understand contemporary art, we Music and cultural festivals
Film Genre and Sub-Genre: Art, women’s issues Core Audience:
1. artists 6. spiritualists, imediatists 2. modern art workers (curators, gallery workers, 7. university students (fi lm can get a broader lecturers) understanding of contemporary art) 3. intellectuals, modern art visitors, art funs 8. people in middle age crisis thinking about their own 4. gender issue followers (mostly women), intellectual values and aims of their own life (international version women with art interest of the site www.seberizeni.cz ) 5. alternative lifestyle / "hipsters" 9. anarchists
Potential Ambassadors:
INTERNATIONAL: awards and competitions (Chelsea competition, many Cutie and the Boxer – main characters (Ushio Shinohara others) and his wife Noriko) well known art blogger Don Thompson (The $12 Million Stuff ed Shark: The well known world gallery Curious Economics of Contemporary Art) feminist movement celebrities who are well-known modern art collectors (ex. Ivan Lendl, Czech tennis player and collector of Mucha NATIONAL: artworks) National Gallery in Prague popular "hipster" representative (actor, musician) well known artists and provocative troublemakers donator/foundation of modern art, organizer of fi ne art (Kintera, Černý, Knižák, Bromová)
Positioning: for their lives and their art. An exceptional fi lm that helps no-name artists care about and confront. We want people people understand contemporary art itself. Not a portrait to say this is an independent and provocative fi lm, but of some well-known artist, not about some successful also very professional and contemplative, a fi lm that has personality or personal story, but something completely a lot of important “life questions”. We want people asking diff erent. The uniqueness of this fi lm should be that it whether this is a fi lm about art, or a work of modern art. shows what the “rest of them” are doing, what millions of Marketing Elements:
Title: H*ART ON – lust and art together in one title. Lust is very unusual, and the fountain of breast milk is little bit one part of the engine behind of all artistic activities. provocative and amusing, like the fi lm. Main pictures: The Mirrorman dressed in hexagons of Web page design: Very simple – a page covered by mirrors in diff erent environments – shows the aim of art hexagons of mirrors, from time to time some of them to refl ect the real world Breast fountain (not immediately show pictures from the fi lm, from time to recognizable as being natural, it looks more arty/artifi cial) time they show letters of the title or log / tagline. – shows something very natural that is typical of the Poster: Photo of the main female character pregnant and artist, natural energy, and for one of our main characters in the nude (so far only an idea) the female body represents the object of art. The photo is
Social Media Strategy:
We haven’t chosen a strategy yet, but we can name some 3. For target groups that are less art-minded we need possible media, partners and content: to create the image of a very cool, extra-ordinary 1. In the Czech Republic we can revive the artwork and independent fi lm… no idea how :) name of the late Zdenek Rykr alongside the exhibition Media we want to use: Bloggers, journalists and writers in the National Gallery of Prague, Nestlé and their media that specialize in art Facebooks sites and websites that campaign. We can motivate some collectors to buy his specialize in art Instagram or some other “artistic apps” pictures. Apps Aging Booth (apps that creates your face look 2. Internationally, we need to fi nd some galleries and art 30 years older) – do something, enjoy your life, get universities to cooperate with. We would like to screen in inspiration from the fi lm, before you get old galleries as a fi lm about art and an artwork itself that can Hipster, spiritualistic, gender bloggers help visitors/students to better understand modern art.
PR Opportunities / Story Angles / Press Strategy:
EVENTS: Big exhibitions – Basel, Venice (alternative museums and galleries in the Czech Republic – in the screenings), Guerrilla events (together with our main town of Chotebor, the work of Zdenek Rykr is archived character in the fi lm – Marc Divo) in the Ice Hockey stadium dressing room. STORIES FOR THE PRESS: - Basel – a music group whose songs are used in the fi lm - the story of the life and art of the deceased painter and who are becoming well-known. Zdenek Rykr and the director’s connections to him STORY ANGELS: - the story of the provocative life and art of the main - We know how live famous artist but don’t know anything character – Mark Divo, who has new things going on about alternative independent ones. every week - Characters’ stories are driven by coincidence/mystery/ - the story of Villa Divo, the mysteriousness of this ghost of the dead painter Rykr/Mirrorman to meet or to arthouse and its very unpredictable future have something in common. - the story of the fi rst Mirrorman ever – a Czech currently - Artists in diff erent stages of life, all facing the same living in Japan unresolved question of life and art –how to survive and - the story of the absurdity of archiving artwork in small leave a footprint (whether young, mature, old or dead)
Success Criteria:
Although this is an exceptional fi lm by a very talented want to create an image of an exceptional fi lm for today director, cinematographer and editor, getting audiences that to see it will be a big challenge. It is not at fi rst sight an is something of an experiment and tears at the boundaries attractive, current topic and the fi lmmakers – like the of documentary fi lmmaking, but at the same time a fi lm artists shown in the fi lm – are not well-known. Those with everything a fi lm should have, so that the viewer who do come to see the fi lm though will be satisfi ed. It enjoys it. We will consider it a success if the fi lm can win will be a success if we can overcome this gap and create some awards at B-festivals focusing more on art fi lms. a marketing image for the fi lm that will entice people. We
Your Unique Brand Value: visual and audio approach fi lm looks more like a feature fi lm than a documentary fi lm looks very arty (erotic) tension, contemplation DISTRIBUTION 70/71
Distribution Format:
DCP, MOV, VOD
Pre-Sales Done: no
Sales Agent: no What are the Primary Drivers for Releasing Your Film?
• Career launch to mirror something that is almost impossible to grasp. • Something else – what? To attest to and give something back to artists who have inspired us all our lives... and to fi nd reconciliation with We would like to push the boarders of fi lm language, take our own mortality. the challenge of making a fi lm about art, fi nd out how
Launch of the Film
Plan A: international premiere in April in Nyon (Vision du National premiere – Jihlava 2016 Reel) 2016 or Locarno 2016 (but we will also try to apply then theatrical release (ARTcam) – plus special screenings for Cannes 2016 – May 2016 and TIFF 2016) pitching and presentation of the fi lm: festival circuit (2016) Leipzig – (coproduction meeting and pitch) theatrical mostly event screenings (2017) IDFA (pitch and Idfa Academy) VOD (2017) Berlin (market) Plan B: International premiere at Jihlava 2016 List of festivals that could suit our wild and arty fi lm: National plan: Special promotional screening together South by Southwest 2016, Ann Arbor Film Festival 2016 with a major exhibition in the National Gallery, the plan Visions du Reel 2016, Cannes 2016, Locarno 2016, Leipzig being to be part of the grand 2016, Jihlava 2016 opening – the most important event of the year
What is your biggest challenge for your film’s launch/release?
To fi nd a publicist for the region of Switzerland, France, Germany where we would like to launch the fi lm.
International / Local Distribution Strategy:
We know what festival we want to start at but for the co-pro meetings will therefore be critical. We hope to fi nd rest (festival circuit etc.) we would like to have the a co-producer as well. cooperation of a sales agent. The Dok Leipzig pitch and What Kind of Distribution you Want to Go for and Why you See The Potential?
1. We aim for festivals, particularly those where we can 3. VOD and community is also important for us. We would have success (more arty festivals). like to keep the rights for event screenings and for VOD. 2. As for TV, we have limited options for addressing them Other: Theatrical distribution we expect only on national – again we seek for the more arty ones (ARTE). To attract level TV, we need some visible success at festivals.
Intended Festivals / Markets:
Locarno, Nyon – Swiss, Germany, France
Intended Presales/Sales:
Arte ; Arte France (Luciano Rigolini); ZDF Arte (Doris Hepp); MDR Arte (Claudia Schreier, Katja Wilder), SRF- (Marius Born,
Intendended Territories:
EU, North America, Japan, Korea, Taiwan, China
Networking:
Cinephil or Autlook (sales agents connected with the Gallery in Tokyo (connected with one key character fi lm), ARTE (bigger audience in Europe); Czech TV; from the fi lm); Svestka gallery in Berlin; Alternative National Gallery in Prague Ireland galleries (and other distribution program (Kinedoc); Museums; Schools of art/ that are in touch with NG in Prague); Swiss galleries universities (connected with one key character from the fi lm); Tama
What Are Your Biggest Distribution Concerns?
We know that this kind of fi lm is really hard to sell even to is far to be commercial even if we have touchy physical distribute. wonders parts, strong outlandish characters and easy So we have to be more innovative in thinking how to do music to follow. it. Nowadays is big trend to organize event screenings and We already had the test screenings and viewers enjoyed fi nd new places for screenings. diving into the art life's a lot. But how to persuade other There is big paradox visuality and sound part of the fi lm viewers that our fi lm is touching more general things not strongly fi t to the classical theater but issue and fi lm itself only crazy artists on their own island? TIME SCHEDULE 72/73 FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
international premiere – Vision April 2016 du Reel or Locarno
(South by Southwest 2016, Ann 2016 festival circuit Arbor Film Festival 2016, Leipzig 2016, Jihlava 2016...)
