short film co production SHORT FILM COPRODUCTION International cooperation in the field of short film production in Europe

table of contents

Why short film coproduction? 5 The situation of coproduction in Europe 6 Types of coproduction 8 Challenges of coproduction 10 Case studies 15 The Great Magician 16 The Monster of Nix 18 Panihida 20 Random Strangers 22 Thermes 24 Vivons la Mort 26 Voyage Autour de Ma Chambre 28 Main Contacts 31 List of coproduction incentives in Europe 32 A - Z of coproduction 38 Index of People and films 42 NISI MASA 47 Credits 48 4 chapter 1 Why short film coproduction? As a network of young film- other institutions. Our goal The first part of this book makers and producers, NISI was to perceive how familiar focuses on the central as- MASA has always been in close these people and companies pects of coproduction, with contact with the production were with coproduction, if its implications for financial and the distribution of short they had done it or not, their and artistic aspects, as well films in Europe. Knowing all reasons and beliefs concern- as the main advantages and the difficulty that short films ing this practice. disadvantages perceived by find to be produced and then our interviewees. Then, seven sold or seen, it seemed im- This project is therefore a “col- short film coproductions were portant to us that produc- lection of impressions”: a sort chosen because of certain ers and cinema institutions of open debate rather than a particularities regarding their in general be acquainted strict catalogue or essay on genre, production structure with the coproduction pos- the topic. France and Germany and sources of funding. In sibilities that have already be- represent an important part of the second part, most of the come quite a usual practice our quest, but other countries practical information about amongst feature films. such as Spain, the Nether- the mentioned people, films lands, the United Kingdom, and institutions has been Therefore, we wanted to get Latvia, Sweden, Denmark, compiled, together with a an impression from the pro- Estonia, Italy, Finland, Belgium, small index of the main terms fessionals of cinema regarding Austria, Serbia and others are related to the coproduction of the importance of the copro- also represented. Since copro- short films. duction of short films. We got ductions are often generated in touch with film producers, by “improvisation, creativity, filmmakers, screenwriters, fes- as a way to get by”, as one of tival organizers, sales agents, our interviewees said, there is film schools, regional cultural no point in setting strict rules funds, television buyers, and advice for a practice that crowdfunding websites and is still evolving in Europe. 5 The situation of coproduction in Europe

It would be hard to ignore that the practice of coproduction is much more common for feature films than for short films. The reason for this may be that the cost of feature films is much high- er and they have deeper financial obligations, since they have a more developed commercial career than short films. The informal structures available for short films make them more free on one side, but less structured on the other.

“The market is expected to be harder for short films, even if more and more festivals have been created. Short films, due to the economic choices of our system, do not have a commercial distribution. There is no financial interest, and normally when there is such interest, it’s because publicity companies or feature film producers notice very fast a director who makes good short films.”

“What I have increasingly noticed is that the financial existence of a fea- ture in the theatres has become more limited, because in order to get such a product done, there must be a minimum of guarantee coming from international sales, DVD release and other sources. In the end, feature production companies do not make a lot of money once the film is ready and being exhibited, because a significant part of the income is used to reimburse these intermediates.” (Ron Dyens, filmmaker and producer at Sacrebleu - France)

I don’t know any institution that supports coproduction Given that context, Jean-Christophe Soulageon, Les Films Sauvages the fact is that there are almost no grants or specific financial institutions which encourage the coproduction of short films. Forums of film projects for European producers and European pitching sessions are new initiatives that surely help, but the practice remains unconventional. Some countries have very limited budgets for the production of short films, and even if coproduction might represent a financial aid, it can also generate more expenses with trips and project translation. Border regions between countries may also encourage cultural exchanges, but that does not apply everywhere in Europe. 6 2010) Republic of Moldova, (Germany, Panahida from “I don’t think we do a lot of coproduction of short films in general. There is a high percentage in France in the case of animation, because there are fewer problems with language. But I do believe that coproduction will become a usual practice, because the grants are limited, and also there are financial responsibilities that are hard to cope with. Institutions are very bu- reaucratic, the government demands an awful amount of paperwork, so we need more people to work on that, to participate in selections, to find the fi- nancing… that I do believe that coproduction will become a usual costs money for employees. It’s practice, because the grants are limited normal that, Ron Dyens, Sacrebleu when people become profes- sionals, we pay them more money, and we become more demanding. All that has a cost, so we have to find the cash. Even if we do have it, sometimes we run out of places to look.” (Ron Dyens, Sacrebleu)

In general, most producers are unaware of benefits and possibilities of coproduction. Working with a different culture and new producers may seem a challenge that many producers are not ready to face. That is why the new initiatives mentioned above seek to present the copro- duction of short films as a new possibility and an asset instead of a constraint.

“For short films, apart from NISI MASA and the Clermont-Ferrand festival, I don’t know any institutions that support coproduction. The French film commission, the CNC, has had some specific actions towards copro- ductions (the year of Algeria in France, and then a screenplay contest in partnership with England, I think), but they have no permanent funds. Ac- tually, one very simple and concrete action, that wouldn’t cost much mon- ey, would be to create a grant for film project translation. We do produce short films with little money, and language still remains the main obstacle to transmit an idea, which is the basis of the screenplay. A pitch in English, from a Macedonian or a Spanish person, could surely give a general idea of what the project is about, but it’s far from explaining the whole project, translated into the right language.” (Jean-Christophe Soulageon, produc- er at Les Films Sauvages - France)

from Chienne d’histoire (Turkey/France, 2010) (Turkey/France, Chienne d’histoire from 7 Types of coproduction

When talking to French film producer Nathalie Algazi, she immediately highlights that it is important to separate fi- nancial coproductions and artistic ones. This division may be helpful to understand that the collaboration of a pro- ducer may take place only at the investment level – when a company from a different country intends to pre-buy the project, for example, or invest in the film’s post-pro- duction – or, on the contrary, can take place on an artistic level, with the executive production being split with a sec- ond producer, who takes part in the development of the

from Ohne Titel (Films de Force Majeure) de Force (Films Ohnefrom Titel screenplay, the casting, shooting locations, etc.

“Within Films de Force Majeure, we consider international co- production not only as a financial contribution, but above all as a mutual source of enrichment. That is the angle from which we consider copro- duction for the projects that suit it. The advantages are the multiplicity of points of view and that of know-how; the project becomes more flexible from its conception to post-production, and that has a positive impact on distribution (films premier in at least two countries) and exhibition circuits (film festivals, television etc.). The network is much wider.”

This experience was very enriching because it allowed the Since I am also a screenwriter film to have better potential from the pre-production stage. and filmmaker, my last short film, Alter Ego (2009), was a Jérôme Nunes, Films de Force Majeure coproduction between Lux- embourg (Minotaurus Film) and France (La Compagnie d’Avril, Green House), with cooperation from Bel- gium and Austria, where new partnerships enabled post-production to hap- pen (Amour Fou in Austria, Alea Jacta in Belgium). This experience was very enriching because it allowed the film to have better potential from the pre- production stage. Then, the film could be easier seen in the partner countries. Consequently, for my next short film, Hippocampe, I intend to venture into 8 coproduction once again.” (Jérôme Nunes, Films de Force Majeure) In general, coproduction may be any kind of multinational or multiregional ex- from Together Germany) (UK, change that allows short films to happen. If a company or individual cooperates with equipment, financial aid, help in post-production, etc., that cooperation can be considered coproduction. From “ideal” coproductions, in which all parts involved contribute equally to the making of the film, to crowdfunding coproductions, for which ordinary individuals from different countries contribute with amounts of money as symbolic as ten Euros, coproduction can have many different faces. De- spite the different natures and impacts that this practice has on the final result of the film, coproduc- tion remains basically an exchange which It was crucial that we had the backing adds new possibilities of both German and British funds on this for the film’s produc- production. (....) this was the only possible tion, distribution and way we could make our film. exhibition. Some pro- Zorana Piggott, 011 Productions ducers and filmmakers present the diversity of coproduction they have been involved in:

“We have got interest and agreement from a Swedish producer to give some financial support to our project. It was more sponsorship than actual coproduction. He covered all laboratory costs. This was not a big part of our budget, but it was important enough for that particular situation.” (Vladimir Leschiov, director of Zudusi Sniega – Latvia/Sweden)

“Together is a British story directed by German director Eicke Bettinga, so from the very beginning we considered making it a collaboration between the two countries. I have previously worked on several feature films in a producing capacity, with all of the films structured under the European Convention on Cinematographic Coproductions, so I had a very good idea of what we would need to do to make it work. It took over one year to raise the required finance for the film. Nordmedia, the German regional fund for Lower Saxony and the Stiftung Kulturregion Hannover (Han- nover Cultural Office) were the first financers on board and the shooting took place in and around Hannover over six days in late November 2008. We had a British cast and the entire crew was German. The film was also supported by Band Pro Munich GmbH, which provided the camera while we hired the rest of the production equipment lo- cally. Post-production was supported by the UK Film Council’s Short Film Completion Fund and most of the post-production work took place in the UK. It was crucial that we had the backing of both German and British funds on this production. This type of collaboration is usually reserved for feature films and I am happy that we managed to apply it to Together, as this was the only possible way we could make our film.” (Zorana Piggott, producer of Together – United Kingdom/Germany)

All genres and types of films can be concerned by coproduction, but some genres have made use of this practice more often than others. Animation seems to be not only a type of production that normally suits better television programmes and Internet buyers, but also the one that, since it usually costs more than a live action film, looks more frequently for other sources of financing. But this does not 9 a more difficult commercial career, do not make use of coproduction. Olivier Smolders, an experienced experimental film director, is one of the examples that we had in this booklet of filmmakers who frequently make use of coproduction. That is also the case of Nicolas Schmerkin, Academy-award winner for Logorama (2009):

