Berlinale Talent Campus Magazine 2011

Hebbel am Ufer 12 – 17 Feb 11
Berlinale Talent campus
magazine
We would like to thank our international network
for its support
350 Talents from

88 countries
Welcome to the Berlinale Talent Campus!
Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin
Berlinale Talent Campus #9

Page
04 contents
05
01 introduction
Chapter
p. 07 Editorial Dieter Kosslick

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum
p.10 Words of welcome
p.12 Berlinale Talent Campus website
p.13 Talent Campus International
p.14 Campus alumni at the Berlinale
p.15 Supporting foundations
02 Focus
Chapter
p. 18 Framespotting –
Filmmakers positioning themselves
03 Hands-on training
Chapter
p. 22 Score Competition
p. 23 Interview Michael Nyman
04
p. 24 Script Station
Chapter
programme p. 25 Doc Station
p. 26 Campus Studio
p. 40 Campus programme – Timetable p. 27 Interview Molly Malene Stensgaard
p. 46 Day 1 – Sat, Feb 12 p. 28 Talent Project Market
p. 47 Day 2 – Sun, Feb 13 p. 29 Talent Press
p. 50 Day 3 – Mon, Feb 14 p. 31 Talent Actors Stage
p. 55 Day 4 – Tue, Feb 15 p. 32 Berlin Today Award
p. 58 Day 5 – Wed, Feb 16 p. 35 Meet the Expert
p. 63 Day 6 – Thu, Feb 17
05 Index
Chapter
p. 68 Index of events
p. 69 Index of experts
p. 75 Index of participants
p. 77 Note of thanks
p. 78 Team and imprint
p. 79 Partners
Chapter
01 introduction
p.07 Editorial Dieter Kosslick

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum
p.10 Words of welcome | p.12 Berlinale Talent Campus
website | p.13 Talent Campus International
p.14 Campus alumni at the Berlinale
p.15 Supporting foundations
Happy
BirtHday,
MEdia !
to tHE nExt
20 yEars !
Thank you for your ongoing support
of the Berlinale Talent Campus and the
Berlinale Co-Production Market.
Editorial Page
Find your frame! 06

07
“A unique opportunity for networking.

In my professional life, there will definitely
be a ‘before’ and an ‘after’ the Campus.”
Yves Heck, participant 2010
Nine years old and going strong: The idea of the Berlinale tirelessly supported it from the very beginning. First and foremost we
Talent Campus has lost nothing of its freshness and international extend our gratitude to Bernd Neumann, the Federal Government
attraction. On the contrary, this year nearly 4,000 filmmakers from as Commissioner for Culture and the Media (BKM) as one of our funders.
many as 141 countries sent in their applications to be part of this Together with a congratulation on its 20th anniversary, we also sin-
worldwide film community. 350 of them were chosen to gather at this cerely thank the MEDIA Training Programme of the European Union,
year’s Campus to attend the exemplary series of workshops and as well as our founding partner Medienboard Berlin-Brandenburg.
lectures given by a range of top-notch international film experts. Another founding partner, UK Film Council / Skillset, has unfortunately
Back home these up-and-coming filmmakers will profit from not been able to join us anymore – nevertheless, thank you for your
the global network the Berlinale Talent Campus is able to provide backing in the past years! Without the support of all our partners
them with. And we definitely know that – because they come back! and sponsors we would not be able to create this fascinating frame
Many Campus alumni send us their work, they apply with their films to around the world‘s next filmmaking generation.
the Berlinale – that's one of our ways of keeping in touch.
And so, every year the Official Selection of the Berlin Inter I wish everybody an exciting Campus week – and we all look
national Film Festival is enriched by films made by Campus alumni. In forward to seeing you again with your films in the next years!
this manner, the spirit of the Campus swirls permanently within the
different sections of the festival. This year is not any different: We are Dieter Kosslick
proud to present 35 films made with the major involvement of 38 Festival Director
current or former Talents in the Official Berlinale Selection – among Berlin International Film Festival
them is OUR GRAND DESPAIR by 2005 alumnus Seyfi Teoman in the
Berlinale Competition. This displays the immense potential of the
Campus and is the best proof of its growing significance.
But besides networking and learning from Berlinale guests,
as well as from other renowned professionals, there is another oppor
tunity offered to the participants of the Berlinale Talent Campus: the
chance to position oneself, the chance for self-orientation within a
world and an industry full of endless possibilities. As this year’s Campus
focus “Framespotting – Filmmakers positioning themselves“ stresses:
Every filmmaker has the chance to find an individual frame in which
she or he wants to work. Like a camera needs a perspective to shoot a
scene, a filmmaker needs a vision from which she or he can tell a story.
Positioning oneself is not an easy task; it might demand courageous
decisions and a good sense of responsibility. Nevertheless, to develop
Photo Marc Ohrem-Leclef - marcleclef.com
a strong artistic profile, a clear approach and focus are indispensable.

The Berlinale Talent Campus offers support by way of unique possi
bilities to connect and discuss with people of a similar disposition as
well as with industry old hands or creative minds of all kinds.
That the Berlinale Talent Campus was able to position itself
over the course of the past nine years as a world-spanning community
of young filmmakers is due to a group of true partners who have

PROFESSIONAL
DEVELOPMENT
& TRAINING
SOURCES 2 Script Development Workshops
Three-month process coached by experienced script advisers
for European screenwriters and teams of writers, producers or directors:
Seven-day session, coached development period, follow-up session.
Application date: 1st March 2011 for the workshop at the FilmCamp/Norway,
16th – 24th June 2011, with the support of FilmCamp AS.
Requested: Feature film projects and creative documentaries
Application date: 1st July 2011 for the workshop in Luleå/Sweden,

November 2011, with the support of Filmpool Nord.
Requested: Feature film projects and creative documentaries
SOURCES 2 at Berlinale Talent Campus