International premiere in Jihlava November 2016
theatrical screening in Czech 2017 Republic
event screenings (2017) 2017
VOD 2017 SWOT ANALYSIS
Strengths Weaknesses
Production: good cooperation within the team Production: lack of a co-producer and money for post- networking from previous fi lm SUGAR BLUES production lack of an experienced producer Marketing: very artistic fi lm outstanding visually Marketing: fi lm without strong personal story or clear international potential – key characters from diff erent storyline, hard to fi nd a box for the fi lm countries Distribution: no pre-sales Distribution: quite wide intellectual audience (target now very diffi cult to present the fi lm to the sales group) – with arts interest low budget fi lm
Opportunities Threats
Production: DOK Incubator can help to present fi lm Production: run out of money during post production internationally our participation in DOK Incubator can help in fi nding Marketing: not getting a good international sales agent experienced producer for the fi nal part of production Distribution: for sales not very attractive agreement Marketing: possibility to connect the fi lm with with Czech TV (co-producer) exhibitions, cooperations with galleries worldwide good theme for connecting with transmedia (visual game)
Distribution: galleries event screenings and augmented screenings in environment of diff erent cities 74/75
Picture Lock Date: 2015-10-14
Term of the Film Release: 2015-11-17
Place/Festival of the Film Release: IDFA
Approximated Length of the Current Cut: 74 minutes
Planned Length of the Cut: 74 minutes
Status of the Film:
After the good news of the selection to IDFA main the fi nancial perspective of the fi lmhas fi nally improved. competition, everything is accelerating very much for the We’ve been off ered a distribution MG from an important fi lm. The picture will be locked right after the last editing international sales agent (the deal is still to close), and consultation before the third session, to make it possible we’ve found a Spanish co-producer, Valérie Delpierre of for the team to work both on sound and grading before Inicia Films. The Piedmontese regional fund PDFF has the end of October, and have the DCP released in time granted a contribution to the fi lm, and RAI Cinema should for IDFA. Production wise, at the fruitful pitching week confi rm its pre-buy in the next few weeks. Answers from we’ve had at the Independent Filmmakers Week in NYC some of the main international broadcasters, from HBO to (September 25-30) the fi lm has met a great response from POV, should come in a short time. both broadcasters and distributors, mainly Americans, and
Urgent Problem/Needs:
At the next workshop we’ll have to try to give answers to release timetable in diff erent areas, whilst at the same many questions still to deal with. In particular, we will time building on the notoriety of the fi lm, and of course need to clarify our strategy concerning the sales agents/ of the fi lmmakers. Another key aspect of next session, is distribution timetable in relationship to the marketing the opportunity to meet decision makers and broadcasters and the publicists’ involvement, in view of maximizing gathered at the fi nal presentation, and to hopefully be the impact of the fi rst showing of the fi lm. The IDFA able to raise interest around the fi lm in order to conclude selection is a big occasion, and it is now our priority eleventh hour deals. This imply to prepare the best to work in close contact with an experienced sales agent possible packaging for the fi lm and to work as much as in order to build a strategy, which takes into account the possible on the presentation.
Financing Plan for the Whole Film:
Directors’ deferrals 30,000.00 € confi rmed MG intl distribution 10,000.00 € confi rmed Graffi tiDoc’s own resources 30,000.00 € confi rmed RAI Cinema pre-buy 24.000,00 € tbc Inicia Film (ES) estimated 30,000.00 € confi rmed Other intl pre-buys 60,000.00 € tbc Piedmont Doc Fund PDFF 10,000.00 € confi rmed THY FATHER’S CHAIR
Two aging twin brothers are forced to open their doors to a cleaning company under the threat of losing their home. This traumatic invasion of privacy brings new hope to their lives...
Abraham and Shraga are aging Orthodox Jewish twins with a radical clean up. Abraham and Shraga are forced who live a secluded existence in their inherited Brooklyn to open their doors to a professional cleaning company. home. After the death of their parents, they have The traumatic invasion of privacy that ensues pushes stopped throwing away anything, hosting stray cats and them to confront their memories in order to fi nd a new accumulating all sorts of items. Now, their upstairs tenant beginning… threatens to stop paying them rent unless they proceed PRODUCTION 76/77 COMPANY
Graffi tiDoc
Founded in 2004 by three partners, Graffi ti rapidly gained international TV channels, and selected at prestigious a solid reputation even across the country’s borders festivals. Graffi ti’s capability to work on the international as a refi ned and high-level production company, both market was repeatedly recognized and rewarded by the in terms of the quality of its authors and directors and Creative Europe MEDIA Program, with the support in terms of subjects and issues engaged. Already since granted to three of the company’s ‘Slate of Projects’ (in its fi rst works, mainly creative documentaries, Graffi ti 2009, 2012 and 2015). developed projects alongside some of the best production companies on the European market, destined for the main TEAM
DIRECTOR: Antonio Tibaldi Antonio has directed 5 fi ction feature fi lms. His fi lms have screened at festivals such as Berlin, Sundance, San Sebastian, Rotterdam; and released by companies such as Miramax, Warner Bros., and Lion’s Gate. Antonio is also an active documentarian, making his own documentaries and collaborates with UNTV (United Nations TV) making documentaries to shed light on under-reported realities in South and Central America, Africa, and Asia.
EDITOR: Alex Lora Winner of a New York Emmy, fi nalist for the Oscars-Student Academy Awards, and winner of a Gaudi Catalan Academy Award, Alex Lora is a Fulbright Spanish fi lmmaker based in New York City who has screened twice at Sundance Film Festival as Offi cial Selection. Listed as one of the top 10 promising Spanish directors to watch for in Variety's Cannes Edition of 2014 and Editor at the Berlinale Talent Campus, his work has received over 100 awards in some of the most internationally-acclaimed festivals.
PRODUCER: Enrica Capra Founder and CEO of Graffi tiDoc, a Turin based company, she has produced mainly documentaries for the international market, both for TV and for theatrical release, selected at international festivals, and distributed all over the world. Among them, ‘Dust. The Great Asbestos Trial’ was awarded many prizes at festivals worldwide, included David di Donatello, Rio de Janeiro, Baghdad, Turin’s Cinemambiente. FILM 78/79 MARKETING
Facebook page: www.facebook.com/thyfatherschair
Twitter and other pages: N/A
Film website: N/A
Publicist / PR-Agent: Marlon Pellegrini
Relevant PR Partners: tbc
Marketing and Distribution Co-Partners: tbc
Film Genre and Sub-Genre: Creative documentary / human interest Core Audience:
The main target audience for a feature length creative A secondary target will be of course composed by those documentary like ‘Thy Father's Chair / Obsolescence’ is people being professionally or for familiar reasons basically composed by the baby boomers generation (the involved in some way with psychological disorders: social 45-65 years old), which are still experiencing the complex workers, psychologists and psychotherapists, nurses, but ‘farewell to their parents’ season of life, whilst being at the also relatives to people being hoarders, or having other same time parents of their own children. This segment of kind of similar disorders. the population, both female and male, is the most apt to Both these target segments are good consumers of grasp the deep drama hidden in Avrum's and Shraga's lives, fi lms in theatres and VOD/SVOD, and are still reachable their morbid attachment to the past, their refusal to throw through the ‘traditional’ media (radio, TV, banners, online away anything, which is a form of extreme protest against magazines and blogs…) adulthood, the time passing by, and the necessity of forget the people you've loved.
Potential Ambassadors:
Though not being an exemplary case of 'engaged fi lm', to see them as 'normal' people just needing more help. In promoting a precise agenda on some relevant topic, this sense, the press and the newspapers could embrace an 'Obsolescence / Thy Father's Chair' digs on a category of opinion campaign, which aims at recognising to hoarders people as widespread as generally despised, the hoarders. their status of psychological suff erers (as anorexic people The fi lm gently invites its viewers to go further in judging or manic depressive), not stigmatizing them as undesired those people, and to overcome prejudices against them, 'paria' of the society.