“Coproduction is particularly important to experimental anima- tion short films like the ones we do at Autour de Minuit, because it’s a lot hard- er to find financial aid for animation films. Even if it is never simple to work with coproduction in most films, I guess it’s a bit easier in the case of anima- tion, because a part of it can be done in one country, and the other part else- where. It’s not the same thing with It’s a bit easier in the case of animation, other films, when because a part of it can be done in one there is the crew, country, and the other part elsewhere. the actors… Nicolas Schmerkin, Autour de Minuit “Having said that, we always need to check if it’s really worth start- ing a coproduction. Of course, a different producer can help reach the initial budget, but the obligations are numerous, and the compulsory division of the work between countries is complicated. It can cost a lot of money to trav- el, to find accommodation in another country... there are the language barri- ers… it’s not always easy. It demands a very good sense of organization for it to work.” (Nicolas Schmerkin, producer at Autour de Minuit - France) from Shaman (Denmark/France) from Challenges of coproduction Undoubtedly, the principal motivation for the coproduc- tion of short films is financial. Most projects and produc- ers lacking the necessary amount of money to complete their budget can make use of coproduction as an alter- native strategy. Coproduction can also be a necessity of the project itself, as for example when the screenplay in- cludes scenes in different countries or when the charac- ters come from different places and their cultures must be seen (or heard with the soundtrack) on the movie. Most of the professionals we talked to stressed that no one starts a coproduction just for fun: coproduction implies either a 10 necessity or a clear advantage for the film. “The idea of coproduction came to me naturally, since I’m French and living in Den- mark. I had been working for ten years at 24 Images Production, a company based in Le Mans, France. They had become my friends. The Danish company, which was producing Shaman, needed to find a television company interested in the film in order to get financing from the Danish Film Institute. Since the Danish television re- fused to pre-buy it, I talked to 24 Images to try to get some help. They got a pre-buy from Arte France. That purchase enabled us to get some more financing in Den- mark and gave us the possibility to start a coproduction with mostly French funds.” (Luc Perez, director of Shaman – France/Denmark)

“It’s surely more complicated in administrative terms to multiply the fi- nancial sources, and having to fulfil eligibility criteria (such as territorial ones). But apart from the fact that coproduction helps reach a project’s budget, it seems to me that it’s more adequate when the nature of the project demands this sort of part- nership, either because there is a multinational crew, or the screenplay demands it. For example, we have been working on a feature film that takes place entirely in Dakar, and even if the resources in Senegal are inexistent for local productions, we still need a local person to assure the executive production on location. This person will also be able to request some financial help not only to the Senegalese govern- ment, but also to the institutions that will consider it as a French-speaking country. There is, in that case, a double interest: it’s natural for the artistic need, but surely a financial one as well, of course.” (Jean-Christophe Soulageon, producer at Les Films Sauvages - France)

Therefore, the main posi- tive aspects include the Coproduction is very useful for easier possibility of getting distribution Riin Urbanik, Average Monkey a pre-buy or an investment from at least one of the countries involved. Mimetic perception also plays an important role in that mechanism: if an institution sees that another one has invested in a project, this same project will seem more worthy of appreciation and there are consequently more chances that a second source will decide to invest. Coproduction makes it easier for a project to be seen or distributed. Also, the different cultures can add to the making of the film, and to its appreciation once it is ready – people in one country may relate differently to certain themes than others. Finally, this practice enables producers to develop a network of peo- ple they are familiar with and whose work they appreciate, which is essential for companies longing to realize bigger projects such as feature films.

“Coproduction is very useful for distribution, especially for France and with France as the short film culture is developed and TV buys films for a good price. Else- where it is not so beneficial. I am very international and I prefer it when there is an international collaboration. If there is some point in the making of the film that allows this practice - either location, distribution, 3D, money available - then it makes a lot of sense to coproduce short films, as there will always be more people that will see the film.” (Riin Urbanik, producer at Average Monkey - Estonia) 11 “The biggest advantage is that the film could profit from multiple fi- nancial possibilities, and so did the commercial career of the film with television purchase and festivals. The film had a much longer career because it had both French and Danish producers. The film also gains a certain freedom and open- ness. The coproducers are more attentive to the impact that the film can have in each country. Of course, the multiplication of financial sources is good for the film. My next film, which is in the production phase now, is also a coproduction that allowed me to gather French and Danish talents. There is also a mimetic ef- fect: the French will think “If the Danish like it, then maybe the project deserves it” and vice-versa.” (Luc Perez, director of Shaman – France/Denmark)

“Coproduction is almost always a better way to finance a film. Apart from the financial resources you also have to consider the broader creative re- sources that you can access. It is a pity that funding for coproduction on a short film level is very rare unlike the situation for feature films. For features it is almost normal to make a coproduction. In the end, if you have a trustworthy partner and a harmonious relation it is heaven and always an advantage, if you don’t have that, it is hell.” (David Lindner, FILMALLEE)

There are some downsides to coproduction, of course. The main downsides of working with a different country would be the amount of work and organ- ization required. It can be harder to work with other languages, other admin- istrative structures and obligations, other ways of thinking and conceiving cinema. Distance can be an issue if the cast and crew have to travel to differ- ent places – which is a minor problem for most animation films. Short films in coproduction multiply their possibilities of pre-buying from a television channel or Internet support, but several buyers have reduced purchase goals for films in a foreign language. In general, coproduction implies a longer time for the film to become ready.

“For this project if you have a trustworthy partner and a there is a Spanish harmonious relation it is heaven. producer attached David Lindner, Filmallee to it already. I was looking for a co- producer outside of Spain, preferably a French producer. For short films I think the bigger amount of the budget comes from public investment. If this project gets enough attention, I think we might have chances of presales on a few networks here in Spain. There might also be chances in France.

“I think coproduction is a good idea, but it depends on several things, such as the kind of film, and the grant laws of every country. If you’re coproduc- ing between countries where grant laws are too protectionist, it might be too much work just for a short film. If you’re coproducing with France, there are a lot of different types of grants. Depending on the region and the country you’re in, it might be a good choice”. (Martin Guido, screenwriter of The Garment - Spain)

12 Sniega- Latvia/Sweden Zudusi from “First of all, in such small country like Latvia, we do not have enough professionals. Also, it is not possible to get 100% financial support from such a small country, where the film market is limited to a population of 2 million people. Often short films have lower budgets, so there is no need for coproduction. However, if the project is a complicated animation with lots of characters, it should be enough reason to look for a coproduction partner.” (Vladimir Leschiov, director of Zudusi Sniega- Latvia/Sweden)

“Coproduction is harder to manage as a filmmaker: I was sup- posed to be the link between the two coproducers, explain to both of them how it all had to work. Writing the contracts according to the rules of both countries proved to be a delicate issue, and the same happened for manage- ment and accountability of the money we raised. We had to be very precise with the organization and communication, handling misunderstandings originated by the language and cultural differences. But since I already had some experience working with German and American producers, I didn’t find it very hard.” (Luc Perez, director of Shaman – France/Denmark)

from Silent River, Germany/Romania)

13 14 chapter 2

Case Studies This second part intends to illustrate the diversity of coproduction through the study of seven particular cases of short films coproduced mainly by European countries. Each case seeks to por- tray a different kind of investment, film genre, distribution or exhibition. That is why the short films mentioned go from the biggest productions to small budget ones, from a first-time experi- ence to highly experienced producers and prize-winning projects.

Each case study is accompanied not only by a short presentation of the film and its com- mercial career, but also by the point of view of either the producer or the director, concerning the experience in coproduction.

The short films mentioned are: The Great Magician (France/Sweden/Estonia, 2006) The Monster of Nix (France/Belgium/The Netherlands, 2010) Panihida (Germany, Republic of Moldova, 2010) Random Strangers (United Kingdom/The Netherlands, 2011) Thermes (Belgium/France, 2010) Vivons la Mort (France/Canada, 2009) Voyage Autour de Ma Chambre (Belgium/France, 2008) 15 The Great Magician Sweden // France // Estonia, 2006

Even if some production companies become used to the work with coproduction, they are few to start directly with coproduction, and even fewer to have more than 50% of their catalog composed of short film coproductions. That is the case of French com- pany La Voie Lactée, which has already worked with Spain, Sweden, Denmark, Estonia, Belgium and other countries.