Consultation – Analysis – Advice for selected projects
Louise Gough at the Script Station,
Ulla Simonen at the Doc Station.
Please visit the SOURCES 2 stand at HAU 1!
SOURCES 2 • Köthener Straße 44 • D-10963 Berlin

Tel. + 49(0) 30 - 88 60 211 • [email protected] • www.sources2.de
Editorial Page
berlin 08
makes a difference 09
“I have learned so much, met many people

I would have never met otherwise,
and now I feel ready for the next stage
in my filmmaking career.”
Kyoko Miyake, participant Berlin Today Award 2011
Bringing together 350 up-and-coming filmmakers with around which evolves and depends on human relations. Even with an array of
150 film experts in a Kreuzberg theatre in one of Berlin’s most chilly different events, the Campus is set up to make people meet people:
months is something we do every year for a very specific reason. Even talented young people eager to learn, talented experienced people
though most of us today connect more easily with the rest of the willing to share.
world than ever before, we strongly believe that offering a real-life The mere fact that this is done during the Berlin International
platform where each attending filmmaker can meet 499 new people Film Festival, makes a huge difference to the opportunities the
in a short time, also makes sense more than ever before. Berlinale Talent Campus can effectively offer: the huge amount of
You’ll see that the Berlinale Talent Campus is a wide-spann different curated programmes and events during the Berlinale makes
ing event that sets out firstly to talk about the vibrant issues of today’s it the perfect place to meet film-loving audiences on every level.
cinema – not purely to philosophise about them, but also to set things At the end of the day, making films comes down to building
straight and break the often complex filmmaking reality down to trust. In order to find the people you want to work with intensively on
human proportions. For us, the film business is a people’s business new film projects, people who can support you to find and face your
audience – meeting them and looking them in the eye is inevitable
and necessary to ensure that they share your passion. Filmmaking
requires you to commit yourself, to show who you are, to pay attention
to details that might seem trivial, but can change people’s attitude
and open doors for the future. To be able to join you, people need to
know where you stand.
That‘s insofar as real life meeting go. Beyond that, the Berlinale
Talent Campus enables you to stay connected more easily afterwards
through our online network of almost 4,000 filmmakers around the
world. All of them have been at the Campus, quite a few of them have,
in the meantime, found their way into the industry. Having a shared
experience in Berlin or anywhere in the world makes it easier to reach
out, to build new friendships and start collaborations.
And collaboration is what the Campus stands for: we aim to
enhance knowledge. Not only by enabling contact between film
makers but also by bringing together people from various disciplines
in order to refresh minds and make sure that you’ll have another
perspective on routines and procedures you’ve been taught or ex
perienced until now. Our global dynamic is reinforced by the collabo
rations we have ourselves with Talent Campus programmes in Central
and South America, Africa, and Southeastern Europe.
Out of 3,967 filmmakers who applied, you have made it to

Berlin, Europe’s creative capital du jour, which hosts the largest
Matthijs Wouter Knol Programme Manager
audience film festival in the world. That‘s no reason to lean back
Christine Tröstrum Project Manager and relax, but to make the most of it!

Page Partners
10 words of welcome
Costas Daskalakis
Head of the EU MEDIA Programme at the Education,
Audiovisual and Culture Executive Agency
Bernd Neumann
Federal Government Commissioner for Culture and
the Media, Minister of State to the Federal Chancellor
Photo Bundesregierung /Chaperon
“To ensure that creativity of the highest order continues

to be available in the future, the Berlinale Talent Campus,
brings the most promising up-and-coming filmmakers
from all over the world to Berlin...“
Costas Daskalakis Bernd Neumann

MEDIA Programme Federal Government Commissioner
Continuous training of professionals and talented individuals for Culture and the Media
is essential to reinforce the competitiveness of the European audio The Berlinale, which will take place for the 61st time in 2011,
visual industry, a core objective of the MEDIA Programme of the Euro showcases the best of international cinema in Berlin. To ensure that
pean Union. That is why ever since its beginnings in 1991 the MEDIA creativity of the highest order continues to be available in the future,
Programme has devoted a substantial amount of its budget to co- the Berlinale Talent Campus, now in its ninth year, brings the most
finance training initiatives developed by professionals for profess promising up-and-coming filmmakers from all over the world to Berlin
ionals. More than 1,500 professionals from countries participating in to engage them in creative exchange with one another as well as with
the MEDIA Programme are trained every year through more than 60 big names in cinema.
MEDIA funded training initiatives where they have the opportunity to Accordingly, this year’s theme “Framespotting – Filmmakers
acquire new skills, learn from others’ mistakes or successes, fine-tune positioning themselves” is both a challenge and an encouragement
their projects thanks to experienced tutors, explore new technologies for young filmmakers to find themselves and their place. At the
or expand their contact base. Berlinale Talent Campus, they are incited to examine their approach to
It has therefore been natural for us to be the main financial personal subjects, interact with new media and cinematic forms, and
partner of the Berlinale Talent Campus since the beginning. We strive last but not least, to ask themselves how to create a cinematic future.
for the same objectives and values: training professionals, fostering At the same time, looking beyond national borders broadens the
projects, connecting people in Europe and the world. horizons of the participating young German filmmakers and thus
Apart from training activities, there is a lot more that the MEDIA strengthens the German film industry.
programme offers to young filmmakers: project development, inter As the Federal Government Commissioner for Culture and the
national distribution, networking and access to key markets and co- Media, I have once again decided to lend financial support to this
production forums in Europe and around the world. This year, the unique initiative that is dedicated to artistic exchange, creative sus
MEDIA programme is celebrating its 20th Birthday so we are especially tainability and cinematic diversity. I wish all the Campus participants
proud to look back on how much the European film industry has and visitors exciting encounters full of inspiration, creativity and new
developed over this period, and to stress our continued commitment visions.
to supporting the EU film industry in the future. I wish you an exciting
Campus week and rich, vibrant collaborative filmmaking adventures.
Partners Page
11
Kirsten Niehuus
CEO Medienboard Berlin-Brandenburg,
Managing Director Film Funding
Elmar Giglinger
CEO Medienboard Berlin-Brandenburg,
Managing Director Media Development
“ Dear Talents and mentors from all over the world,

chilly winter time in Berlin… and therefore an extra
warm welcome to the 9th Berlinale Talent Campus...“
Kirsten Niehuus, Elmar Giglinger