Positioning:
First and foremost, we would like people say that they by, and of the obsolescence it causes, is a big part of the have seen a beautiful fi lm, full of tenderness, where process of becoming adults. A communication campaign the main characters very quickly become sympathetic suggesting this reading of the fi lm would help viewers to creatures, against all odds. Then, we would like viewers to fi nd a deeper sense in the story they watch. think more in depth to how acceptance of the time passing Marketing Elements:
The idea which has imposed itself is to centre our visual but only at a most advanced stage, in coincidence with campaign for the festival releases around the most the theatrical or broadcast releases of the fi lm, when the 'universal' concepts of the fi lm (the struggle for growing audience has to be motivated to pay a ticket or turn on up; the objects in our life as solid deposit of the past and the TV set for watching the fi lm, and the festival appeal the memories; the acceptance of death and loss as part of only works for one portion of the audience, the most the ripening; the necessity, one day or another, to take ‘cinéphile’. In this second stage, the communication the place left by our parents...), deemphasizing both the campaign has to target the diff erent segments with ‘hoarding’ and the religious dimension of the protagonists. specifi c communications: the hoarding syndrome for The fi lm is a piece of art, and being selected at an ‘AA’ a specialized audience (psychologists, nurses, etc); the documentary festival like IDFA is the ostensible proof of religious dimension for the Jewish secular community; it; in the festival releases, the theme of the fi lm can be both these themes, for the general audience, which will proposed mainly as a process of ‘coming of age’ of the two probably be eager to get an insight in a very secretive charming and aging characters. Of course the subjacent community, through an uncommon angle. themes will be part of the communication campaign,
Social Media Strategy:
A Facebook page has recently being opened, and we main festivals, the social media campaign doesn't need to will go on inviting people before the announcement of be too aggressive, and can rely on the spreading of some the selection of the fi lm to the IDFA fi lm festival, so to elements of the fi lm, in particular of a good teaser, pictures, maximize the impact of it and use the time between small videos. The page should become the centre for giving the selection and the première as a period in which the information on the festival releases of the fi lm (in the expectation grows. To do that properly, we need the help fi rst phase), then on the theatres in which the fi lm is to be of a social media person, which will pour new materials screened, and on the opportunity of meeting the directors online even many times per day, during IDFA. After the or other opinion leaders, on the occasion of the screenings.
PR Opportunities / Story Angles / Press Strategy:
The press strategy should start from the evidence that individuals, but is present also among intellectuals and the spreading of the hoarding disorder is wider than we people well-off and with a good socio-cultural position, commonly think, and that only in recent years (2013) the especially women. A collection of stories and testimonies specialists have started to think of it as a mental disorder. in this sense could be proposed to magazines in A galaxy still to uncover, the hoarding disorder, against coincidence with the release of the fi lm. all odds, doesn't touch only low-income, marginalised
Success Criteria:
An exquisite observational fi lm, directed by two Hot Docs, whilst on the European side a tremendous exceptionally skilled fi lmmakers, the fi lm has already success would be to have the fi lm shown, even out of seduced various festival selectors, to the point that IDFA competition, at the Berlinale and in Nyon. The festival has invited it in its main competition. The hope is that eff ect will be paramount to guarantee that the fi lm has after IDFA the fi lm will fi nd its way to some other 'AA' a proper release in theatres and a decent life on the VOD festivals, where its aesthetic and cinematic qualities and SVOD platforms. Winning an award at those festivals would be put in valour, possibly on both sides of the would of course be an important plus for ensuring that Ocean. The ideal match would be to have the fi lm selected the time of exposure of the fi lm is suffi cient to support the also in Sundance or later at South by Southwest /Tribeca/ creation of its notoriety.
Your Unique Brand Value:
The only fi lm comparable to 'Thy Father's Chair', as far the word 'hoarder' is never mentioned, and the fi lm is as we know, is a documentary fi lm called 'Almost there', cleverly defi ned as a 'coming-of-(old)-age' story. The produced in 2014 by Kartemquin and directed by Dan visuals rely on the protagonist's graphic work. Compared Rybicky. The fi lm, centred on the personality of a visual to this example, the strength of our fi lm resides in its artist, Peter Anton, which is a hoarder, got funding from extreme visual elegance and cinematic language, and in ITVS, and was well received at some festivals, even though the more appealing temper of our protagonists, two sweet its visual style is not so elegant and coherent, and many and deeply honest men, which very soon end up attracting situations are visibly staged. In their marketing strategy, the empathy of the viewer. 80/81
Budget for Marketing and Promotion:
IDEAL Promotional DVD w/cover 6.000 TOTAL 57.500 Publicist 8.000 REAL Social media manager 4.000 Publicist 4.000 Mkt manager 10.000 Social media manager 2.000 Graphic design 3.000 Graphic design 1.000 Poster, fl yers (print) 1.500 Printed material 600 PR (invitations, receptions) 4.000 PR 500 Advertisement – posters (Amsterdam) 2.500 Promotional DVD w/cover 1500 TOTAL 9.600 Advertisement – banners 15.000 Press kit/conference 3.500 DISTRIBUTION
Distribution Format:
DCP, Digibeta, Blu-ray
Pre-Sales Done: not confi rmed yet
Sales Agent:
Cat&Docs (tbc)
What are the Primary Drivers for Releasing Your Film?
• Something else – what? It's a masterpiece... :)
Launch of the Film
The launching of the fi lm should correspond to its The selling of rights to the TV channels should allow première at IDFA. This is the moment in which we should a window of at least six months before the airing. The VOD maximize the impact of the fi lm through a good publicist and SVOD diff usion should come ideally soon after the fi rst and the amplifi cation of the press reviews on social media, TV release, for maximizing the curiosity of the audience. thus setting the notoriety of the fi lm, and its successive After the fi rst year and a half from the release, we should selection at other festivals. The theatrical release in the target minor festivals and cultural, niche cable channels main territories should follow ideally in few months, all around the world, preparing with the help of a good exploiting the wave of visibility created by festivals. publicist a very good press kit, in order to help the The ideal formula would be to have in as many cities as channels to build their public discourse and thus enhance possible releases accompanied by one of the authors. the interest towards the fi lm.
What is your biggest challenge for your film’s launch/release?
We have to be careful both with the religious dimension being ‘hoarders’, a condition that can cause an immediate of the protagonists, not to provoke a violent refusal in the resistance in many viewers. community they belong to, and with the very idea of them
International / Local Distribution Strategy:
The fi lm has a wide international potential, due to the accompany the release of the fi lm since its world première, archetypal quality of its main characters and to the and ponder country by country to which distributor to universality of the subject. We aim therefore to reach entrust the fi lm. We can of course make deals with global very diverse audiences, and potentially, all the countries newspapers/web platforms (e.g. ‘The Guardian’ or ‘The that have theatrical circuits open to the release of high New York Times’) for releasing a short version of the fi lm quality documentaries. We have of course to work in close on their web platform just before the festivals, in order to relationship with a very good world sales agent, which will maximize the impact of the fi lm globally. 82/83
What Kind of Distribution you Want to Go for and Why you See The Potential?
1 Festivals 2 Theatrical release 3 TV release 4 VOD-SVOD
Intended Festivals / Markets:
In the ideal world, after IDFA we would like the fi lm to fi lm, from South by Southwest, Tribeca and Hot Docs in be screened at Sundance. After that, there are number of the US, to Nyon, Karlovy Vary, Locarno, Copenhagen and festival to which audience we would be happy to show the several others in Europe.
Intended Presales/Sales:
Apart from RAI Cinema, whose prebuy is to confi rm, HBO to POV. For the sales, we think especially to UK, other contacts for pre-buys have been taken, with Finland, The Netherlands, Israel, Canada, Switzerland, SVT (Axel Arno), DR (Mette Hoff man Meyer), ARTE and all the countries which have TV slots for cinematic (Claudia Bucher) and several American channels, from documentaries.
Intendended Territories:
After the release of the fi lm at IDFA, the distribution of great importance. Being an English spoken fi lm, the strategy could target for theatrical distribution the Anglo-Saxon world could give a good response. Good countries most sensitive to high quality documentaries national distributors, on a country-by-country basis, will and art-house fi lms, like France and Germany. Also Italy be paramount for defi ning the national strategies. and Spain, where the directors are well known, will be
Networking:
We should target very carefully the 'cinéphile' niche urban, sophisticated audience of fi lms provided with an country by country, fi nding those associations and small high end cinematic language. theatrical circuits dedicated to the distribution to an
What Are Your Biggest Distribution Concerns?
Unlike what most documentaries do, we could not have limit the wide spreading of the fi lm on free and cable a TV hour version for the TV airing, which could seriously channels. TIME SCHEDULE FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
After the release at the fi rst high Spring/Summer 2016 impact festival(s), the theatrical distribution should start in the countries where the impact of the fi lm can be stronger
Then the window for the TV Autumn/Winter 2016 broadcasting can open
and the larger awareness Spring 2017 connected to the TV release can lead to a successful launch of the fi lm on VOD platforms SWOT ANALYSIS 84/85
Strengths Weaknesses
Production: Having a cinematic documentary with Production: Having a fi lm that is claustrophobic, shot all a specifi c observational style, with great access to its in one location with a lot of garbage… protagonists Marketing: No use of twins photos where they are Marketing: Because of our human angle on the subject recognizable, we have no high quality production stills, (hoarders), we are likely to get interesting editorial only freeze-frames from time line and unused footage. articles on issues such as: memory, legacy, objects related Danger of making it look like a ‘Jewish’ or ‘Hoarder’ to memory, the pain of losing ones parents, being forced themed fi lm. into adulthood after death of parents, etc. Distribution: Only having a feature length version (no Distribution: TV duration version)
Opportunities Threats
Production: Production:
Marketing: Present and launch the fi lm for its human Marketing: Danger of being mistaken for ‘another values of memory, loss and fear of growing up. These are hoarders TV-like show’; ‘repulsion factor’ on audience universal themes most human beings are interested in. about anything that is dirty about hoarders, etc. Risk of Present a fi lm where the initial prejudice of the viewer being confi ned to a niche audience interested in Jewish (disliking /being repelled the protagonists who are matters or in hoarders. hoarders) is turned 180 degrees in 85 minutes, simply by observing them, their behaviour and their humanity. Distribution:
Distribution: NOTES 86/87
Picture Lock Date:
2015-10-08
Term of the Film Release:
2015-11-17
Place/Festival of the Film Release:
IDFA
Approximated Length of the Current Cut:
90 minutes
Planned Length of the Cut:
80 minutes
Status of the Film:
We are just before the picture lock and ready to start sound design!