‘The great magician’ is an absurd and tragic-com- The Great Magician (France/Sweden/Estonia, 2006) ical fairytale about the miserable life of a poor and Genre: Fairytale unknown magician. He lives in the guise of a pe- Length: 15 min. dantic clerk who works at the Mysterious Bank at Director: Elisabet Gustafsson Humble Avenue. Even though ill-disposed people Production: La Voie Lactée (France), Average Monkey (Estonia), surround him, his servile attitude towards virtue, Dfm Fiktion (Sweden) moral and providence keeps him from using his Cast: Claes Hylinger, Maria Klenskaja and Egon Nuter powerful force to change the situation. Nobody suspects him to be a fantastic magician - maybe 16not even himself! Producers Nathalie Algazi and Marie Sonne- Nathalie Algazi Jensen explain how this first coproduction was Producer at made, highlighting the artistic role of each con- La Voie Lactée Productions (France) tribution, and the network that it enabled the [email protected] www.lavoielacteeproductions.com company to develop: After working as a freelance production Nathalie Algazi: La Voie Lactée started with a first co- coordinator for French companies such production, The Great Magician. We met the Swedish as Aeternam Films and Bonne Pioche filmmaker Elisabeth Gustafsson, and her screenplay (March of the penguins), Nathalie Algazi created La voie lactée in 2005 along with Marie Sonne-Jensen instantly pleased us. Her Swedish producer, DFM Fik- she had studied with at ESRA (Ecole Supérieur de Réalisation tion, got financial support from the Swedish Film Insti- Audiovisuelle). The European coproduction strategy of La voie tute, as well as the Estonian producer support from the lactée was rewarded in 2009 by the selection of her French- French Embassy in Estonia and we managed to sel the Spanish short film project at EuroConnection (Clermont-Ferrand film market). Nathalie also worked as coproducer on short films film to France, so this 3. This first project naturally be- such as Casus Belli. came a co-production amongst between three coun- tries. We should mention that all three countries re- Marie Sonne-Jensen ally liked the project, there was a true interest for each Producer at producer, and it wasn’t just a matter of financing. We La Voie Lactée Productions (France) cannot forget that there are two very different kinds of [email protected] co-productions, the financial co-productions and the www.lavoielacteeproductions.com artistic ones. Marie Sonne-Jensen is a Danish pro- ducer living in Paris. After two years of Marie Sonne-Jensen: Indeed, it’s the Swedish producer experience in the advertising industry, who accepted it, because in the beginning he was sup- and collaborating as a production coor- posed to do only the executive production, but since dinator at Slot Machine and Les films du lendemain, she natu- rally applies coproduction strategies on the short film she pro- she had some of the financing already, he joined with a duces.. She has developed a strong relationship with Swedish certain percentage of the budget and we became co- director Elisabet Gustafsson, giving birth to two collaborations producers. He accepted that the pre-buy agreements : a Swedish-Estonian-French film shot in Tallin broadcasted by be settled by the coproducers as well. It was a great France 3, and a French- Swedish film shot in Strasbourg, pre- opportunity, when we had some nice cooperation be- bought by France 2. tween producers

Marie Sonne-Jensen: This is a good example of a co- So coproduction just demands some more organi- production where the major producer highlights the zation after all… efforts of each co-producer. Indeed, La Voie Lactée, as French co-producer, didn’t succeed in financing the NA: The amount of work that we have to do in the co- shooting of the film but we suggested to include a production of a short film, is like twice the amount of possible French TV buy of the film in our co-produc- work as it would be on a regular short film. tion agreement. The fact that France 3 bought the film, made it possible to the Swedish producer to pay the MSJ: To agree on a contract, the cash flow, responsi- director and technicians correctly. bilities take time. But it is truly necessary because we often haven’t got the possibility to use a lawyer in legal Festivals & Awards disputes – so we have to communicate well, way be- fore the production of the film actually begins. There Brooklyn International Film Festival, US; MECAL – Bar- are lots of cases where there are disputes, and the film celona, Spain; Hamptons International Film Festival, remains stopped in the laboratory. For short films, it US; Bunter Hund International Film Festival Munich, also costs some significant amount of money, so we Germany; Fantasy Worldwide Film Festival, Toronto, should pay attention to that. Canada; Portland International Film Festival, US; Paris Tout Court, France; RioFan - Rio de Janeiro Fantastic Film Festival, Brazil; Amsterdam Fantastic Film Festival; Jonkoping Film Festival, Sweden; Portable Film Festi- val; Reykjavik Shorts & Docs, Iceland;Swedish and Nor- wegian film festival in Paris, France. Best Short Film, 17 Fantasy Worldwide Film Festival, Toronto Canada. The Monster of Nix France // Belgium // The Netherlands, 2011 The case of animation films is special amongst coproductions. Not only does animation correspond to one of the best selling genres in the short film market, because it can fit pro- grams for adults, teenagers and children, but also its production conditions are favorable to coproduction. The budget of animation films is normally higher, which implies the bigger need of external financing, and the lack of live action shooting makes it easier for the work to be shared between two or more countries.

“Life is good in the idyllic fairytale village The Monster of Nix (France/Belgium/The Netherlands, 2010) of Nix... until an all-devouring monster ap- pears. Young Willy has to fight it. Alone.” Genre: Animation Length: 30 min. Director: Rosto Production: Studio Rosto A.D (The Netherlands) Autour de Minuit (France), CinéTé (Belgium) 18 Nicolas Schmerkin has worked in several differ- ent coproduction projects, and he presents the Nicolas Schmerkin recent The Monster of Nix as the example of an Producer at Autour de Minuit (France) ideal coproduction, in which all of the partners [email protected] have a practically equal responsibility in both blog.autourdeminuit.com the artistic and financial aspects of the project: Nicolas worked at selection for the Inter- national Sarajevo Film Festival, as well as “The most representative short film we’ve done is in post- the Némo Festival in Paris. At the same production for now, it’s The Monster of Nix, made by Ros- time, he develops together with Philippe to. It was a real coproduction between the three countries: Bober a catalog of international sales and France, Belgium and the Netherlands. It’s a 30-minute film, also does film editing for feature films such as Carlos Reyga- only 6 of which were made in Paris. All the three countries das’s Battle in Heaven (2005). In 2001, he becomes the found- were involved from the start, and they all contributed to er of Autour de Minuit Productions, a production company reach the budget.” focusing on new inventive digital projects, mixing genres and techniques. He wins the Oscar and the César in 2010 for the short film Logorama. Do you often search for films to coproduce? “These last two or three years, we produced four films with the Netherlands and one with Croatia. We are lucky to Willem Thijssen have the contact of a very good Dutch coproducer, Adri- Producer at CinéTé bvba (Belgium) aan Lokman, so it’s simpler for us to coproduce withthe [email protected] Netherlands. These five last years, we have produced about www.cinete.be one film per year. We don’t specifically look for coproduc- tion, some projects just show up. Twice a year, more or less, Willem Thijssen is a film director, script some people come to propose to us a coproduction with writer and film producer. He studied another foreign country, but in that case Autour De Minuit production and direction at the Dutch becomes a minor producer.” Film Academy, and since 1974 he has been a producer and coproducer in Is coproduction particularly important in the case over 40 short films and 15 features. His productions have already been awarded with an Oscar of experimental animation short films like the ones twice. you do? “For sure, because it’s a lot harder to find financial aid for Willem Thijssen gives his point of view on the (co) animation films. Even if it is never simple to work with production of The Monster of Nix: coproduction in most films, I guess it’s a bit easier in the “I’ve been in coproduction of shorts and features since the case of animation, because a part of it can be done in 70s. At least half of my 80 films so far are coproductions. one country, and the other part elsewhere. It’s not the For instance our Oscar winning short Father and Daugh- same thing with other films, when there is the crew, the ter in 2000 was a Dutch/English 50/50 coproduction. The actors… Having said that, we always need to check if it’s main reason to coproduce is to get the money together, of really worth it to start a coproduction. Of course, a differ- course, but it also implies a lot more work and travelling, ent producer can help reach the initial budget, but the which is a disadvantage. In general I think that anima- obligations are numerous, and the compulsory division of tion is quite well adapted to be coproduced. Based on a the work between countries is complicated. It can cost a (moving) storyboard the work can quite easily be split up lot of money to travel, to find accommodation in another between more animators.” country, there are the language barriers… it’s not always easy. It demands a very good sense of organization for it I agree with Nicolas [that this coproduction was equally to work.” shared between all the producers]. Things were clear from the beginning (Dutch majority and clear attributions Festivals & Awards on France and Belgium). Basically the only problem we ran into was the fact that the Dutch side of the produc- Being still in post-production, The Monster of Nix hasn’t tion was quite inexperienced in the job of “coproducing” yet participated in festivals and other events. (whereas they were very experienced in directing) and a lot of things had to be explained often to make things work. But it turned out fine in the end! 19 Panihida Germany // Republic of Moldova, 2010

Even if the financial aids specifically conceived for the coproduction of short films are rare, they do exist in certain parts of Europe. The Robert Bosch Stiftung grant, for example, contributes with up to 70 000 Euros for each coproduction project between Germany and Eastern European Countries. The projects can be fiction, documentary and animation. German/Moldovan project Panihida was the 2010 winner of the fiction category.