Medienboard Berlin-Brandenburg
Dear Talents and mentors from all over the world, chilly win- Plus, this six-day experience may become vital for your filmmaking
ter time in Berlin… and therefore an extra warm welcome to the future; and if you would like to stay for a while and work in Berlin, why
9th Berlinale Talent Campus on the occasion of this year’s Berlin not participate in the Berlin Today Award, our annual short film com
International Film Festival! petition open exclusively to Campus participants, past and present.
We are delighted to have you here during the most exciting This year’s bunch of films created under the motto “Leaving the
period of the year, when up to 19,000 film professionals gather around Familiar Sector” will premiere at the opening ceremony of the Berlinale
Potsdamer Platz to watch, discuss, adore, trade movies, network and Talent Campus on Saturday and the winner will be crowned during
reunite. the Dine & Shine dinner – we wish all films good luck. And now: Lift
Berlin is a hot spot for creative talent and an international the curtains, let the Campus begin!
hub for filmmakers from all continents. Let the city electrify you,
share and be a part of the capital vibes! Taking part in the Berlinale
Talent Campus lectures, seminars and workshops will be a number
one occasion for learning and improving your skills, for meeting re
nowned film experts and fellow Talents.
“ We are delighted to have you here during the most

exciting period of the year, when up to 19.000
film professionals gather around Potsdamer Platz
to watch, discuss, adore, trade movies, network
and to reunite.“
Page www.berlinale-talentcampus.de
12 berlinale
talent campus 3.0
The worldwide Campus network is the central feature
of the Berlinale Talent Campus website – our online community.
The Berlinale Talent Campus website is not only a great source

of information about the current edition, the next application deadline
and ongoing programme elements like the Berlin Today Award, it is
also continuously updated with news on Campus events around the
globe and the current status of alumni projects. Moreover, for the
Campus’ 9th edition, a selection of master classes will be streamed live
on the Campus website and accessible thereafter on the Campus-on-
Demand section.
Campus-on-Demand offers a variety of videos, scripts, pro
grammes and photos from preceding Campuses. Panels and discus
sions with experts such as Isabel Coixet, Stephen Daldry, Claire Denis,
The homepage Tilda Swinton, Shah Rukh Khan and Wim Wenders can be watched
of the Campus website
online and are a great way to get information on contemporary topics,
themes or discussions within the industry. As our international net
work is vital to the Campus experience, we introduce this year’s Talents
online. Computer stations in HAU 1 and HAU 2 give direct access to this
network, where you can browse profiles that show samples of work
and filmographies, as well as the opportunity to contact fellow
filmmakers directly. The Berlinale Talent Campus community also in
cludes profiles of Campus alumni, including alumni of the Campus
International initiatives and a bulletin board where news on festivals,
events and calls-for-entry are collected and shared.
You can stay updated all year round with the Campus news
letter. Featuring not only news from Berlin, it also reports on all
Campus ventures around the world, on the programmes in Guada
lajara, Durban, Buenos Aires and Sarajevo. The latest newsletter can be
read online or you can register to receive it via email on the Berlinale
Talent Campus homepage. Of course you can browse former Campus
The Campus-on-Demand section editions too and find information about Campus locations and the
offers videos, transcripts and photos
team.
With www.talentpress.org, young and up-coming film critics
have found their platform. Read articles, reportages, interviews and
features on films, filmmakers and festivals from Talents and Campus
alumni. Our virtual Campus is there for you to interact, collaborate,
inform yourself about fellow filmmakers and present yourself actively:
Find us at:
www.berlinale-talentcampus.de
the place for all daily Campus needs and beyond.
www.talentpress.org
“I met great collaborators and

was given a huge leg-up to grander production values;
from here-on there's no turning back.”
Bryn Chainey, Berlin Today Award winner 2010
Talent Campus International Page
rolling stones 13
Four international editions of the Campus, modelled along

the lines of the Berlin-based archetype, have taken off abroad:
in Guadalajara, Buenos Aires, Durban and Sarajevo.
3rd Talent Campus Guadalajara (March 24-28, 2011)

Ana de la Rosa Zamboni and Lorena Rossette Riestra, Talent Campus Guadalajara
“The Talent Campus Guadalajara has created and consolidated a place where emerging
filmmakers and worldwide experts can come together: a forum that encourages and reinforces
future film productions allowing us to reflect our features; a place of creative exchange and
cinematographic collaboration. A country confesses itself through its filmography: if it does
not see its culture recreated in the audiovisual media, it loses the possibility of developing and
transforming its identity. It is important to establish venues that promote the creative exchange
between different cinematographic narratives, focused on highlighting the values and cultural
identity of each country, as well as the intercultural relationship among them.“
6th Talent Campus Buenos Aires (April 6-9, 2011)

María Marta Antin, Talent Campus Buenos Aires
“Bringing together young professionals and experts around the same topic is our main
goal, with the aim of creating a space for exchange both intellectually and professionally. The
topic for the Campus 2011, ‘Cinematic forms‘, has been chosen to inspire discussions on how
the forms of cinema have changed or resisted throughout its history. The Talent Campus
Buenos Aires has become a main event for South American young filmmakers and professionals,
providing Talents the opportunity to profit from networking while developing a platform for
their own projects. For the second year we motivate them to join the hands-on programmes:
the result is an intense and rich debate around the fact of sharing a continent, South America.“
4th Talent Campus Durban (July 22-26, 2011)