Urgent Problem/Needs:
In to the context with DOK Incubator 3rd workshop the TV version. Also the elaboration of proper marketing urgent need will be to make strong trailer as well as to strategy and tools will be of great help within the discuss and to test the proper cut options for the 52 min workshop with tutors and other participants.
Financing Plan for the Whole Film:
ZDF / Germany Coproduction 65000€ IDFA Bertha Fund (development) 4865€ LTV / Latvia pre-sale 600€ IDFA Bertha Fund (production) 17500€ ERR / Estonia pre-sale 600€ Renaissance Foundation (cross media platform) 15000€ SVT / Sweden pre-sale 5 000€ Creative Europe (Broadcasting) 29593€ LRT / Lithuania pre-sale 300€ Still looking for: 32000€ Distributor Taskovski Films/ UK MG 5000€ UKRAINIAN SHERIFFS
In the light of Ukraine’s revolutionary transition, wildness and kindness, crime and compassion are living hand by hand in a remote surrealistic village. A laughable and for the moments absurd story about common people taking action to built their own community life.
Even though Ukraine is known as the policing belt of a village in southern Ukraine. Their duty is to mend the Europe, there is a lack of policemen in rural communities. quarrels and problems of the community. There’s a sly To protect the order, villagers themselves choose the bum whose gift is not to work. There’s a man on the loose smartest and the strongest among them, Victor and with an axe. And there’s the mayor who believes in the Volodya. They gave them the car and the power and named ability of his town folks to change for the better. A war them sheriff s. When the recent political events in Ukraine is going on in eastern Ukraine, and draft-dodgers now aff ected the village, it is up to the Victor and Volodya to abound. The town folks are dipping in icy water and cope with the new, complex and revolutionary transition. laughing but are they divided in their loyalty? These Ukrainian Sheriff s turns to be a black comedy with sheriff s are smack in the middle, taking you along for the narrative drive of a fi ction fi lm. ride. The fi lm was shot during three years, starting from Like a bird, the Ukrainian fl ag fl ies along perched on the before the Euromaidan and through the turbulent year car of two aff able “sheriff s” deputized by the mayor of that ensued. PRODUCTION 88/89 COMPANY
VFS Films Docudays UA
VFS Films is a fi lm production company which houses South NGO organizes the Docudays UA International a large group of fi lmmakers around a tight nucleus – Human Rights Documentary Film Festival for 8 best at telling human stories through award-winning consecutive years. That is the biggest and most infl uential documentaries or creative TV productions. With a skin documentary fi lm festival in Ukraine. Through the festival rough enough to spend much time outdoors. we develop the democracy values in Ukraine and discover the prominent examples of documentary fi lmmaking from all over the world. Being inspired by the fi lms of our guests we create our own fi lms in which we express our position on the country’s top issues or tell to the world the local stories that matter to us.
Taskovski Films
Taskovski Films is a Berlin based production company of independent documentary and fi ction fi lms. We welcome innovative, playful and risky forms of fi lmmaking capable of engaging and surprising audiences around the globe. Our passion is discovering new talent and authorial stories. TEAM
DIRECTOR: Roman Bondarchuk Has graduated from the Kyiv state university of theatre, cinema and TV. His teacher was Yuriy Illenko – a founder of Ukrainian Poetic Cinema school. Roman has created a number of short fi lms, documentaries and music videos. An author of the book of novels and contemporary art exhibition. The award- winner of national and international fi lm festivals.
EDITOR: Kateryna Gornostai Studied biology, and later journalism at the Kyiv Mohyla Academy in Kyiv. Then graduated from the School of the Documentary Film and Theater (Moscow) of Marina Razbezhkina and Mikhail Ugarov, returned home to Kyiv. Now I'm engaged in educational documentary programs and own documentary and fi ction fi lms projects.
PRODUCER: Darya Averchenko She studied at the Faculty of Journalism at Kyiv International University. She received postgraduate education at the Free University of Berlin. She’s a member of the Selection Board of the International Documentary Film Festival on Human Rights Docudays UA for eight years, produces documentary fi lms. Among them the award-winning Radunytsya, Cafe Voyage, Euromaidan. The Rough cut. Ukrainian sheriff s is a director's debut together with Roman Bondarchuk. TEAM 90/91
PRODUCER: Uldis Cekulis Uldis Cekulis created the independent production company VFS FILMS and won the International Trailblazer prize at MIPDOC in Cannes, which recognises the best documentary makers. He has worked on more than fi fty creative documentaries and TV productions both as a producer and sometimes also as a cameraman. Many of them such as Roof on the Moonway, DreamLand, Theodore, Three Men and a Fish Pond, Klucis, Ramin – have travelled around the world.
PRODUCER: Tanja Georgieva Tanja has studied Journalism at the University of Leipzig. Since 2009 she has produced numerous feature length documentaries. Her works have been awarded with several awards, The Award for Economical Journalism for ‘Detroit – between Utopia and Perdition’ (ARTE theme evening) and the European Media Prize Civis for ‘The Graveyard of the Illegals’ (WDR the story) are only two of them. FILM MARKETING
Facebook page: www.facebook.com/ukrainiansheriff s
Twitter and other pages: https://twitter.com/docudaysua
Film website: HTTP://UKRAINIANSHERIFFS.COM
Publicist / PR-Agent: none Relevant PR Partners:
Graphic artist Varvara Perekrest http://varvaraperekrest.com
Marketing and Distribution Co-Partners:
Taskovski Films, DOCUDAYS Human Rights fi lm festival, DOK Incubator, IDF, Latvian National Film Centre, Ger- man Films
Film Genre and Sub-Genre:
Observational documentary, Human Interest / Social Is- sues, Author’s point of view / Political portray
Core Audience:
Internationally: In Ukraine: First of all, this is a fi lm for those who want to learn more our core audience – people who expect changes and trust about Ukraine from inside. This is fi lm for those who like for their own country's future, from the top (local decision human interest stories told from the fi rst person. And makers) to the very bottom (simple people, students etc.). third – those who are afraid what is in reality happening There is also huge potential, that our fi lm could be used in European neighboring country. Combining all three as an practical sample in other regions how to improve audience types we are getting quite a big audience for the community life. For this reason we will build the web site potential cinema release in cooproducing countries fi rst. in a way, that you can follow and discuss some cases, to We can count on wide student audience, dissidents in deconstruct the anatomy of some events etc. Europe and, of course, the huge East European audience with the same social experience in the past and similar political background.