Recently one of the oldest women living in a small vil- Panihida (Germany/Republic of Moldova, 2010) lage in Moldova died in one of the houses. Young and old generation come together in order to say goodbye Genre: Fiction to her. Tradition collides with modern spirit, people Length: 58 min. from far away return and meet people who have never Director: Ana-Felicia Scutelnicu left the village. During the Panikhida – the orthodox Production: Weydemann Brothers, (Germany) burial-ceremony – it comes an explosion of emotions, 20memories, facts and absurdities. Producer Jonas Weydemann shares the experi- ence of working with that institution and hav- Jonas Weydemann ing coproduction as a goal in itself, not just the Producer at Weydemann Bros. means of getting a short film done: (Germany) [email protected] www.weydemannbros.com Why have you chosen coproduction? Was it your in- tention and that of the director from the beginning Jonas Weydemann takes his first of the project? steps into the film business in San The story of Panihida is based in a little village in the Re- Francisco, where he attends work- shops at the Hollywood Film Insti- public of Moldova. As we had never produced a film in tute. In several film production this country before, it was logical to produce together with companies in Munich, Berlin and somebody from there. Not only regarding the organiza- Hamburg he gains experience and later studies film produc- tion, but also the story, it was very important to get the tion at the German Film and Television Academy Berlin (dffb). best out of the project. After we met the director Ana-Feli- Since 2007 he is programming director at the short film festival Wendland Shorts and participates in the IDFAcademy and the cia Scutelnicu at the Wendland Shorts Film Festival in the Berlinale Talent Campus.Together with his brother he founds in northern part of Germany, where she pitched her idea, we 2008 the production company Weydemann Bros. in Berlin and decided at the very beginning that we would do Panihida Cologne. as a German - Moldovan coproduction. tage is the amount, up to 70 000 Euro is a considerable amount of money for each category: live action short film, Have you had other previous experiences with co- creative documentary and animation short film. production? We had already had experiences with coproduction in Do you think this very same film could have been other projects and will always continue in this way of pro- done with a single country production, or with an- ducing films. For most of our films coproduction makes other grant than the Bosch grant? sense, based on the story, the production conditions or Panihida is an arthouse film, realized in a small and very due to financial reasons. But we always look carefully at poor country with non-professional-actors and based on each project, because a coproduction isn’t always the a treatment, not a scripted plot. I am sure that the financ- most adequate solution. In every country the production ing of this project would have been very difficult or even conditions are different and you have to adjust to them. impossible without the support of the Robert Bosch Foun- dation. From the very beginning it was clear in our mind How does the Robert Bosch foundation follow the that we had to do it as a coproduction. project once the grant is given, or do you have total freedom to work with the budget once the project is What suggestions or advice can you give to other awarded the grant? producers and directors who are looking to do their During the nomination process they look carefully on the film in coproduction? teambuilding of the coproducers; they are really interested Look carefully at the partner you choose as a coproducer. in you and your idea. A very professional jury nominates You will have to work for a long period of time together and awards the projects and follows up also in postpro- and you have to understand each other very well. You have duction. They are there if you need help or advices but give to find solutions for a lot of difficult situations throughout you creative freedom. To find good partners they even the film production. Don’t choose a coproducer just for have an Internet platform. But of course another advan- the possible money you could generate. If you choose well, you will have a great film, a good experience and a busi- Festivals & Awards ness partner for further projects.

Winner of the “Silver Stork” at the Wendland Shorts Festival 2009. Winner of the Robert Bosch Coproduction Prize 2010. 21 Random Strangers UK // Netherlands 2011

If most coproductions are done for artistic or financial reasons, some of them happen essentially for organizational purposes. Random Strangers, a short film made by feature-film habituate Alexis dos Santos, became a United Kingdom/Netherlands coproduction as the filmmaker was in The Netherlands at the time when the shooting was possible, and it was easier to move the film to the director than moving the director to the film. This shows that looking for a production partner in a different country may not only be a necessity for the production or for the screenplay, it can also be a choice.

The maker of Glue and Unmade Beds Random Strangers (United Kingdom/The Netherlands, 2011) delves yet deeper into youth culture. Lulu and Rocky, from different corners of the Genre: Fiction world, meet in the virtual one. Two people Length: 25 min. on opposite sides of the world enter into Director: Alexis dos Santos a relationship in a virtual world. Lulu and Production: The Bureau Film Company (UK), Molinare (UK) Rocky live in Buenos Aires and Berlin respec- Soundadventure (The Netherlands), Lemming Film (The Netherlands) tively. Their daily lives are very different to Cinema Reloaded - International Film Festival Rotterdam the exciting, fun virtual world they create for (The Netherlands) 22each other. Cast: Inès Efron, Samy Challah Producer Valentina Brazzini, at the Bureau Film Company, shares her experiences on the mak- Valentina Brazzini ing of this film, as well as her point of view on Producer at The Bureau coproduction: (United Kingdom) [email protected] www.thebureau.co.uk The Bureau is a UK production company but the funds came from International Rotterdam Film Festival After a degree in Communica- through their crowd sourcing project Cinema Reload- tion Science in Milan, Valentina ed. At the time in which we needed to shoot, Alexis went on to study Cinema at the Dos Santos was living in Amsterdam because he was University of Bologna wanting to attending the Binger Film Lab. We then decided that pursue her passion for film further. After two years, she joined it would be the best to shoot where Alexis was as he The Bureau in June 2006. Since then, going on to work on the couldn’t leave the lab for too long. After deciding this, production of films including Far North, Leaving Eva, London Riv- we found a coproducer, Lemming Film, to help us with er. In her role as assistant producer she was able to get involved in each phase of the production of the feature Unmade Beds, the practicalities of shooting in the Netherlands. All which was certainly the most challenging project, that also gave the pre-production happened in our office in London, her the opportunity to work as a music supervisor for its exciting until we moved to Amsterdam a few days before the and fresh soundtrack. Last year Valentina also produced a music shoot. Most of the crew was living in Amsterdam but video for the song “who am I”, by the singer-song writer Lail Arad. the majority of them were also foreigners (Japanese, She is the producer of the coproduction Random Strangers. German, Mexican, Hungarian...). The only Dutch crew was the brilliant sound recordist Evelien Van Der Mo- len, the amazing editor Saskia Kievits and two people dam earlier and work from there for a few weeks, but who helped us in various ways during the shoot (Kees being a small budget short this wasn’t possible. From Brieenen and Liz Slot). The lead actor, Samy Challah, this point of view, I think coproductions are great for was from Germany (but living in Amsterdam) and the features, because you have more sources of finance lead actress Inès Efron was from Buenos Aires (Argen- and collaborations, but if you’re making a short they tina) and we had to fly her over for the shooting. can make your life more complicated because you never have enough budget to be in all the countries as After the end of the shooting we completed the sound much as you would need. In fact to make the most of post-production in Amsterdam (at Soundadventure) a short film budget, the best is being in one contained and the picture post-production in London (at Molin- place! are). Both companies helped us a lot financially so they are in a way also our sponsors. In spite of this, working between two countries and with such an international crew was essential to be The disadvantage of producing between two differ- truthful to the nature of this film. Random Strangers is ent countries in this occasion was that in the weeks of about people meeting online and developing an in- preproduction, we had to organize things from Lon- timate connection even though they live so far away don, while most of our crew was in Amsterdam. This from each other, and in a way while working on this made everything more complicated because even if film we all experienced the troubles and the joys of nowadays communication is not a problem, when you communicating and being far away at the same time. make a film the ideal situation is still to be very close to your director and crew to better organize everything and understand what is needed on the spot. Living every day close to your crew is important to bond and learn from each other very quickly. If this was a feature we might have had the budget to move to Amster-

Festivals International Film Festival Rotterdam (2011) 23 Thermes Belgium // France 2010

Thermes is a coproduction between Frakas Productions (Belgium) and Premium Films (France). It is one of the rather frequent cases in which the coproducer is an investor with no intentions to interfere artistically, playing an essential role on the project because of his/ her knowledge of the local film market.Sales agencies and production companies can become coproducers who are usually able to find in another country the investment needed to finish the film (often from pre-buy), or the means to get the post-production done in a different country.

Joachim, a teenager of about fifteen years Thermes (France/Belgium, 2010) old, wins some tickets for a Spa. He goes there with his mother, and they both dis- Genre: Dramatic comedy cover an unusually relaxing place, that lead Length: 25 min. them to different new feelings… Director: Banu Akseki Production: Frakas Production (Belgium) and Premium Films (France) 24 Cast: Julie Neenemagi, Sophia Leboutte, Tom Boccara Both production and distribution companies explain how they met and how the coproduc- Jean-Charles MILLE tion took place. In this particular case, it was Director at Premium Films (France) the second country involved in the project that [email protected] www.premium-films.com oriented the creators to talk to a sales agency: Jean-Charles Mille is a co-producer, We started by getting financing from Belgium, without director, sales agent and founder of which it wouldn’t have been possible to look elsewhere. Premium Films. So the first step was the French Community in Belgium. For Thermes, we got their aid from the first shot. Then we searched other Belgium producers, Anonymes Films, based in the Hainaut Province, and we also got their help. Jean-Charles Mille also answered to some Since the film would be shot in “Thermes de Spa”, we also questions concerning the coproduction of benefited from a grant from Clap! Asbl, the institution for short films in general: film shootings in the provinces Liège, Namur and in Lux- embourg. Then, we sent the screenplay to the French tel- You say coproduction is very poorly represented in evision channels. It’s France 3 that loved the project and short films. Why is that so, according to you? advised us to talk to Jean-Charles Mille, from Premium It’s true that, for short films, the volume of production Films. The communication was quite easy and we got a is significant, but there are less financial aids from other pre-buy from France 3. countries. That’s why, at Euroconnection, in Clermont Ferrand, it’s mostly other European producers that The film wouldn’t have been possible (or maybe very hard come to France in search of coproducers. The French to make) without each one of these partners. As you may coproducer will mostly look for pre-buy agreements know, the budget reserved for short films is normally insuf- with a national television channel (even if it isn’t easy, ficient. Therefore, we have to show some creativity and because many channels don’t pre-buy short films in search for other sources. France was the ideal partner foreign languages), and also to benefit from the French because of the geographical proximity, and also because financial system. On the other hand, French producers France and Belgium are used to working together. I can are always looking for new European talents to try to say we were lucky to find some partners in France who coproduce. were just as motivated as we were! (Cassandre Warnauts, Frakas, Belgium) Do you think that the number of coproduction of short films has increased, then? Thermes was the second film of a young filmmaker I wouldn’t know for sure, but I guess there is each time whose first film had known quite a success. It had been more, because the new structure such as Eurocon- bought in France by Canal + and France 3, and for her nection and NISI MASA may convince producers who new project, it was easier to present it to the networks. But didn’t think that coproduction was feasible, they might we didn’t present a formal financial request to the CNC, we become interested. They will see that they can shoot in didn’t do the work of a producer. It was better for both of us a different country, which can prove to be cheaper. Of that we just worked to find the pre-buy agreement. course, as in features, every cooperation deal implies (Jean-Charles Mille, Premium Films, France) obligations as well. Now there are local film commis- sions, one can easily discover all the agreements and specific grants in each country. Festivals & Awards - a selection