Peter Rorvik, Durban International Film Festival
“The first three editions facilitated meaningful exchange between African filmmaking
Talents, generating inspiration and opportunities for participants. A powerful affirmation of
the contribution of this project in empowering a new generation of filmmakers in Africa is the
fact that the 31st Durban International Film Festival in 2010 programmed an unprecedented
13 films from Campus alumni. Problems of access are a big issue in Africa – access to resources,
infrastructure, funding and networks. Talent Campus Durban provides a highly valued net
working and skills training opportunity, bringing together about 40 young filmmakers from
nearly 20 different countries in Africa, in programmes that address these challenges.“ Talent Campus Guadalajara
supported by the Goethe-Institut Mexico
and the University of Guadalajara
5th Talent Campus Sarajevo (July 22-28, 2011)
Mirsad Purivatra, Talent Campus Sarajevo Talent Campus Buenos Aires
supported by the Goethe-Institut Buenos Aires,
“Our first five-year plan was directed towards creating a proper community out of the Buenos Aires International Independent Film Festival
new generation of talent in Southeast Europe, introducing the standards it should operate on, and the Buenos Aires Lab
raising the bar for the achievements they aim for and finally building a brand out of Talent Talent Campus Durban
Campus Sarajevo that can rightfully represent them. The main achievement of Talent Campus supported by the German Embassy South Africa,
the Goethe-Institut Johannesburg and the KwaZulu-Natal
Sarajevo must be the annual impact it has on rejuvenating the film industry in our region. An Department of Economic Development
annual, targeted injection of a critical mass of emerging talent into the system helps the indus
Talent Campus Sarajevo
try make its goals and approaches more youth-oriented. The industry now understands this supported by the Robert Bosch Stiftung and partners
and trusts the Talent Campus Sarajevo to highlight the most promising talent.“ (from above)

Page Campus alumni Dates
14 returning to home base
sun 13 | 19:00
ewerk
Dine & Shine
(p.49).
tue 15 | 17:00
HAU 2
Plugging People:
European Producers
Positioning Themselves
(p.57).
wed 16 | 14:00
HAU 1
The Internationals:
How Small Stories
Become Big
(p.60).
wed 16 | 17:00
HAU 3, Top Floor
Happy Returns:
Films in the Official Programme with alumni participation: A Talent‘s comeback in the Berlinale Competition: The Future after
Rosario García-Montero‘s the bad intentions | Berlinale Generation. Seyfi Teoman‘s our grand despair the Campus
(p.62).
An impressive number of Campus alumni will feature in