Potential Ambassadors:
Locally: Mayor of the village fi lmmaker, she have made powerful doc "PIT N8" in Nation wide: Egor Sobolev – former journalist and well Ukraine 5 years ago known human rights activist Tue Steen Muller – former European Documentary Igor Gaidai – famous Ukrainian phoptographer Network ditrector, documentary blogger Chief of the Ukrainain Police Reforms Sandijs Semjoinovs – well known Latvian journalist and DOCUDAYS festival regionla agents (around 80 devoted activist enthusiasts) One World – Network of Human Rights fi lm festivals Internationally: Marianna Kaat – well known Estonian IDFA Bertha fund, DOC Incubator and IDF community 92/93
Positioning:
By watching this fi lm audience will rediscover Ukraine and stand-up, dull mayor, rich with platitudes but unable to it's people via diff erent human stories told in a simple and operate a microphone. There’s a sly bum whose gift is light way. not to work. There’s a guy who puts an anaconda in his Our protagonists will make you cry and laugh. Of course woman’s shed. A new-born baby blowing cute bubbles of the trailer and poster should communicate and strengthen spit. No chain saw murderer but a man on the loose with this message, that what you see – you will get. an axe. Chop chop. The town folks are dipping in icy water Actually we should get around in social networks with and laughing, but the pastoral slowly ends with the advent the following fi lm content elements, at least few of those of Euromaidan and the decent into the limbo of a civil little story headlines will resonate and rise interest to hear crisis or “war”. The struggle is off camera and see more: except for media footage, but the political allusions not The nation’s fl ag fl ies away but it’s captured by our two so. Maybe the village is divided in its loyalty? A child heroes, local nice guys, not your “I shot the sheriff ” loses a pink glove in the woods. Draft-dodgers abound. types. Their duty is to mend the quarrels and problems Soldiers are serious but smile for the ladies. These sheriff s of the community. And so this dark fi lm takes off into are smack in the middle, taking you along for the ride. a wonderful but subtle commentary on contemporary A fi re lookout scans the horizon from his tower: he knows rural life in a troubled region of the world. No one is spared there’s big trouble in dem der hills. the humor of the camera or the script. The mayor is your
Marketing Elements:
First of all, the poster should clearly communicate the Tanja, Sheriff s and Ikarus. Those fi lms will be placed on local context (fl ag of the country, old Soviet car, etc.) and fi lm’s web site as well as used by viral communication, portray the main protagonists, including some absurdity preferably in the context of some real topical events, we elements. only need to build the little bridges between real life and The Log line for the poster will be: situations in our movie. WELL, SOMEONE NEEDS TO DO THE JOB There are a lot of unbelievable but real stories told by Digital poster version will be ready for the presentation at Sheriff s themselves about absolutely absurd situations the 3rd workshop. they have experienced. We plan to collect those stories The strongest tool should be the trailer virally distributed and publish them on fi lm's web platform. This will be via social networks. One of main messages – also small a useful source for other journalists to dig deeper and to actions could change the world. inspire them for new articles about our herous, locations, We will try to make series of short fi lms about each of events. our main protagonists – Mayor, Kolka and his girlfriend
Social Media Strategy:
Social media, of course, will play crucial role to raise our Internationally we will fi rst of all work in the audience and make them curious about our story. And it coproduction countries Latvia and Germany. As example should work from both sides – locally in Ukraine there is there will be wide article about the village in Latvian a lack of simple and “not much about war” stories, not magazine RIGAS LAIKS, which is linked with the very only telling the truth from inside of the country, but also popular opinion maker’s internet blog/magazine http:// giving some inspiration, how to deal with situations and www.satori.lv This is important, because many other circumstances. journalists are infl uenced by this “thinkers” journal In Ukraine we are in a quite good situation, because there and we hope to get some kind of viral chain reaction is already very well established network of diff erent media before the premiere in Riga. We also hope, that DOK. by promoting the annual DOCUDAYS.UA festival and for Incubator platform will help us to spread the message, sure we will use those tested and trusted partners for our as your reputation in creative documentary world is well media strategy. respected, also IDF and EDN platforms will be used. PR Opportunities / Story Angles / Press Strategy:
We should make a very strong and convincing trailer in Ukraine via the very popular news portal VICE NEWS in longer internet version and short TV spot version. In https://news.vice.com/topic/ukraine during the last Latvia we have good cooperation with LTV, our main 2 years, it would be great to negotiate about some broadcaster and partner of our fi lm, that they place cinema kind of partnership, especially because they have also release adverts into their advert slots as well as in their documentary section, but we need to fi nd a deal, which growing media portal www.lsm.lv The challenge is that keeps our fi lm aside, but this could be the platform for both versions should contain all selling point elements we diff erent side stories linked to the Sheriff s movie. This is have in the fi lm: strong characters, humour and absurdity. a challenge worth trying. The short intro fi lms about our main characters could be We will create their own headlines for the fi lm and our great additional tool to show the richness of this project. task should be to present variety of elements for the press As many people worldwide have been following the events to play with!
Success Criteria:
Our protagonists have managed to implement and change Currently in Ukraine the reform of old and corrupted the local justice system. Our mission is not only to take police system is going on. That's why this is the very somebody out of himself, but also to inspire. right moment to launch the fi lm and right context to rise Our attractive protagonists have the potential to reach as serious mass media discussions locally and internationally! much as possible Likes. It is important to fi nd and use the right and as many as possible tags.
Your Unique Brand Value:
A funny and sometimes shocking story about regular For the “Documentarian” the local internet ticket sale people taking action to build their own community deals and open-air summer season screenings performed life against the background of Ukraine’s revolutionary extremely effi cient. The festival circle started after Leipzig transition, combining wildness and kindness, crime and premiere and it was successful, which we didn’t expected compassion. for the movie because characters speak almost all time There is a feature documentary “Euromaidan. The Rough in very local Latvian language. So this is good stimuli Cut” produced by Darya and Roman last year as well as for us to prepare already beforehand good international “Documentarian” done by our company. Both fi lms are distribution strategy, even the fi lm’s original language will very much authors driven, which often is a challenge for be Ukrainian and Russian. This is work in progress at this distribution, especially for TV. Both fi lms have quite a large point. community of followers on FB: Our unique brand value in this context is the trust https://www.facebook.com/EuromaidanRoughCut?fref=ts achieved by our protagonists over the long period of https://www.facebook.com/Dokumentalists?fref=ts research and adaptation. The presence of the fi lm team is We are now thinking how to use smartly those two not visible at all during diff erent situations you will not be established platforms to promote the new fi lm. Of course able to fi lm normally. we need to build logical bridges between the previous fi lm This story is told by Ukrainian citizens. projects and our new fi lm!
Budget for Marketing and Promotion:
We have 10000EUR allocated in our budget for Cross media platform development and not more than 7300EUR for the advertising and promotional materials, including festival copies, booklets etc. DISTRIBUTION 94/95
Distribution Format: DCP, AppleProRes H264 digital fi le
Pre-Sales Done: ZDF/arte, LTV, EER, LRT, SVT
Sales Agent: Taskovski Films What are the Primary Drivers for Releasing Your Film?
• Money To rise discussions about the democracy issues in Ukraine, • Career launch to highlight the critical view on society and current • Mission – we want support topic of the fi lm, change the democratization processes. world
Launch of the Film
The fi rst festival release will be at IDFA – world premiere. Then TV broadcasts for 52 min version (ZDF/arte, LTV, We plan to submit also for Berlinale (Panorama section) ERR, LRT, SVT) followed in a longer term by VOD versions. and Sundance (US premiere). Some episodes, which haven’t found place in the main Then cinema releases in Latvia and Germany (context story of our fi lm, will be distributed online even before the Berlinale, because Latvian and German press is very much offi cial premiere. focused on Berlinale events, especially if Latvian or Ger- man fi lm is playing there) and in Ukraine at DOCUDAYS. UA 2016 festival.
What is your biggest challenge for your film’s launch/release?
To launch the proper version and not to continue improving it...
International / Local Distribution Strategy:
As we have Taskovski Films on board as a distributor, this will be the issue we will discuss together in nearest time.
What Kind of Distribution you Want to Go for and Why you See The Potential?
Festival, theatrical, television plus community screenings, partners nationwide in Ukraine and our distributor open air screenings during summertime, VOD – it will Taskovski Films internationally. be organized with the help of DOCUDAYS.UA regional DISTRIBUTION
Intended Festivals / Markets:
IDFA, Berlinale, Sundance, Hot Docs (primary)
Intended Presales/Sales:
YLE (Finland), PTV (Poland), Catalan Tv (Spain), BBC
Intendended Territories:
Worldwide
Networking:
We would love to meet the theatrical distributors to check the potential of our documentary on European, Asian and US screens.
What Are Your Biggest Distribution Concerns?
During the last year and a half there have been many fi lms worldwide made about Ukraine, so our major challenge is to fi nd the right marketing tools to be heard and to make our unique story visible to widest possible audiences. TIME SCHEDULE 96/97 FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
Film’s FB site launch October 25, 2015
Film’s WEB site launch Early November 2015
Film trailer (short and long Early November 2015 versions)
Press screening at Leipzig IFF Late October 2015
Media launch campaigns, press November 2015 scr.
World Premiere at IDFA November 2015
Regular updates on FB October 2015 – May 2016 and fi lm site
US Premiere at Sundance January 2016
Premiere in Germany, Berlinale February 2016
Premiere in Riga February 2016
Premiere in Ukraine March 2016 at DOCUDAYS f. SWOT ANALYSIS
Strengths Weaknesses
Production: Creative and passionate team, strong Production: Remote location and limited resources research and integration into the local community Marketing: Not enough skills and resources in this fi eld Marketing: Great topic to communicate for wide audiences Distribution: Too many fi lms about Ukraine in the market Distribution: Professional distribution partner
Opportunities Threats
Production: No fi nancial obligations at early stage Production: Not easy location to shoot and there could have given much more freedom for creative team. At be too many options for the right main story line. the editing stage point it is opposite, because partners involvement helps us to get rid of too much subjectivity Marketing: Not to lose the focus and coherence with the fi lm Marketing: There is really an option to change the world Distribution: The language spoken is not English, so the Distribution: To spread the local topic for international edit should be done that the fi lm really communicates audiences much more with images, situations and sounds instead of narrative line
IFP GUEST PROJECTS 100/101
Picture Lock Date:
2015-11-01
Term of the Film Release:
2016-01-21
Place/Festival of the Film Release:
Sundance
Approximated Length of the Current Cut:
90 minutes
Planned Length of the Cut:
90 minutes
Status of the Film:
Fine Cut
Urgent Problem/Needs: re-editing the trailer, practicing the pitch, and presenting/ pitching the fi lm to European Market.