Grand Prize - 15e International Festival of Ourense 2010 (Spain), Grand Prize - European Short Film Festi- val of the city of Brest 2010 (France), Public Award for best short fiction film - Media 10/10 2010 (Belgium), Grand Prize and prize for best fiction - 52eme ZINEBI 2010 (Espagne), Grand Prize by the International Jury - Festival du film d’Amour de Mons 2011 (Belgique), 33eme International Short Film Festival Clermont Fer- rand 2011 (France), Grand Prize - Regensburg Short Film Week 2011 (Germany), Next Film Festival 2011 25 (Romania) Vivons la Mort France // Canada, 2009

While most of the examples above consist of big productions, one must not forget low budget short films may also benefit from coproduction, for example with crowdfunding. This “collective funding” implies calling out for ordinary people to invest in film project through the Internet. This financing may not raise big amounts of money, but it does al- low smaller projects to exist. Vivons la Mort is a short film produced that way. Even if only one crowdfunding producer was from abroad (Canada), this essentially French short film represents a possibility that has become usual for several art projects.

A couple on their thirties decides to buy a Vivons la Mort (France/Canada, 2009) very particular coffin in order to fulfill one of their fantasies. The very professional Genre: Fiction salesman, on his side, uses his sales skills to Length: 10 min satisfy one of his own fantasies as well. An Director: David Règle absurd and satirical blend on eroticism and Production: Pandorine Box death. Cast: Yvain Lucas, Marion Viot, Roland Drover 26 David Règle presents the experience of crowd- funding and the pretty peculiar alternative he David Règle found to get Vivons La Mort done: Director and Producer at Pandorine Box (France) [email protected] First of all, I would like to present you the origins of this www.pandorinebox.org film. The screenplay “Vivons la Mort” was selected to the Estran competition, which is organized by the Brest After receiving his diploma as European Short Film Festival. This selection allowed me an audiovisual technician in the to profit from different workshops on screenplay, on École Supérieure de Réalisation Audiovisuelle in 2007, David Rè- techniques to direct actors, to compose a crew, to pro- gle has worked as an editor, cam- duce and to operate 16 mm film cameras. Despite that era operator, news cameraman, fact, the screenplay wasn’t selected by the jury. radio technician and documentary filmmaker.

Since I was very persisting in putting this story into im- ages and therefore getting my first film done, I found a I think it’s necessary to implement some more com- group of people who wanted to go through the same munication tools on the Internet in order to inform adventure. Due to the lack of producers, I created the people about the projects, to have enough informa- association Pandorine Box and gathered all the tools tion and a good path so that it reaches other networks. required for the shooting of a film. Once all the techni- Once it’s well known, the project must be interesting cal aspects were sorted out and the documents were enough to get the attention of potential coproduc- ready, the money issue was raised. ers. The presentation must be very carefully done, and so must the text. The director must constantly inform I had some personal savings, but unfortunately they people about how the film evolves, and not hesitate weren’t enough! So I decided to try crowdfunding. “Vi- to make use of announcements every now and then. vons la Mort” is my first professional production and it I think that when these ingredients are put together, is also the first one that profited from crowdfunding. there are more chances that coproducers can become The first step was to get registered in Babeldoor and interested. announce it to as many people as possible. Therefore, I informed all my contacts and I also created a page for As for the advantages of crowdfunding, of course the the film on Facebook. That strategy worked because financial help is a considerable asset, and so is the pro- approximately twenty people agreed to contribute fi- motion of the film. There are also disadvantages, I’d say nancially with the film. Most of the contributions were that we cannot be sure that the project will reach the French. Only one of them was Canadian. That alone amount of money announced on the website. That made it possibly to raise almost 1000 euros, which cor- adds up to the work and to the management issues. responds to 40% of the film’s budget. Some people But if the project is worth it, then I’d just say why not! didn’t use the crowdfunding website and came di- rectly to me. Also, I got 800 euros of financial help from the city of Brest. The project’s budget was estimated at 47000 euros. However, since I only worked with volun- teers and I didn’t have to pay for the technical equip- ment, the cost was fortunately a lot lower than that.

Festivals & Awards

European Short Film Festival of the city of Brest (France) 27 Voyage Autour de ma Chambre Belgium // France, 2008 Coproduction can have a different impact on hybrid films, especially those that put together animation and experimental narrative and aesthetics. That is the case of most productions made by Belgian Olivier Smolders with the production company Les Films du Scarabée. Experi- mental films normally have a more limited commercial career, and at the same time the search for new textures, narratives and aesthetics also imply a bigger budget. That is why coproduction is important not only to get the film financed, but also to show in other countries an innovative point of view on cinema.

Alone in his bedroom, a filmmaker talks Voyage Autour de Ma Chambre (Belgium/France, 2008) about territories and trips, some fictional and other imagined, that he has expe- Genre: Immobile film rienced. Made out of images collected Length: 26 min. through the years, Voyage Autour de Ma Director: Olivier Smolders Chambre raises in a poetic way the matter Production: Olivier Smolders and Christian Popp of finding the right place for oneself in the 28world. Smolders, experienced in coproduction, ex- poses how Voyage Autour de Ma Chambre was Olivier Smolders done and how coproduction functions in that Producer and director at Films case: du Scarabée (Belgium) www.smolderscarabee.be/ The film was shot in Italy, Kenya and Belgium. It also index_o.htm contains images from files. The cooperation between [email protected] coproducers involved very different domains, at the same time technical and artistic. Besides matters strict- Born 04/01/56 in Léopoldville, Congo. Graduated in roman phi- ly related to coproduction, it’s especially interesting to lology at UCL, founder of Films du have a partner with whom you can have s trustful dia- Scarabée, producer, screenwriter and filmmaker, teacher at IN- logue about the artistic orientations of the project. SAS and ISV, professor at Liège University, author of essays on literature and cinema. I had already worked in coproduction with other part- ners. They were all different cases and each project implied specific kinds of cooperation. Mutual trust is obviously essential to succeed in coproduction. For Extract from a film review onVoyage Autour de ma that reason, it is important to expose, since the begin- Chambre, published in Cinergie’s Webzine n°133: ning, each person’s goals. But the most important part From the opening credits, the voice of the filmmaker of the work still remains, I believe, the complicity on an says: “I prefer immobility to movement, silence to words, artistic level. Both coproducers need to have the desire being in the bedroom rather than going elsewhere.” to do the same film - even if the filmmaker is, in the end, the only master in command within the limits of Voyage Autour de ma Chambre proposes an imaginary the budget. space, in voice over, which relates to the look that Ol- ivier Smolders has on the different spaces his body Coproduction is surely an asset when it’s possible. It has been to: Africa, because he was born there (this allows the film to have more financial possibilities ad “land where I happened to be born”, that teaches him to also to find a larger audience. It only works if both co- “unlearn his interior myths”), America, Asia. This moving producers have the same vision and share the same cuts on the moving image, these confuse impressions on the world’s appearance, the ears full of a tireless philosophy of production. We know that short films melody and the eyes filled with pictorial colors, the do not have financial profit as a main purpose. We also filmmaker transmits them by solarizing his sequences. know that they often have to be produced with limit- ed means, which requires creativity and a smartness to The film takes us to a gallery that exposes dissected get by. Having that in mind, coproduction can be very bodies, a sort of anatomy painted in colors, like Flamish productive and make you forget all the administrative paintings by André Vésale. The body is therefore an ex- constraints that it implies. pression of life and death – one of the most important subjects in the history of art. “That is where hides the Festivals & Awards mystery of existence, of the soul. What is left of us without our bodies? The cinema has always been fascinated by the body. Filming someone else means starting by film- Pize for best documentary at the Media Festival 10/10 ing his/her body.” The splendor of Voyage Autour de ma of Namur 2008; Grand Prize Docencourt at the Lyon film festival 2009; Young Jury Prize at the Vendôme Chambre does not rely solely on the trip through the Festival 2008; Special mention by the Young Jury at pathways of existence, but also on showing with a pic- the Aix-en-Provence Festival 2008; Special mention by torial imagination the beauty of the world.” the Student Jury at the Nice Festival 2009; Annual doc- umentary prize Scam 2009; Nominated for the Lutins (by Jean-Michel Vlaeminckx) for the short film, and for the Césars 2010; Cinematic Achievement Award at the Thess international short film festival Greece 2010. 29 30 chapter 3 MAIN CONTACTS connected to the coproduction of short films After the discussions and impressions from producers, filmmakers and other professionals related to the coproduction of short films, this part sums up most of the practical information mentioned before. The first half includes financial id and meetings specially conceived for coproduction. Some other institutions and organizations that contribute to this practice, such as film commis- sions for each European country, are not mentioned due to the extent of such a list, but is im- portant to remind that boarder regions between European countries, festivals and other local institutes are always important contacts to make when looking for coproduction. Along with the main encouragements and general aids, this chapter presents a list of people who contributed for this book, as well as the short film(s) in coproduction they have worked in.