the various sections of the 61st Berlin International Film Festival.
The Berlinale 2011 welcomes back 38 Campus alumni who re Two alumni joined forces for the film Silent River : Romanian
turn with major roles in 35 film projects, spanning different sections of director Anca Miruna Lăzărescu (Campus 2004) and German producer
this year’s Berlinale. The Berlinale Talent Campus celebrates not only David Lindner (Campus 2010); the film will be shown in the Berlinale
the return of former participants to Berlin, but also the projects that Shorts this year. The Danish animation film, The Great Bear was
feature collaboration between filmmakers forged at the Campus. directed by Esben Toft Jacobsen (Campus 2008) with a score by Nicklas
Schmidt (Campus 2010).
“ A roller coaster for filmmakers.” Alumni projects will also be presented at the Berlinale Co-
Tal Granit & Sharon Maymon, participant 2010 Production Market: Javier Fuentes-León’s “The Woman Who Feared the
Sun“, Kornél Mundruczó’s “The Flying Man“, Orsolya Nagypal’s “Balaton
Competing for the Golden Bear this year is Seyfi Teoman’s Our Submarine“, Jean des Forêts and Tobias Nölle’s “We Are Dead“.
Grand Despair. The Turkish director (Campus 2005) also presents his
new project “Saints“ at the Co-Production Market. Having found a co- Other Campus alumni at the Berlinale in 2011
producer at the Talent Project Market in 2007 and support from the Ana Lily Amirpour (Hairy), Rodrigo Bellott (Blokes), Nicolás
World Cinema Fund, Peruvian director and alumna Rosario García- Carreras (the ways of wine), Carl Clifton (Toast), Ron Dyens (Planet Z),
Montero’s The Bad Intentions will celebrate its premiere in Berlinale Kaspars Goba (homo@lv), Oliver Kaempfer (Thomas), David Lowery
Generation – and so does Israeli director Guy Nattiv (Campus 2003) (Silver Bullets), Luna Mijović (Beats Being Dead), Rick Minnich
with his debut feature film The Flood . (Forgetting Dad), Orsolya Nagpal (project “Balaton Submarine“ in the
Two editors return to the Berlinale this year – Szilvia Ruszev Berlinale Co-Production Market), Dorothea Seeger (Under control),
(Campus 2008) with harvest and Lee Chatametikool (Campus 2006) David Sieveking, Rouven Rech and Jochen Laube (life isn‘t a home
with Hi-So . Dani Rosenberg and Melissa Dullius, both Campus 2006 game), Aylin Tezel ( Almanya), Pimpaka Towira ( Terribly Happy),
participants, have had films at the Berlinale before. This year Sandra Trostel (Utopia Ltd.), Andi Wecker (Lollipop Monster) and
Rosenberg’s co-directed short film Susya and Dullius‘ directed The Ralf Westhoff (the last nice day of autumn).
Residents will be shown in Berlinale Shorts and Berlinale Forum re
spectively. Twenty-year old Campus alumnus from 2009, Romualdas
For more information
Zabarauskas is the Lithuanian director and screenwriter of Porno on submissions to the Berlin International Film Festival,
Melodrama , which will be shown in the Berlinale Panorama. visit www.berlinale.de.
Supporting foundations Page
funding matters! 15
The Robert Bosch Stiftung and the Manfred Durniok Foundation have been supporting
the Berlinale Talent Campus over the past years. Their contribution, both financial
and conceptual, are invaluable to its success.
The Co-Production Prize of the Robert Bosch Stiftung Manfred Durniok Foundation
Especially interested in Eastern Europe? The core ambition of German producer, filmmaker, photographer and writer
the Co-Production Prize of the Robert Bosch Stiftung is to encourage Manfred Durniok was always drawn to distant places. Although a
collaboration and foster mutual development between producers and visitor of many continents, it was Asia that captured his imagination.
filmmakers in Germany and Eastern Europe. Supporting filmmakers Considered a pioneer who brought Asian cinema to the attention of
and producers has had a profound impact over the past years: films Western audiences, he promoted and encouraged multicultural
have been screened all over the world and won awards or were Oscar- encounters and exchanges through film co-productions. The Man
nominated. Take German producer Stephan Grobe: he joined the fred Durniok Foundation, founded by the late filmmaker’s daughter,
Talent Campus Sarajevo as a guest in 2009 upon learning about the Ayano Teramoto, is a non-profit organisation established in 2006 to
Co-Production Prize. Having applied with Kazakh filmmaker Katya support and promote cultural exchanges between Germany and
Suvorova, their documentary film project SEATOMORROW won the Co- Asia, to grant scholarships, award prizes and to give financial support
Production Prize in 2010, and the film THE HOUSEMAID (directed by to intercultural gatherings.
Anna Hoffmann), which he produced, was screened at the Berlinale
Perspektive Deutsches Kino in 2010.
Ideally, film projects supported by the Robert Bosch Stiftung
are only the first of many projects between up-and-coming filmmakers
from Eastern Europe and Germany. One example is the collaboration
between German producer Henning Kamm and Hungarian director
Lili Horváth, whose film SUNSTROKE won the Co-Production Prize in
2008 and premiered at the Sarajevo Film Festival; Horváth and Kamm
have joined forces again for a feature-length film.
Nominated for the European Film Award was Paul Negoescu’s
RENOVATION (produced by 2010 alumnus David Lindner), also a winner
in 2008, which premiered at the Berlinale Shorts in 2009 and was
shown at numerous festivals in Europe and beyond.
The Robert Bosch Stiftung’s Co-Production Prize competition
is open to young filmmakers between 18 and 35 and graduates from
film and media academies from Germany and East and South East
Europe. Joint production teams with a producer, director, camera op Won the Co-Production Prize in 2010:
Katya Suvorova‘s and Stephan Grobe‘s seatomorrow
erator (not for animated films) and a screenwriter in a balanced mix
from both regions are allowed to submit projects. The categories
qualifying for three co-production prizes for joint short film produc It is not only the Berlinale Talent Campus’ decisive inter-
tions are animated film, documentary and short film, and each win ational perspective and interest in a dialogue that goes beyond
n
ning production can receive up to 70 000 euros in funding. political and cultural borders that makes this cooperation a fruitful
one. Intercultural awareness is a recurrent theme in the films that
Durniok made and produced; it is that spirit that the foundation
hopes to continue.
The Manfred Durniok Foundation once again supports
Talents from South East Asia attending the 9th edition of the Berlinale
For more information please contact:
Talent Campus by covering the costs of their travel, as they have
Robert Bosch Stiftung, Frank W. Albers since 2007. Meet fellow East Asian Talents at the Manfred Durniok
[email protected]
Coordination of the Co-Production Prize, Karin Angela Schyle
Foundation‘s reception on Feb 13 from 12:30-13:45 in the Kaisersaal
[email protected] (by invitation only).

Chapter
02 Focus
p.18 Focus:
Framespotting – Filmmakers positioning themselves
Page Focus
18
19
Positioning oneself:
the balancing act
between one‘s aims and
expectations and the
demands of the industry
Focus Dates
which world do you