Financing Plan for the Whole Film:
Total budget: $420,646 Private Donor: $70,000 Grant: $75,000 Private Investor: $133,075 Funding Gap: $142,571 THE ROAD FROM HAINAN
When a Chinese elementary school principal who raped six of his students seems poised to receive a light sentence, famed women’s rights advocate Ye Haiyan leads a small group of activists in a protest Ð a move that could end with each participant’s arrest. As filmmaker Nanfu Wang films the demonstration and its aftermath, she becomes embroiled in the government’s effort to harass and intimidate everyone associated with the protest. After being threatened by angry mobs, chased by police, and interrogated by national security agents, Wang discovers the Chinese government’s willingness to target anyone they perceive to be a threat to their control.
“The Road from Hainan” is a study of surveillance society documenting that struggle in the face of state censorship and the police state in China. It also shows the struggle to and harassment. It combines audio recordings of make a documentary fi lm. While there are occasionally national security agents captured from underneath public acts of protest in China, no fi lmmaker has so the folds of a skirt, footage of police intimidation from closely documented the risky process of trying to stage a camera hidden on a shelf, and surreptitious recordings of protests in public. The fi lm's visual style refl ects the detention centers from a micro-camera embedded in a pair frantic spirit of its subjects' struggle and the experience of of glasses. PRODUCTION 102/103 COMPANY
Little Horse Crossing the River, Inc.
Little Horse Crossing the River is a documentary fi lm production company based in New York City. The Road from Hainan is the company's fi rst fi lm, which is currently in post-production. Its second fi lm, There is No Time, is in production. LHCR is dedicated to producing documentaries that resonate with audiences globally and generate discussion. TEAM
DIRECTOR, EDITOR, PRODUCER: Nanfu Wang Wang is a recipient of a Sundance postproduction grant and was a Sundance Documentary Fellow. Originally from a remote village in China, Wang overcame poverty and lack of access to formal secondary education and went on to earn graduate degrees in communications and documentary fi lm from universities in China and the United States. Her work often features the stories of marginalized or mistreated people, from Chinese blood donors stricken with HIV after being issued used needles by the government to the left-behind children of migrant laborers. Wang’s short fi lms have been distributed on many platforms and translated into several languages, and she continues to seek out and tell the stories of people who have been ignored by their societies.
CONTRIBUTING PRODUCER, ADDITION- AL EDITOR: Michael Shade Michael Shade is an independent documentary fi lmmaker based in New York City. He currently works as a multimedia specialist at New York University. He also worked as a freelance video editor for MSNBC and HBO. His work has appeared on Al Jazeera Empire, MSNBC, HBO and The New York Daily News. FILM 104/105 MARKETING
Facebook page: www.facebook.com/theroadfromhainan
Twitter and other pages: https://twitter.com/roadfromhainan
Film website: www.theroadfromhainan.com
Publicist / PR-Agent: N/A
Relevant PR Partners: N/A
Marketing and Distribution Co-Partners: N/A
Film Genre and Sub-Genre: Documentary/Human Rights Core Audience:
Core audiences: Women’s rights activists, human rights feminism, etc. (eg. fans of Never Sorry: Ai Weiwei; Last activists, and people concerned about women’s rights and Train Home, High Tech Low Life, Citizen Four, Dirty human rights. Wars, The Square, 5 Broken Cameras.) Secondary audiences: People who are interested in Target Audience #2: college students 18-24 (Interested in China, free speech, state surveillance, censorship, citizen adventure, journey, and experience) journalism, activism in the digital age, political dissent, Niche Audience: performance artists. (people who like the HIV Issue, sexual abuse, women’s rights, safe campus work of Ai Weiwei and/or Marina Abramovic)
Potential Ambassadors:
China Digital Times Asian American Women Artists Alliance Global Voices China Human Rights Lawyers Concern Group Global Network of Sex Work Projects V-Day Human Rights Watch International Justice Mission Amnesty International Association for Women's Rights in Development Avaaz Asia Catalyst Human Rights in China Fortify Rights PEN American Center "WorldRights (be careful about this one – they Sex Workers Project seem to sponsor Falungong)" The Rape Foundation Beijing YiRenPing Center Chinese Women Photographers Association
Positioning:
My hope is that people won’t talk about my fi lm in have a reputation for being exciting, visually dynamic, the typical language used to describe documentaries compelling, surprising. involving human rights issues; instead I want my fi lm to Marketing Elements:
The poster and stills should be simple, and they should be humorous and fun to match Sparrow’s personality. They match the tone of the fi lm. The merchandise products can may also include some of her own artwork.
Social Media Strategy:
A limited social media campaign already has begun via other activists’ social media activities. For example, some Facebook and Twitter, with some post relating to human activists’ Weibo (Chinese Twitter) posts could be translated rights developments in China going out at least once and shared via Facebook and Twitter. a week. This eff ort could be expanded to include reposts of
PR Opportunities / Story Angles / Press Strategy:
Some examples: The story of how the fi lmmaker background information on the behavior and operation Nanfu Wang met Sparrow, how Nanfu Wang became of secret police in China, the back stories of Wang Yu and a fi lmmaker, the story behind the name of the production Sparrow that are not currently in the fi lm. (Review on company “Little Horse Crossing the River,” more New York Times, the Guardian, etc.)
Success Criteria:
• Film festivals worldwide • 1M Trailer views • 50 Cinemas worldwide (start from NYC, then go to LA, • 3M Website page views 10 cities in the US. 40 Cities worldwide) • 20K FB likes • 25M TV audience, worldwide broadcast • 5K Twitter Followers (director’s twitter) • 100M total global audience
Your Unique Brand Value:
Films that focus on human rights issues in China tend to reasons, fi lms about human rights in China are diffi cult to face these problems: promote. This fi lm’s advantage is that it captured events as 1. They don’t capture much happening in real time, as they happened, and it doesn’t have to manufacture drama fi lming in China is very diffi cult. Rather, they feature or tension. These moments of tension can be included people talking about things that happened to them. 2. in promotional materials (i.e. its trailer), which will help Since many people outside of China don’t know much spark interest in the fi lm. about China’s human rights catastrophe, their interest in the subject might be limited. For these and other
Budget for Marketing and Promotion
Ideal Budget: $400,000 Tight Budget: $260,000 DISTRIBUTION 106/107
Distribution Format: DCP
Pre-Sales Done: N/A
Sales Agent: N/A What are the Primary Drivers for Releasing Your Film?
• Career launch Create social change; improve human rights condition in • Mission – we want support topic of the fi lm, change the China; generate global conversations about human rights world issues in China.
Launch of the Film
Traditional theatrical release, TV broadcast release, digital in Chinese human rights history or a Chinese national release, and educational release. Perhaps the timing of any holiday. release could be coincident with a meaningful anniversary
What is your biggest challenge for your film’s launch/release?
Theaters and broadcasters may be hesitant to program potential venues that my fi lm can generate excitement foreign fi lms compared to domestic fi lms, even within the with audiences. documentary category. The challenge will be convincing
International / Local Distribution Strategy:
I plan for the fi lm to premiere at a major festival surrounding the fi lm, after which point I’m hoping the sometime within the next several months. I hope that the fi lm will be released in theaters worldwide. This may festivals will be springboards for discussion and interest involve screening the fi lm at festivals in many countries.
What kind of distribution you want to go for? Why you see the potential for your film there?
Festival, theatrical, television, and community. My hope is that, following the fi lm’s festival run, I will be able to part- ner with distributors who specialize in diff erent rights. DISTRIBUTION
Intended Festivals / Markets:
Sundance, Berlin, Hotdocs, Sheffi ed, Telviv, etc.
Intended Presales/Sales:
N/A
Intendended Territories:
Worldwide
Networking:
Publicist, lawyer, U.S and International sales agent, impact producer, etc.
What Are Your Biggest Distribution Concerns?
My biggest concern is my own lack of experience. TIME SCHEDULE 108/109 FOR YOUR LAUNCH AND DISTRIBUTION
Activities / Goal / Date / Distribution Core Period window audience of Time
Launch January 2016
Theatrical Release September 2016
Broadcast & Digital December 2016
Educational release February 2017 SWOT ANALYSIS
Strengths Weaknesses
Strong story, unique access Foreign language, fi rst time fi lmmaker
Opportunities Threats
Very timely story; a lot of interest and enthusiasm Potential repercussion for fi lmmaker and subjects in the already generated amongst investors, sales agents. fi lm from Chinese government.