31 Robert Bosch Stifting - Coproduction Prize

The Robert Bosch Stiftung is one of the major German foundations associ- ated with a private company and has managed the philanthropic bequest of company founder Robert Bosch for more than 40 years. Indeed it was his entre- preneurial vision, political farsightedness, moral fortitude and charitable initia- tives that set the standards for the work of the Robert Bosch Stiftung.

The Bosch Constitution

The foundation exclusively and directly serves charitable purposes. As a shareholder of Robert Bosch GmbH the foundation receives a proportion of the distributed dividends in the company. Given its status as a charitable institution the foundation does not engage in corporate activity. The voting rights associated with its shares in Robert Bosch GmbH have been transferred to a trust, Robert Bosch Industrietreuhand KG. This clearly separates the entrepreneurial and philanthropic aspects of the foundation and allows it to un- dertake work «for the common good without thereby questioning the company>s own business practices as such» (Hans.L. Merkle, 1972). The foundation manages its assets as it believes Robert Bosch would have wanted it to.

Coproduction Prize

This is a co-Production Prize for young filmmakers from Germany and countries in Eastern Europe in the genres animation, documentary, and short film (information from the official website).

The Co-Production Prizes 2010 for outstanding film concepts were presented to their young recipients by the Robert Bosch Stiftung on April 27, 2010, at the goEast Festival in Wiesbaden. The concepts will be im- plemented in Germany and the partner country this year. The ARTE television channel - partner of the Co-Production Prize - will incorporate at least one of the com- pleted films in its programme.

The Co-Production Prize offers young German filmmakers (producers, directors, cameramen, and scriptwriters) the op- Contacts portunity to realize a joint film project with young filmmakers from Eastern Europe. The prize is awarded in cooperation with Karin Angela Schyle the goEast Festival in Wiesbaden. (Co-production coordinator) Phone: +49 (0)30 521 31 485 [email protected]

Frank Albers (Program Officer) [email protected]

Robert Bosch Stiftung 32 www.bosch-stiftung.de Atelier Ludwigsburg-Paris

The Atelier Ludwigsburg-Paris, organized with the Filmakademie Baden- Württemberg and Fémis in Paris, is a European professional one-year training focused on production and distribution. 18 graduates from different areas, hav- ing had a first year of professional experience, take part in this course: 6 French students, 6 German students and 6 students from a different European national- ity. So far, our students have come from 18 different European countries.

The taught modules in Ludwigsburg, Paris and London convey practical and theoretical knowledge about financing, film funding, script development, calculating a budget, drawing up a shooting schedule and shooting a film. These modules also cover contract law, as well as film distribution and world sales. The study trips to the international film festivals in Berlin and Cannes offer participants a chance to discover what an A festival has to offer, how the festivals are organized and the opportunities they present. For four weeks all students work as interns with a European film distribution company or world sales agent. The objective is to ensure students gain a deeper understanding of the challenges and goals in the distribu- tion business through being integrated into the firm’s practical work. The students subsequently produce a written distribution study drawing on what they have learnt.

In coproduction with ARTE and the German local broadcaster SWR, the students produce a series of 9 short fiilms. The development and production of this project is a leitmotif running through the entire course. The students plan, shoot and com- plete short films with the teams composed by students from the two film schools.

German coordinator of the Atelier, Hanna Hertwig, explains more about the project:

Contacts “The year the participants spend together allows them to know each other quite well, they build a trustful relationship and devel- atelier-ludwigsburg-paris.com op a common project during the course. As a consequence, they end up having a network of future partners all over Europe, in the Hanna Hertwig Alumni Association Atelier Network. This is an experience of great Filmakademie Baden-Württemberg value for them, not only for the project they do together, but also Akademiehof 10 71638 Ludwigsburg for the exchange of experiences, knowledge and contacts. Tel. +49(0)7141 969 501 Fax +49(0)7141 969 511 In what international network is concerned, cinema schools can [email protected] actually be institutions that encourage coproduction by giving the students the possibility to do exchange programs in foreign Christine Ghazarian schools, and of course by welcoming students from abroad. It’s by La fémis working on the same project that the best contacts and profes- 6 rue Francœur 75018 Paris sional relationships are established”. Tel. +33(0)1 53 41 22 11 Fax +33(0)1 53 41 02 80 [email protected] 33 fLickerlifechangethe swallowswillreturn good nightthenchameleon the ghosttrain himw indowtoheaven dzson dou b lechilliburger inhise yes Developing European co-production of short films thehol lowfIndingacow gh ostsmyweekend enemylorrainevideoclub ebonysmallroom foreverdoyoubelIevein dIstInctthIngs www.nisimasa.com borntobea jacket

Save the dates for 2012! Luxembourg 2.-8. January Maribor 2.-4. March

34 European Short Pitch

Since 2007, NISI MASA organizes the European Short Pitch, a scriptwriting and pitching project. The NISI MASA know-how and experience is concentrated during two intense workshop sessions that are committed to the future of Eu- ropean short film productions. 25 young European talents are brought together in residence at the Moulin d’Andé-Céci (France) in order to rewrite, discuss and learn about the way of promoting their project. The potential of their script is decisive and crucial for their participation.

Supported by experienced tutors they prepare during one intense week for the second session: a unique pitching session in front of 25 European producers and buyers, in the frame of a European film festival. We aim to bring young European talents in the spotlight and give them a high end promotion opportunity, to develop cross-cultural short film production in Europe. European Short Pitch is about enhanced economic viability and European visibility for short film scripts. It results in European short film co-productions and eased access to feature film for the participants. From the previous editions, 90 projects were presented and more than 170 producers and buyers attended the pitching session and started some collaboration.

Organisation

NISI MASA is a European network gathering hundreds of young film enthusiasts in 26 countries. NISI MASA is composed of national organizations with different profiles, but all consisting of young Europeans sharing a common passion: cinema.

S The aims: H O • To discover & promote new film talents, EUROPEAN • To foster European awareness through the means of cinema, T I • To develop cross-cultural cinema projects T • To create a platform of discussion and collaboration for young European film- C makers. H The main activities: All the year long, NISI MASA organizes various activities focused Contacts on European cinema, split in three fields: SCRIPT, FILMLAB and DIALOGUES. Scriptwriting, filmmaking and journalism workshops, Matthieu Darras lectures, seminars, film screenings, meetings are held in various [email protected] cities (Istanbul, Paris, Mitrovica, Vienna, Budapest, Amsterdam, Bucharest, Zagreb, etc). These events often take place during film NISI MASA European Office festivals around Europe. 99 rue du faubourg St Denis 75010 Paris Tel-Fax + 33 (0)1 53 34 62 78 Mobile + 33 (0)6 89 94 02 02 35 www.nisimasa.com Euro Connection forum

Euro Connection is a business platform dedicated to European producers whose projects include developing short films as European co-productions. Pro- ducers and representatives of funding bodies and television channels meet there to form partnerships.

A network of national correspondents in fifteen associated countries is responsible for the selection of about twenty projects that will be presented during pitching sessions. Individual assistance will be available at the MEDIA Rendez-vous area to facilitate networking opportunities. Short films are a fertile ground for renewed creativity and promising talents who ensure the future of cinematographic and audiovisual creation in Eu- rope. The success of the first Euro Connection forum last year was a clear indicator of this. Joining forces at a European level will prove all the more necessary in a challenging financial environment. Responding to contemporary challenges for producing short films in Europe, the Clermont-Ferrand Short Film Market is proud to launch the second edition of Euro Connection, the European short film co-production forum.

Euro Connection takes place during the Short Film Market, in direct collaboration with the MEDIA Desk France. This business platform aims at fostering partnerships between European production companies, funders and broadcasters for short film projects.

Selection

In order to be eligible, applying production companies must meet the following criteria:

• They must be located in one of the participating countries of each edition. • They must enter a project: a) with partial funding secured in its country of origin; b) that is being developed with a real approach to European co-production; c) that respects the deadline to start shooting determined for each edition. • They must commit to attend and pitch their project in case of selection. Selected producers are invited to Euro Connection. Invitation covers hotel and meals for the duration of their stay (limited to one person per project). Travel costs are the responsibility of the producers. Contacts

www.clermont-filmfest.com

Enquiries: Laurent Crouzeix: [email protected] 36 Phone: +33 (0) 4 73 14 73 12 Crowdfunding platforms

Cinema Reloaded

On the Cinema Reloaded website, two short film projects are presented. On the website it is possible to see how much each short film project still requires to meet its minimum budget. By investing in a project, you become a “co-producer” and can therefore access special information, private forums and also the following services:

- Regular updates by the filmmaker - View the premiere of the film in streaming VOD - Have your name in the credits if you purchase a minimum of 5 coins - Invitation to the theatrical premiere

The International Film Festival Rotterdam has been championing innovative and exciting filmmakers and taking their work to new audiences. This new experimental project - Cinema Reloaded – is now taking that mission to a new level by using the opportuni- ties offered by the digital age. Cinema Reloaded will experiment with new forms of financing, production and distribution for the kind of innovative, artistic and independent film with which Rotterdam has always been associated.

IndieGogo

Indie Gogo has existed since 2008, offering people with projects in different areas (theater, film, communitarian causes) the chances of getting people’s attention thought the Internet and encouraging them to financially participate on their projects. Find this essentially American-based platform on www.indiegogo.com

Babeldoor

Babeldoor presents itself as a “small team of artists and busi- nessmen”, also willing to encourage any sort of creative or en- trepreneurial projects by private investment. Find this essentially French-based platform on www.babeldoor.com. 37 Essential vocabulary of coproduction

As simple as an A-to-Z structure may be, this last part of the booklet seeks to sum up the basic information found previously on the book, as well as to insist on other issues that were not represented in the case studies. It is structured by main topics of interest concerning the coproduction of short films.