want to live in?
The 9th Berlinale Talent Campus encourages a new generation of filmmakers to sun 13 | 11:00 tue 15 | 10:30
HAU 1 HAU 3, Top Floor
position themselves and to tackle contemporary issues head-on in films that are The Rules of Engagement Where I Am and Where
stamped with their distinctive styles and artistic visions. (p.47). I Want to Go
(p.55).
sun 13 | 14:00
“ The past was neither as good nor as bad as we suppose: it was just different. HAU 1 tue 15 | 11:00
Filming War HAU 1
If we tell ourselves nostalgic stories, we shall never engage the problems that face (p.47). Too Good to Be True:
us in the present – and the same is true if we fondly suppose that our own world Directing Reality
sun 13 | 17:00 (p.55).
is better in every way.“ Tony Judt, “Ill Fares the Land“ HAU 3, Top Floor
Your Body Speaks tue 15 | 17:00
(p.47). HAU 2
Plugging People:
mon 14 | 14:00 European Producers
HAU 2 Positioning Themselves
tue 15 | 14:00 (p.57).
HAU 3, Top Floor
wed 16 | 11:00 wed 16 | 11:00
HAU 3, Top Floor HAU 1
Every year, the Berlinale Talent Campus centres attention on The Indie Filmmakers As Queer As It Gets
Guide to Cross Media I-III (p.59).
the most promising filmmakers from all over the world. It means 350 (p.52,57,59).
people from different backgrounds with their own reasons to be wed 16 | 14:00
mon 14 | 18:00 HAU 1
working in film, their dreams and the differing options open to them. cubix 8 The Internationals:
Their passion for film and their willingness to travel and widen their New Horizons in 3D: How Small Stories
Storytelling and Become Big
experience by learning from others is what unites them. Nevertheless, Producing Redefined (p.60).
each one of us brings another story to Berlin. Each story shows a new (p.54).
thu 17 | 14:00
undiscovered piece of our world, it tells us something about what the HAU 1
world around us means. Censored Cinema
(p.64).
This Campus edition focuses on the awareness of that world
and one’s active position in it. Which world do you want to live in? A
world that presents itself to you in a way others have decided it should
be, a world in which you follow the rules and the regulations and do
things like they’ve been done for decades? Or a world in which you try An increasingly demanding film industry often requires clear
to change things? A world in which you are allowed to redefine, adjust, positioning in yet another way. What are the new trends and in which
question or oppose things because you feel the urge to do so. direction are technology, financing models and production work-
These are big questions. We think that for every single film flows developing? Pioneers and grand masters will unveil their secrets
maker, these are issues that matter, that one should think about and and share their insights with a selected group of Campus filmmakers,
be aware of, issues that coincide with the film you work on, that shape among them Shekhar Kapur, Edward Lachman, Alex McDowell,
your personality and influence the circumstances in which you find Michel Reilhac, Philippe Ros, Wim Wenders and Jasmila Žbanić.
yourself at the moment. In a world dominated by social networking and non-stop
The Berlinale Talent Campus #9 aims to frame these issues and stimuli, focusing has become an art in itself. Following your instincts
to focus on a new generation that firstly positions itself in modern might not be enough – focusing asks for daring and decisiveness, for
society: speaks out, dares to question things that make you think, that choices and thorough concentration.
make you doubt, that enrage you or that you’re passionate about. In This year’s programme includes an array of workshops by
2011, the Campus focuses on how emerging filmmakers can politi- experts who help you train yourself to deal with these vital issues: not
cally or socially engage themselves and take a stand in today’s world. postponing decisions, having an aim and becoming aware of what
Filmmakers like Kerry Fox, John Greyson, Barbara Hammer, Claudia you can communicate non-verbally. It‘ll help you realise that you're
Llosa, Sepideh Farsi, Samuel Maoz, Janus Metz, Rafi Pitts, Isabella part of a community of promising filmmakers and not fighting alone
Rossellini, Abderrahmane Sissako, Danis Tanović and Christine Vachon against deadlines, industry pressure or disappearing funds.
will address this in a variety of sessions – talking not only about what We believe that a new generation of filmmakers does care
they think it should be, but also about how they engage with con about the world they live in – and the Campus challenges you to de
temporary society and how they use their work to make a difference. fine your own way of expressing this in your work.

10–11/09/2011
SAVE THE DATE
WWW.BERLIN-MUSIC-WEEK.DE
Chapter
03 Hands-on-training
p.22 Score Competition | p.23 Interview Michael Nyman

p.24 Script Station | p.25 Doc Station | p.26 Campus Studio
p.27 Interview Molly Malene Stensgaard | p.28 Talent
Project Market | p.29 Talent Press | p.31 Talent Actors Stage
p.32 Berlin Today Award | p.35 Meet the Expert
Page Score Competition
22 underscoring a film
23
Three composers get ready to score
to the moving image.
If music communicates anything at all, it communicates emo

tions. Think about your favourite film and it’s a good bet that you’ll find
a powerful score inextricably linked to the experience. Some great
scores have imprinted key cinematic moments in the minds of the
audience; sometimes they assist in raising their status to classic film.
At the nerve centre of theory and practice, the Score Competition
offers composers and sound designers hands-on experience in com
position for film. They have the opportunity to draw on the extensive
skills of established professionals and experiment with the high-end
equipment of the German Film Orchestra Babelsberg and the Film and
Television University (HFF) “Konrad Wolf“.
Composing a new score for selected film material is what it’s all
about. The three finalists of the Score Competition – Ehud Freedman
(Israel), Roger Goula (Spain/ UK ) and Felix Rösch (Germany) – will each
compose a score for the short film Little Red by Romanian director
Eva Pervolovici. Little Red is one of the five short films produced for
Photo Francesco Guidicini
the Berlin Today Award 2011 (see page 33).
“ It was amazing to be involved in every

aspect of the composition and production
process from the sketches to the final mix.”
Camilo Sanabria, Score Competition winner 2010
Priceless insights from their mentor, renowned composer

Michael Nyman will guide their nine-day musical journey in Berlin. The
unique chance to record their compositions with the German Film
The Campus‘ Score Competition from above to below: Orchestra Babelsberg will be followed by the final mixing at the Film
Last year's three finalists in the studio | Michael Nyman working
on an orchestration | German Film Orchestra Babelsberg
and Television University (HFF) “Konrad Wolf“ and editing at the post-
production company Wave-line. All three finalists will receive direct
individual feedback not just from their mentor Michael Nyman, but
also from the various experts involved in all stages of post-production
– from preparing scores, using studio resources and recording with an
orchestra to the final editing and mixing.
Since 2004, the Score Competition has been training com
posers in the art of film scoring and many of them have gone on to
score a variety of both short and feature-length films, documentaries,
commercials, television programmes and other productions that re
quire original music composition. The intense and enriching sound
journey of the three finalists reaches its climax at the Score Competition
Presentation on Feb 17, where the winning contestant will be awarded
a trip to Los Angeles with an exclusive guided tour to the best sound
studios in the city, sponsored by Dolby Laboratories.
Score Competition Dates
create your world
Score Competition mentor Michael Nyman about his work wed 16 | 17:00
HAU 1
with Peter Greenaway and the specific needs of young film composers. The Great World of Sound
(p.62).
You began as a musical theorist – how did that Michael Nyman
thu 17 | 17:30
Film composer
influence you as a composer? HAU 1
Say It with a Score:
Yes, I started as a would-be musicologist in the 1960s. I edited British film composer, pianist, librettist and musicologist.
Score Competition
Nyman became widely known as a film score composer
early music and was a music critic for ten years. So even before I for his work in many of Peter Greenaway’s films (A ZED
Presentation
and Award Ceremony
became a composer there was already a career I left behind. I have a & TWO NOUGHTS, THE COOK THE THIEF HIS WIFE & HER
(p.65).
LOVE R, PROSPERO’S BOOKS), and his scores for WONDER
sort of awareness that comes from all those diverse elements that LAND and GATTACA. His soundtrack for THE PIANO sold
made up my career before I was 25 that stays with me. And I have a more than three million copies. He has written numerous
orchestral and ensemble pieces and tours as a performing
knowledge of European musical tradition and how to find source pianist with the Michael Nyman Band. His credits as
material which is, I guess, why it sometimes appears in my original filmmaker include the 2010 documentary NYMAN WITH A
MOVIE CAMERA.
work. So my whole history moved into the direction of what I do
now. Although it is sometimes added – maybe confused – by also
being a photographer and a filmmaker…
Have there been moments in your career where you thought