GUEST PROJECTS 112/113 JOURNEY TO SUCCESS
Leon Productions
Jadranská 41 director: Daniela Meressa Rusnoková 841 01 Bratislava editor: Janka Vlčková Slovakia producer: Mario Homolka
+421 (0)264 462 784 rough cut: January 1, 2015 [email protected] fi ne cut: April 20, 2016 http://www.leonproductions.sk fi lm release: September 23, 2016
confi rmed: 108,000 EUR total budget: 108,000 EUR TEAM 114/115
DIRECTOR: Daniela Meressa Rusnoková Graduated from Academy of Performing Arts Bratislava specializing in documentary. Her fi lm again about Slovak Gypsies entitled Soňa and her family was awarded special mention at Human Rights Film Festival Jeden Svět/ One World 2007 and recieved European Media Award Young Civis 2007. In 2008/2009 she received a Fulbright scholarship for research on dissertation theses at the San Francisco State University, with consultations at Harvard University. She completed her Postgraduate degree in 2014. Daniela as a mother of two is working as an independent documentary fi lm director, researcher and fi lm assistant.
EDITOR: Janka Vlčková Jana studied at FAMU and she is an established editor of documentary fi lms including Normalization by Robert Kirchhoff (nominee for the best editing at Slovak fi lm awards Slnko v sieti), Auto*mat by Martin Mareček, The Matchmaking Mayor by Erika Hníková, All for the Good of the World and Nosovice by Vít Klusák or feature fi lm Symptoms by Tomasz Wiński (winner of the best editing prize at student festival FAMUFEST).
PRODUCER: Mario Homolka Mario holds a MA degree from the University of Fine Arts in Bratislava in documentary production. He since worked in Czechoslovak television, as freelance documentarist, and sat in the board of National Slovak Television. In 1998 he founded LEON Productions and produced award-winning fi lms such as Jaro Vojtek’s Here We Are and The Border, Zuza Piussi’s The Grasp of the State, or Martin Šulík’s Milan Čorba. Short synopsis
A feature long time-lapse documentary fi lm project documentary fi lm on which we are working intermittently titled Journey to Success is a story of Mongolian since 2005 shows the Mongolian reality and struggle. women after fi fty who tries to escape her hopeless post- The development project ended, like most of the communistic reality through some “desperate” activity. development projects – trivial. The Film refl ex one of the UN development program "Slovak Aid" may make their many aid projects and through Mongolian experience may dreams about better life true by cheese-making but is serve as an inspiration to think about development aid as it possible with express aid projects? An observational such. 116/117
Fine Cut: April 20, 2016 Film Release: September 23, 2016
Approximated Length of the Current Cut:
–
Planned Length of the Cut:
–
Status of the Film:
Since we could do the additional shooting in Mongolia a postproduction grant at Slovak Audiovisual Found in past July, fi lm is now in the stage of the second rough cut. September and continue fi nishing the fi lm in the editing, We are adding the new scenes and rearranging the old cut. sound design, colour eff ects etc. After this period we are planning to apply for
Urgent Problem/Needs:
It would be great to get feedback on this new rough rep. Especially Yael Bitton and Ikka Vehkalahti. cut from the tutors who know our work and who were meeting us and advising us at the last workshop in Czech
Core Audience:
People interested in documentary fi lms, festivals in diff erent cultures, NGO managers, development help audience, art and fi lm clubs visitors, public TV, DVD, VOD employees, schools. – net Piano in Slovakia, Doc Alliance, people interested Potential Ambassadors:
Slovak Audiovisual Fund – grant for distribution NGO's dealing with development help, social topics as well support, Association of Slovak Film clubs and diff erent as cross cultural issues.
Positioning:
Family fi lm about development help to Mongolia, refl ecting not only cultural diversity but also common human problems and eff orts.
PR Opportunities / Story Angles / Press Strategy:
Slovak development help goes to Mongolia. Teaching the Media: articles in daily newspapers about the new fi lms, Mongolians know-how of cheese making. How would it fi lm magazine, Weekly news magazine, Weekly people life work in diff erent culture, environment and would it bring magazine, Enterpreneur magazine real help to the Mongolian family? Will the new business successfull?
Success Criteria:
Festival release, festival competitions, high number of local cinema viewers, TV release
International / Local Distribution Strategy:
Festivals, cinemas in Slovakia and Czech republic, VOD – Slovakia, DVD, public TV – Slovakia, Czech republic
What Kind of Distribution You Want to Go for and Why You See the Potential for Your Film There?
1. festival/theatrical We would cover the distribution in Slovakia with the 2. cable VOD/Broadband Digital/VOD distributor – Association of Slovak fi lm Clubs. In case of 3. television/cable success we would hire a sales agent for foreign market. 4. community and alternative TV , cable and VOD distribution would be covered by our company. Community and alternative screenings would be covered with cooperation of professionals from NGOs.
ORGANIZERS ORGANIZERS 120/121
DOCincubator /CZ/ DOK.Incubator is a think-tank founded in 2010 by experienced training providers to help documentary fi lmmaking to survive the current media crisis. We strongly believe only the productions with high quality production, which learn quickly about the new opportunities, will recover from the rapidly fading TV market.
In 2012 we established DOK.Incubator workshop focused on creative development of fi lms in post-production (editing, marketing and distribution). Since the demand for these fi elds was strong we started in 2013 to organize independent sessions with IDFA, Doc. Campus, Emerging producers and Copro Days . Thanks to Media Mundus we established overseas exchange of participants and tutors with IFP. In 2014 we added to our activities a four-day DOK.Restart distribution workshop in Poland (with Norwegian Film Institute and Wajda School) and project for Slovak documentary fi lm makers DOK.SK.
The NGO is based in Prague and employs a staff of fi ve throughout the year. ORGANIZERS
DOK Leipzig /DE/ DOK Leipzig is an international Festival For Documentary and Animated Film, the largest German and one of the leading festivals for artistic docu- mentary and animated fi lms. During the Cold War, the festival was a unique place of encounter for fi lmmakers from East and West. Since the fall of the Berlin Wall, DOK Leipzig has developed into one of the most dynamic festivals for documentary and animated fi lm, providing a highquality program and – since 2004 – additional industry off ers. MEDIA 122/123 PROGRAM
The project is being realized with the support of the MEDIA Program of the European Union
MEDIA, the EU’s support program for the European The program also makes a vital contribution to supporting audiovisual industry, makes it easier for independent cultural diversity and cross-border understanding of European fi lmmakers to develop new fi lms, and to fi nd other cultures, including through support to hundreds of partners and audiences beyond national borders. Many European fi lm festivals. Thirty-two countries participate in of these fi lms are made by small and medium-sized the program. businesses which fi nd it hard to fi nd fi nance. There are MEDIA schemes which can facilitate this. MEDIA also The Program also co-fi nances a Europe-wide network of supports the development and distribution of thousands of MEDIA Desks. These provide advice and assistance to fi lms each year, including feature fi lms, television drama, fi lmmakers wanting to access MEDIA support, and should documentaries and new media. the fi rst port of call of any fi lmmaker want additional information. In addition, the program helps fund training activities for both young and established fi lmmakers, new technologies and new platforms for delivery of audiovisual content of all kinds. MEDIA support is often critical as young fi lm and audiovisual businesses struggle to become established.
124/125 EVALUATION FORM
NAME:
WORKSHOP: 3rd WORKSHOP 2015 LOCATION: Leipzig /GE/ DATE: October 22nd – 29th
You attended DOK.Incubator Workshop 2015 as
Participating film project Observer for all the 3 workshop sessions
Title of your project:
1. Overall rating of this session of DOK.Incubator:
Excellent Good Satisfactory Unsatisfactory
Comments:
2. Your motivation for attending this training course (please tick several answers if appropriate):
Development of knowledge and skills Development of a specific project Building a network of contacts Improving your company’s performance Finding a new job Other please specify…………………………
3. How well were your objectives met?
Completely Well Partly Not very well Not at all
4. What did you think of the training program?
Relevance to your present job Very relevant Relevant Of little relevance Relevance to general career development Very relevant Relevant Of little relevance Content covered Too much About right Too little Level of content Too advanced About right Too elementary Level of other participants Too advanced About right Too elementary Length of event Too long About right Too short
126/127
5. What did you think of the trainers/tutors?
Knowledge of the subject Excellent Good Satisfactory Unsatisfactory Communication skills Excellent Good Satisfactory Unsatisfactory Relationship with the group Excellent Good Satisfactory Unsatisfactory Willingness to help and support participants Excellent Good Satisfactory Unsatisfactory
Comments:
6. What did you think of the way in which the training was delivered?
Overall organisation of course Excellent Good Satisfactory Unsatisfactory Availability of training organisers Excellent Good Satisfactory Unsatisfactory Balance of group and individual work Excellent Good Satisfactory Unsatisfactory Mix of theory and practice Excellent Good Satisfactory Unsatisfactory Training room facilities Excellent Good Satisfactory Unsatisfactory Follow-up and tutoring (if any) Excellent Good Satisfactory Unsatisfactory Computer facilities (if any) Excellent Good Satisfactory Unsatisfactory
Comments:
7. Which aspects of the training course do you think are the most useful to you personally?
Course content Very useful Useful Not very useful Completely useless Contacts with trainers Very useful Useful Not very useful Completely useless Contacts with participants Very useful Useful Not very useful Completely useless Follow-up consultancy Very useful Useful Not very useful Completely useless
Comments:
8. Did you receive any scholarship for attending the course?
No Yes I received a scholarship from the Training Organisation from another source:……………………
To cover following costs: …………………………. Amount: € …………
9. Do you plan to attend other Media training activities in the future?
No Yes:……………………………..