Animation Amongst all cinematic genres in short films, animation is not only one of the categories that find better a commercial career, but also one of the genres that most often make use of coproduction. There are two main reasons for that. The first one is that animation short films are normally more expensive than live action ones, and therefore require creative ways of finding financing – which include coproduction. Also, animation makes it easier to share the work between two countries, given the fact that the crew doesn’t necessarily need to be constantly in two different countries. Budget One of the main reasons presented by producers to engage in coproduction is the possibility of reaching the budget needed for a film. Even if the artistic implications of coproduction should not be forgotten, it is true that this practice allows projects to multiply their sources of financing and therefore raise the amount of money that, without coproduction, would often be impossible to assemble. Cultural aspects Whether it is seen and advantage or not, one of the main aspects concerning coproduction is the different cultural aspects of all countries involved. Different countries might have different languages, different agreements and fund search, different ways of shooting, acting and producing. Being in contact with another culture may be as enriching as trying because of the adaptation needed. However, the best experiences with coproduction told in this booklet concern the discovery of new talents and manners to conceive cinema that are acquired from the contact with other cultures.

Film commissions In France alone, northern region Pas-de-Calais has a well-developed structure to finance short films, in particular those produced with the boarder regions of Belgium. The same happens to French region Alsace and Germany. Other countries in Europe can be interested in financing cinema, notably if the short film represents a good opportunity to present the city or a talent coming from that specific region. The list of European Film Commissions, present in websites such as the European Film Commission Network, presents a list of countries, states and other national divisions that support the production of short films, and that 38 may function as partners for coproduction. from Logorama, (Autour de Minuit)

Film markets “We don’t go to festivals much. We prefer those where there is a sales market, where we can see films fast, on DVD or Internet. Indeed, it’s also nicer to watch films in the theater, but if we choose to watch them in the theater, we don’t get to see many during the day, while the advantage of film markets with films on DVDs and Internet is that, knowing what we are looking for, if a film doesn’t please us, we can just stop it and move on to the next one. Having said that, we mostly watch films on DVD, at the office.” (Jean-Charles Mille, Premium Films) Sales agent Jean-Charles Mille’s details above how important film festivals, and specially film markets, are to him. These events are essential not only to present short films, but also to know other producers and people who may share the same view on cinema. Internet Even if most of the coproduction short films still work with film and festivals as their main exhibition support – specially live action ones – Internet becomes a very important tool not only for the contacts and the or- ganization, but also for new coproduction possibilities, as crowdfunding, and for the distribution and sales. Indeed, an increasing number of websites show and/or sell short films, and pre-buys for television channels are sometimes done for exhibition and display exclusively online. Sales agencies from European countries may also be interested to engage in financial coproduction if they perceive the potential of a project they spot online. Language barriers One of the main arguments presented by producers reluctant to experiment coproduction is the language barrier. Indeed, despite eventual translations of a project, foreign people might not fully understand cultural aspects or subtleties of a project from another country. Still, meetings and workshops have been developed to gather producers, directors and screenwriters to help the message get through. Also, the diversity of lan- guages may become an asset when the matter of negotiations with a foreign country is concerned – which is particularly interesting for the search of financial partners in other countries. Organization Having collected opinions from several different professionals involved in the short film industry, a consen- sus is established around the organizational aspects of coproduction. Most people agree that organizing the pre-production, the shooting, the financial research in different countries and with different partners implies more time. However, this complex structure in the beginning allows to save time once the film is ready and looks to be exhibited in festivals abroad, or be sold to television channels from various European countries.39 Pre-buy “Every now and then, we discover project foreign producers contact us concerning projects in which there is already a national producer who has managed to get about 75% of his budget, he only needs the rest financing needed to get the film done, so he searches for a pre-buy from another country. That’s very hard, but it happens. They often look for pre-buys, particular in France since French Television channels are the ones who buy the most short film in Europe. But it is very important to understand, that very few foreign short films, shot in another language than French, are pre-bought by French TV stations. It is more common that foreign films are bought once the film is finished.” (MSJ) Regional interest “A very good example of a French region co-producing with another country must be our short film Le Piano, which got the France Télévision prize award at Clermont Ferrand. This film was financed by the region Alsace and later by France Télévision. I was discussing with the person responsible for the cultural institution of Alsace who told me that the filmmaker was Armenian, living in Alsace and they had liked the project so much that they accepted to shoot in Armenia and post produce in Alsace. The post-production represents a considerable part of the budget, therefore the region had a significant importance, and that allowed them to develop jobs in post production as well, which is quite rare.no problems with interchanging the rules. In that this case, not only there was national motivation, but also local ones.” (Marie Sonne-Jensen, producer at La Voie Lactée Productions - France) Sales agencies “I thought at the time that there was some place for these new forms of exhibition supports, on the Internet or on mobile phones, for short films, which are not well represented on the film market. I began to work with the sales of short films, and from the beginning we were interested in international films, both European and French ones. For more than ten years now, we have a catalog full of films of all genres and all countries. Our busi- ness is firstly to find these films according to the needs of our distributors, to sort them out and then to present to our clients the films that could really fit with their programming.” (Jean-Charles Mille, Premium Films) Screenplay Most coproductions actually come from a cultural and geographical need, imposed by the screenplay. If a character goes to a different countries, and the director feels the need to show scenes of him/her abroad, a coproducer in the foreign country might be important to help getting all the shooting conditions together. Also, working in coproduction may change the screenplay in a positive way, since a same story and way of conceiving cinema can be improved by the work with different cultures. The experience of exposing the same project to different countries confronts the narration with cultural differences that may allow the film to be better prepared for the exhibition and distribution later.

40 from Zudusi Sniega- (Latvia/Sweden) Television National television channels are not only the main buyers of short films, but also a very important source of coproduction. Either it concerns a pre-buy or a purchase once the film is nearly ready, channels can contrib- ute with the budget needed for production or post-production, and assure the film’s exhibition. With the development of exhibition vehicles, channels need an increasingly number of short films to be shown on airplane programs, conferences, especial programs and events. Getting in touch with the right people and knowing what television companies might be interested in the short film concern one of the most current activities of an international coproducer. VoD “For now, VoD does work well, it works a lot better than last year. I don’t have the exact percentages in mind, but even the of VoD sales is still low, it can double from year to year, because there are more and more web- site that show short films, and other websites with a space dedicated to it, after having made some business deals with VoD editors. We can always count on some profit from iTunes for the animation shorts that are nominated for the Oscars, also some French exhibition platforms such as Free, that show short films to their subscribers. That is also a very profitable sales option for producers.” (Jean-Charles Mille, director and sales agent at Premium Films - France)

Workshops Workshops and film markets are still the most usual ways to meet coproducers for a specific short film project. Big forums such as the European Short Pitch and the Euroconnection are available for debates and pitching, but other film festival markets equally present opportunities for professionals to meet. Also, these events are the opportunities for producers to discover other ways of conceiving production and eventually incorporating some of them.

41 Index of people and films

This is a short list of the people who contributed to this project by giving their ideas and their time to talk about the coproduction of short films. They are listed in alphabetical order, according to their last names. The short films they mention are also connected to the respective name of the producer/ screenwriter or other spokesperson responsible for each film project.

Nathalie ALGAZI See case study page 17. Valentina BRAZZINI See case study page 23.

Ron DYENS Producer at Sacrebleu (France) www.sacrebleuprod.com Ron Dyens is the director and creator of Sacrebleu, a production company that [email protected] has existed since 1999. Since then, it has produced around 45 short films, that have been selected in more than 900 festivals. Sacrebleu has earned more than 120 prices, and has gotten more than 100 pre-buy deals with television com- panies in France and abroad. Their curriculum includes three participations at Cannes, two in Venice, one in Berlin, the Palme d’Or for the best short film, and two Academy Awards nominations.

Martin GUIDO - Screenwriter of The Garment (Spain) [email protected] Martin Guido was born in Buenos Aires, Argentina. He finished his studies at the Film Academy and worked as a first assistant director in films and advertising between 2001 and 2006. In 2007 he moved to Barcelona (Spain) where he par- ticipated with his first short film Tough Audience as a director at different short film festivals, winning several prizes. In 2008, with the support of the Ministry of Culture of Spain, he directed his second short film Ninety-Two, filmed at the beginning of 2009 and broadcasted on national TV in January 2011. Since 2008 he has worked at Magoproduction - an animation studio based in Barcelona - as a scriptwriter developing animated TV series Dr. W released in Spain (TV3), France (Arte), Germany (Arte), Finland (YLE), Portugal and Argentina. Currently he works developing the scripts of the animated TV series Flying Squirrels, co- produced by Catalan Television.

Hanna HERTWIG - Program coordinator of the Atelier Ludwigsburg-Paris (France/Germany) [email protected] www.atelier-ludwigsburg-paris.com Hanna Hertwig is the coordinator of the Atelier Ludwigsburg-Paris at the Fil- makademie Baden-Württemberg. She initiated German short film nights in Madrid and Paris and has got a professional experience in promoting inter- national academic exchange. During her trinational German-French-Spanish Master “Intercultural European Studies” she specialized in the media, cross- cultural competence and public film funding in Europe. 42 Jean Denis LE DINAHET - Producer at b24 Films (Italy/France) [email protected] Born in Villeurbanne (France), in 1981, Jean Denis Le Dinahet graduated in Management at Sciences-po Paris and successively in Film Production at the Centro Sperimentale di Cinematografia in Rome in 2006, and worked as an intern at Cofiloisirs, Arte France Cinema and as an assistant to the Attaché au- diovisuel of the French Embassy in Rome. In 2007 Jean-Denis Le Dinahet was selected at the Berlinale Talent Campus as producer & scriptwriter. Consultant to the Istituto di Economia dei Media Fondazione Rosselli in Rome, he worked from 2007 to 2008 as General Secretary at Maria Seven Dreams Productions in Rome.