you would need to position yourself more clearly?
The market place for young composers today is very different
from how it was when I started composing and also from the position

which I was in when I started composing. At that time, 1976, writing
music was kind of simultaneously with me writing soundtracks. It’s
not that I was in the film or soundtrack business as a young composer
has to be now, but I’ve worked with a very specific director, Peter
Greenaway who had the most specific ideas and very specific needs

for a composer. He made films which were not generic films, which Selected filmography
1978 Vertical Feature Remake | Peter Greenaway
from an aesthetic point of view, from a structural, conceptional, 1980 The Falls | Peter Greenaway
ironic point of view happened to be close to the kind of music I was 1982 The Draughtsman's Contract
Peter Greenaway
writing anyway. So, the collaboration with Peter Greenaway was, in 1986 A Zed & Two Noughts | Peter Greenaway
the first place, a way of me exploring my new found creativity as a 1987 Le Miraculé | Jean-Pierre Mocky
1988 Drowning By Numbers | Peter Greenaway
composer. 1989 Monsieur Hire | Patrice Leconte
1989 The Cook the Thief His Wife & Her Lover
Peter Greenaway
This way you were able to develop a certain personal 1990 Le mari de la coiffeuse | Patrice Leconte
style – would you consider this an important qualification 1991 Prospero's Books | Peter Greenaway
1993 The Piano | Jane Campion
for a young film composer? 1994 Mesmer | Roger Spottiswoode
Well, on the one hand I say: Find your own voice, be an in 1995 Carrington | Christopher Hampton
1996 the ogre | Volker Schlöndorff
dividual. Try not to be part of a generalised music direction where 1997 Gattaca | Andrew Niccol
your music could be mistaken with the music of a hundred others. 1999 Wonderland | Michael Winterbottom
1999 The End of the Affair | Neil Jordan
But on the other hand, from the economic point of view that posit 2003 The Actors | Conor McPherson
ion of the soundtrack composer as an original artist is also very 2003 Nathalie… | Anne Fontaine
2004 The Libertine | Laurence Dunmore
dangerous because if your particular brand, your particular sound of 2008 Man on Wire | James Marsh
music is not liked by the people who have the power to make decis 2010 Two Graves | Yvonne McDevitt
2010 Krokodyle | Stefano Bessoni
ions then you never get any work. So you do have to be a generalist 2010 NYMAN WITH A MOVIE CAMERA | Michael Nyman
too, you do have to be able to write for a full orchestra, street music,
rap music and so on. But I obviously prefer far more to be in the
Find the longer version of the interview
position I am. I create my world and that’s my life, to be Michael with Michael Nyman at
Nyman, to sound like Michael Nyman. www.berlinale-talentcampus.de

Page Script Station Dates
24 scripting in process
25
Script consultants work with Talents for greater depth In early December 2010, twelve projects tue 15 | 14:00
HAU 3, black stage
in their storytelling. were selected by an international jury Rehearsed Reading I:
for this year’s Script Station: Actors Reading Scripts
(p.56).
It doesn’t matter how good your idea is if you can’t find a way
to tell the story. A fantastic narrative and intriguing characters can Stasha Bajac Serbia wed 16 | 14:00
HAU 3, White stage
convert an idea into a captivating script, but this is no mean feat. Juan Manuel Biain United Kingdom Dial F for Fiction:
Helping scriptwriting Talents to find creative solutions to their speci- Hisham Bizri USA Script Station Presentation
(p.60).
fic script problems, develop characters and dialogues to their fullest Fadi Haddad Jordan | Nadira Ilana Malaysia
and fine-tune their script is what’s on hand at the Script Station. It Agnes Kamya Uganda wed 16 | 14:00
HAU 3, Black stage
connects scriptwriters and leading script consultants from around the Mirjam Anne Kubescha Germany Rehearsed Reading II:
globe to discuss and develop the yet unpolished scripts. Micah Magee USA Actors Reading Scripts
(p.56).
The Script Station commences with an intensive Project De Bikas Ranjan Mishra India
velopment Day that prepares the ground for subsequent coaching Monica Stan Romania
and feedback sessions with mentors Gyula Gazdag, Louise Gough Micaela Tisminetzky Argentina
(SOURCES 2) , Lucile Hadžihalilović, Marten Rabarts, Franz Roden Elena Antigoni Zogka Greece.
kirchen and Selina Ukwuoma. This noteworthy line-up of mentors will
work with writers and directors on the in-depth development and en Over the years, the Script Station has
hancement of their projects at this very critical phase in the filmmaking received considerable support from its part
process. ners: the German Federal Film Board (FFA) and
SOURCES 2, the European Script Writers’ Train
ing Programme, which lends its support by
way of experts from its teaching staff.
The Script Station: working

on the in-depth development
of the Talents‘ projects
“Stories may belong to individuals but storytelling