10. Would you recommend this training activity/workshop to others?
No Yes
3rd WORKSHOP How do you evaluate the concrete parts of the programme?
Thursday 22nd and Friday 23rd
1. Individual rough-cut consultation
Yael Bitton Very useful Useful Not very useful Completely useless Per K. Kirkegaard Very useful Useful Not very useful Completely useless
Saturday 24th and Sunday 25th
1. Individual trailer consultation
Your tutor:……………………………
Very useful Useful Not very useful Completely useless
2. Introduction with Sigrid Dyekjær, Freddy Neumann, Leena Pasanen, Andrea Prenghyová
Very useful Useful Not very useful Completely useless
3. Pilot Screening
Group 1: Claas Danielsen, Sigrid Dyekjær
Very useful Useful Not very useful Completely useless
Group 2: Christine Camdessus, Per K. Kirkegaard, Freddy Neumann
Very useful Useful Not very useful Completely useless
Monday 26th
1. DOK Preview: How it works? with Andrea Prenghyová
Very useful Useful Not very useful Completely useless
2. Individual meeting on the pitching skills
Christine Camdessus Very useful Useful Not very useful Completely useless Claas Danielsen Very useful Useful Not very useful Completely useless Sigrid Dyekjær Very useful Useful Not very useful Completely useless Freddy Neumann Very useful Useful Not very useful Completely useless
3. The first pitch
Christine Camdessus Very useful Useful Not very useful Completely useless Claas Danielsen Very useful Useful Not very useful Completely useless Sigrid Dyekjær Very useful Useful Not very useful Completely useless Freddy Neumann Very useful Useful Not very useful Completely useless 128/129
th Tuesday 27
1. Who is who at DOK Preview with Gitte Hansen
Very useful Useful Not very useful Completely useless
2. Individual meetings with tutors
Christine Camdessus Very useful Useful Not very useful Completely useless Claas Danielsen Very useful Useful Not very useful Completely useless Sigrid Dyekjær Very useful Useful Not very useful Completely useless Freddy Neumann Very useful Useful Not very useful Completely useless Claudio …Cea Very useful Useful Not very useful Completely useless
3. The final rehearsal
Very useful Useful Not very useful Completely useless
Wednesday 28th
1. DOK.Incubator Preview
Very useful Useful Not very useful Completely useless
Your comments on the preview (organisation, your participation, your mentor’s introduction, the event itself):
2. DOK.Incubator Networking Lunch
Very useful Useful Not very useful Completely useless
Your comments on the networking lunch (organisation, the potential usefulness, your mentor’s effort to introduce you sales people and make you speak with them, the event itself):
Thursday 29th
1. Start Up! with Sigrid Dyekjær and Freddy Neumann
Very useful Useful Not very useful Completely useless
2. Individual Consultation
Sigrid Dyekjær Very useful Useful Not very useful Completely useless Freddy Neumann Very useful Useful Not very useful Completely useless
3. Farewell Session
Very useful Useful Not very useful Completely useless
Any other comment you want to share with us?
WHO 130/131 IS WHO
First name Surname Email Country Participation
Darya Averchenko [email protected] Ukraine Producer
Yael Bitton [email protected] France Editor
Barbora Berezňáková [email protected] Director Director
Roman Bondarchuk [email protected] Ukraine Director
Christine Camdessus [email protected] France Producer
Enrica Capra enrica@graffi tidoc.it Italy Producer
Claudio Cea [email protected] Switzerland Editor
Uldis Cekulis [email protected] Latvia Producer
Lieven Corthouts [email protected] Belgium Director
Jan De Coster [email protected] Belgium Editor
Andrea Culková [email protected] Czech Republic Director
David Čorba [email protected] Slovakia Producer
Claas Danielsen [email protected] Germany Festival Representative
Jana Durajova [email protected] Slovakia Student
Sigrid Dyekjær [email protected] Denmark Producer
Thomas Ernst ernstfi [email protected] Hungary Editor
Christian Falvey [email protected] Czech Republic Communication
Christy Garland christy@murmurfi lm.com Canada Director
Tanja Georgieva [email protected] Germany Producer
Hana Gomoláková [email protected] Czech Republic Staff
Kateryna Gornostai [email protected] Ukraine Editor
Philipp Gromov [email protected] Germany Editor
Gitte Hansen gitte.hansen@fi rsthandfi lms.com Denmark Sales Representative
Imam Hasanov [email protected] Azerbaijan Director
Ivana Huciková [email protected] Slovakia Student
Veronika Janatková [email protected] Czech Republic Producer WHO IS WHO
First name Surname Email Country Participation
Nele Jeromin [email protected] Germany Observer
Liisa Juntunen liisa@napafi lms.fi Finland Producer
Per K. Kirkegaard [email protected] Denmark Editor
Josef Krajbich [email protected] Czech Republic Student
Tomáš Kraus [email protected] Czech Republic Staff
Jan Látal [email protected] Czech Republic Student
Alex Lora Cercos [email protected] Spain Editor
Myrtille Mamelle-Perrot [email protected] France Staff
Peter Morávek [email protected] Slovakia Staff
Freddy Neumann [email protected] Denmark PR and Communication
Emmy Oost [email protected] Belgium Producer
Andra Popescu [email protected] Romania Producer
Andrea Prenghyová [email protected] Czech Republic Staff
Květa Přibylová [email protected] Czech Republic Student
Tereza Ritterová [email protected] Czech Republic Staff
Tereza Šimíková [email protected] Czech Republic Staff
Žofi e Strachotová zofi [email protected] Czech Republic Staff
Antonio Tibaldi [email protected] Belgium Director
Nicolas Van Hemelryck [email protected] Colombia Producer
Gustavo Vasco [email protected] Colombia Editor
Dorota Vlnová [email protected] Slovakia Student
Martin Vronský [email protected] Slovakia Student
Nanfu Wang [email protected] China Director
Clare Weiskopf [email protected] Colombia Director
Marco Weisse [email protected] Germany Staff LOCATION 132/133
DOK.Incubator
A. Workshop Venue (WV) B. DOK.Incubator Preview
Evangelisch-Freikirchliche – Baptisten Gemeinde Wednesday 27th Bernhard-Göring-Straße 18-20 10.00-12.30 Leipzig, Deutschland Kabaret Leipziger Pfeff ermühle GPS: 51.328573, 12.377563 Katharinenstraße 17 Leipzig
C. Participants’ Hotel D. Tutors’ Hotel
B&B Hotel Leipzig-City Hotel Motel One Nikolaistraße 34 Nikolaistraße 23 Leipzig Leipzig
1. DOK Leipzig Festival Centre, 4. DOK Lounge/ARTE Party DOK Market, Opening Reception Moritzbastei Museum der bildenden Künste Leipzig Universitätsstraße 9 Katharinenstraße 10 Leipzig Leipzig
2. Warm-up Party 5. Goodbye Dinner
Café Bau Bau Telegraph Restaurant Karl-Tauchnitz-Straße 9 Dittrichring 18 Leipzig Leipzig
3. Co-Production Dinner
Beyerhaus Ernst-Schneller-Straße 6 Leipzig
PRACTICAL 134/135 INFO
Žofi e /DE/+49 0151 2358 2224 Marco /DE/ +49 0173 8489 184 DOK. Hana /DE/+49 0175 1226 595 Tereza /DE/+49 0151 2351 1293 Incubator Andrea /DE/+49 0151 2351 1251 production
Emergency service/fi re-brigade: 112 Emergency Police: 110 call
Katharinenstraße 8 Tourist D-04109 Leipzig Phone: +49 (0)341 7104-260 or 265 E-mail: [email protected] Information www.leipzig.de www.ltm-leipzig.de
Opening hours: Mon–Fri 9.30am–6pm (November–February 10am–6pm) Sat 9.30am–4pm Sun/Public holidays 9.30am–3pm
COMMERZBANK Cash Points Thomaskirchhof 22, Georgiring 3 DEUTSCHE BANK Martin-Luther-Ring 2, Willy-Brandt-Platz (Hbf ) DRESDNER BANK Petersstr. 1-13 (Messehofpassage), Goethestr. 3-5 HYPOVEREINSBANK Ratsfreischulstraße 5, Markt 5/6 POSTBANK Brühl 8 Hauptbahnhof (UG) REISEBANK AG-TRAVELLER’S BANK Willy-Brandt-Platz 5 (Hbf) NOTES NOTES