Vladimir LESCHIOV - Director of Zudusi Sniega (Latvia/Sweden) [email protected] Born in 1970, in Daugavpils, Latvia. During 2001-2002, he studied animation at Konstfack University College of Arts, Crafts and Design, Department of Anima- tion, Eksj, Sweden. From 1991 to 1995 he participated in several group and per- sonal art exhibitions of independent artist in Latvia and Russia (personal exhibi- tion in St.Petersburg in 1992). From 1993 Leschiov has worked as an art director, director, designer and artist for television productions. He has developed sever- al animations for television, music video and commercials production in Latvia Zudusi Sniega and Europe. (Latvia/Sweden, 2007) Genre: Animation Length: 7 min. Direction: Vladimir Leschiov Production: Jet Media

In winter some people go ice fishing. Ex- citement intensified by freezing tempera- tures and strong drinks lead to unpredictable consequences.

Awards and nominations: Best Short Film at the 6th Anifest: International Festival of Animated Films 2007; Best in Show at the 4th Animation Block Party, 2007; Special Jury Mention at the 4th Animateka: Interna- tional Animation Film Festival; Grand Prize at the Laputa International Animation Festival, 2008; Special Prize at the 12th Hiroshima International Animation Festival 2008.

David LINDNER - Producer of Silent River at FILMALEE (Germany) [email protected] www.filmallee.com Born in 1979 in Berlin , David Lindner Leporda grew up in Potsdam . David was acting in one of the last DEFA films when he discovered his passion for the film industry. Starting 2000 he worked in film shootings in the production department and later as an assistant to film producer Christoph Müller. This was followed by the study of film production and media management at the University of Television and Film in Munich, from which he graduated in 2008. Since then David has worked under the name of his 2006 founded company FILMALLEE as an independent creative producer. 43 Silent River (Germany/Romania, 2011) Genre: Fiction Length: 31 min. Direction: Anca Miruna Lazarescu Production: Filmallee (Germany). Cast: Cuzin Toma, Andi Vasluianu, Patricia Moga

Romania, 1986: Gregor and Vali want to get away. Both need each other, yet there is mutual distrust. One night Gregor finds his doubts confirmed. In the end only hope is left.

Awards and nominations (selection): Berlin Film Festival (2010), NExT Prize Winner for best Romanian film (2011), European Film Awards (2011), Landshut Short Film Festival (2011), FilmFernsehFonds Bayern Award at the Regensburg Short Film Week (2011) and UIP Tampere Prize at the Tampere International Short Film Festival (2011).

Jean-Charles MILLE - See case study page 25. Jérôme NUNES - Producer of Films de Force Majeure (France) nunes@films-de-force- Jérôme Nunes was born in 1980 in la Seyne Sur Mer. After spending six years in majeure.com the British Isles where he studied and taught languages and cinema at univer- sity, he moved to Marseille in 2006. He dedicates himself to scriptwriting, film- making and literary translation. In 2009, he directed the short film Alter Ego. In 2010, he is involved in the creation of Films de Force Majeure, for which he is in charge of project scouting.

Luc PEREZ - Director of Shaman (Denmark/France) [email protected] Luc Perez is born in 1963 in France. After graduating in Arts (audiovisual com- munication), he made experimental videos mixing drawings, toys and actors. After ten years of experience on French television channels, in cinema and in- stitutional films, he decides to try new narrative forms. The passion for painting leads him to animation cinema, with which he experiments new techniques with pastel, acrylic on paper and chalk together with Photoshop and After Ef- fects. He has also had experiences with animation scens for documentaries, feature films and video clips for France, Denmark, USA and Germany. He has lived for ten years in both France and Denmark.

Zorana PIGGOTT - Producer of Together at 011 Productions (UK) [email protected] Zorana graduated in Production from the UK’s National Film and Television School (NFTS). Having associate produced or co-produced over fifteen feature films which participated at film festivals such as Venice, Berlin and Toronto, in early 2008 Zorana left her Head of Production position at UK’s Film and Music Entertainment to set up 011 Productions and focus on independently devel- oping and producing feature films, as well as shorts. The company recently completed Together, a short film by Eicke Bettinga, funded by nordmedia in Germany and the UK Film Council. Together premiered in the Critics’ Week se- lection at the 2009 Cannes Film Festival. Zorana is also a member of the ACE 44 (Ateliers du Cinéma Européen) Producers Network. Together (UK/Germany2009) Genre: Drama Length: 14 min. Direction: Eicke Bettinga Production: PB Filmproduktion, 011 Productions Ltd. Cast: Matt Smiith, John Vine, Amanda Boxer, Guy Flanagan

Rob is driving back home. It’s been a year since the death of his older brother. Upon Rob’s arrival it is clear that the family is still learning how to cope with their loss. The relationship between Rob and his father is awkward. There is a sense that the father blames Rob for moving on too fast, while Rob’s understanding of the reality, even a year later, is still distorted. Rob decides that in order to get through to his father he’ll have to “force” his affection onto him.

David RÈGLE - See case study page 27. Nicolas SCHMERKIN -See case study page 19 Olivier SMOLDERS - See case study page 29. Marie SONNE-JENSEN - See case study page 17 Jean-Christophe SOULAGEON - Producer at Les Films Sauvages (France) [email protected] Born in 1971, holder of a license of film studies, Jean-Christophe Soulageon www.filmsauvages.com begun (and closed) his director career in 1996 with “ Only to the world “ (15 ‘, 35mm). Then, he became Assistant’s Press Agent at Ciné-Sud Promotion where he set up, in 1999, the department of production of Short films. In 1999, he joins Sombrero Productions, production company of short films at the origin of “Miss Butterfly of Julie Lopes-Curval” (Critic’s Week 2001) and “ After the Childhood “ of Thomas Lilti (Director’s Fortnight 2002).

Willem THIJSSEN - See case study page 19 Riin URBANIK - Producer at Average Monkey (Estonia) [email protected] Riin Urbanik (b. 1974) is a creative director, producer, international sales www.averagemonkey.com agent, marketing consultant and public relations specialist, who acquired her BA degrees in Communications; Political Science and Film and Video Production from Florida Atlantic University, USA. MA degree in Communi- cations Management from Baltic Film and Media School.

Jonas WEYDEMANN - See case study page 21. 45 SCRIPT FILMLAB 10 DEBATE NISI MASA is celebrating ten years of activities in 2011 Lumière No 765 - Serpentine Dance, 1896 46 image adapted from Vue image adapted from Vue about NISI MASA

NISI MASA is a European network of associations, currently present in 26 countries. These associations consist of young professionals, students and enthusiasts with a common cause - European cinema.

NISI MASA is celebrating Our main aims are: ten years of activities - to discover new film talents- to develop cross-cultural audiovisual projects - to foster European awareness through cinema in 2011 - to create a platform of discussion and collaboration for young European filmmakers. Our main activities are:

- organising filmmaking & scriptwriting workshops - holding various cinema-related meetings (conferences, seminars, etc.) - promoting short films (through screenings, making of DVDs, etc.) - editing publications (various books & a daily magazine produced during several European film festivals)

NISI MASA was founded in 2001. It is a non-profit organisation supported, amongst others, by the European Union (Youth, Civil Society & MEDIA Programmes), the Council of Europe, the European Cultural Foundation, the Allianz Cultural Foundation and the Fondation de France.

NISI MASA European Office 99, rue du Faubourg Saint-Denis 75010 Paris - France Phone: +33 (0)9 60 39 63 38 Fax: +33 (0)1 48 01 65 31 Mobile: +33 (0)6 32 61 70 26 E-mail: [email protected] 47 CREDITS Special thanks to: Louisa Achille Michael Ackermann Maximilien Van Aertryck Laura Bartlett Orsolya Benko Alessandra Bergero Simon Bergman Almir Brezic Enrique Cantabrana Stuart Cronin Christian Dosch Contributors: Johannes Dullin Nathalie Algazi Miriam Edinger Valentina Brazzini Vladimir Feral Ron Dyens Asa Garnet Martin Guido Christine Ghazarian Hanna Hertwig Ursula Hartenstein Vladimir Leschiov Sigmund Elias Holm Zoltan Horvath Editor-in-chief: David Lindner Anna Maria Hutri Bruno Carmelo Jean-Charles Mille Jérôme Nunes Tamas Joo Justin Kazmark Editors: Luc Perez Fran Keaveney Maartje Alders Zorana Piggott Truls Kontny Jude Lister David Règle Nicolas Schmerkin Damien Lagogué Prami Larsen Graphic design: Olivier Smolders Jean Denis Le Dinahet Maartje Alders Marie-Sonne Jensen Jean-Christophe Soulageon Meaghan O’Connell Monica Bravo Pedrosa General Delegate: Willem Thijssen Daniel Peña Matthieu Darras Riin Urbanik Simon Perry Julia Rappold Ene Katrine Rasmussen Caffi Reto Marketa Santrochova Pernille Munk Skydsgaard Ilias Tasopoulos Berit Tilly Einar Tómasson Matthieu Turi 48 Anette Unger