is universal. I look forward to returning with a feature.”
Faisal Qureshi, participant 2010
Doc Station Dates
accelerating development
Industry professionals assist documentary directors Twelve documentary film projects were wed 16 | 14:00
HAU 3, Top Floor
to refine their film projects. selected in early December for the Welcome to Reality:
Doc Station 2011: Doc Station Presentation
(p.61).
As creative projects that put real life struggles and aspirations
into cinematic stories, documentaries provoke thought and reflec- Neus Ballús Spain | Angela Bravo Sweden
tion, and sometimes even action. At the Campus Doc Station, it is the Lieven Corthouts Belgium, Ethiopia
authors of these stories who reflect on their concept and treatments Augusto Cesar Diaz Guatemala, Belgium
and work at developing the quality, range and ambition of their Alyx Duncan Australia, New Zealand
projects, as well as their own creative skills. Alexandra Gerbaulet Germany
This hands-on training, which owes its existence to the support Zipporah Nyaruri Kenya | Katia Paradis Belize
of the German Federal Film Board (FFA) , assists twelve determined Otilia Portillo Mexico | Julian Reich Germany
documentary filmmakers at a time when the pressures and challen- Juan Sarmiento Colombia, Germany
ges of structuring their treatments are mounting. A week of undivid- Zuolong Shan China
ed attention, insights and advice by high-profile industry experts will
take them a long way in strengthening and improving the narrative The Doc Station has enjoyed tremen
structure of their treatments. Doc Station mentors include Kathrin dous support over the years, by way of men
Brinkmann, Dick Fontaine, Jakob Kirstein Høgel, Ulla Simonen toring and designing of the Project Develop
(SOURCES 2), Fleur Knopperts, and Meike Martens. Mentoring sessions ment Day, from ZDF/ ARTE – a predominant
running parallel over the week will be preceded by an intensive Project German television channel, and from SOURCES
Development Day. 2, the European Script Writers’ Training Pro
gramme, which lends its support by way of
experts from its teaching staff.
The Doc Station: a week of undivided

attention, insights and advice by experts
“The Berlinale Talent Campus shifts you from

a talent that makes films to a talented filmmaker.”
Arne Kohlweyer, participant 2009
Page Campus Studio
26 Tackling Technology
27
The Campus Studio is a bustling post-production hub
where aspiring filmmakers give films their final touches
for the big screen.
Good films – those that tell a compelling story and effectively

deliver the filmmaker’s vision – are the result of a magical blend of
ideas, aesthetics and the mechanics of filmmaking. A good under
standing of filmmaking tools and techniques is a prerequisite to
translating these ideas into cinematic language. Designed to assist
Talents in finding the right artistic expression for their films, the Post-
Production Studio is an intensive hands-on educational experience
that gives them a thorough understanding of the integral steps in the
post-process and focuses on improving films in the final stages of
production. Professionalising work processes is the keyword which
Talents learn by way of technological know-how and the expertise
provided to them: The latest technology for ingest and transfer,
editing, grading and mastering digital material are made available to
“ The Editing Studio gave me Talents in the Post-Production Studio. The Editing Studio, for its part,
allows selected Talents to fine tune their rough-cuts and strengthen
the rare chance to see editing in the narrative structure of their stories on the advice and expert
a new light from an experienced guidance of world-class editors. The Campus Studio has been made
possible through the support and cooperation of Camelot Broadcast
editor.”Leong Huat Michael Kam, participant 2009 Services and the German Film and Television Academy Berlin (dffb).
Post-Production Studio
The Post-Production Studio places the reputed cinemato
grapher and post-production expert Philippe Ros and post-production
supervisor Ugur Yildrim at the disposal of Talents, who direct them on
using state-of-the-art digital workflow equipment and offer a com
prehensive survey of the practical filmmaking techniques – from
shooting with digital cameras like Sony F3 and ARRI Alexa to digital
post-production processes including editing, grading, mastering and
data management.
Editing Studio
Editing can be an exacting process. And yet, often after weeks
of being closeted in the editing studio, you’ve made little progress.
Noted editors Andrew Bird, Katja Dringenberg, Susan Korda, Gesa
Marten and Molly Malene Stensgaard work with around nine Talents
in the editing room, giving them valuable insight and tips to improve
and strengthen the narrative structure of their projects. Talent editors
and directors will have an entire day with a renowned editor to polish
the rough-cuts of their fiction or documentary short films or excerpts
of their feature-length film. As Astrid Rondero, participant in 2010, ex
plains, “I had been working on the editing process for a year afraid of
The bustling Campus Studio: state-of-the-art digital workflow
loosing the important part of my short film. The Editing Studio was a
equipment from editing suites (above) to digital cameras (below) great journey of rediscovery, everything finally found its place”.
Campus Studio Dates
the editor as transformer
Campus Editing Studio expert, the Danish film editor Molly Malene Stensgaard on sun 13 | 14:00
HAu 2
her collaborative work with Lars von Trier, useful skills and the nature of editing. Kill Your Darlings
(p.47).
Film editing is referred to as the “invisible art form“: Molly Malene Stensgaard
thu 17 | 14:00
Film editor
the less you notice the editing the better it is. Do you agree? cinemaxx 17
Cutting on the Edge:
Well, I think it’s somehow right that editing is an invisible art Danish film editor who has edited most of Lars von
Campus Editing
Trier’s films including THE KINGDOM, THE IDIOTS, DANCER
form. But I don’t think in general that it is not good when you notice IN THE DARK, DOGVILLE, MANDERLAY, THE BOSS OF IT ALL
Studio Presentation
(p.65).
it. Editing is very often an art form that is blended into the film, it’s and the forthcoming MELANCHOLIA. From 2006 –2010,
she was commissioning editor for feature films at the
built in and that is quite beautiful. So if people experience the film Danish Film Institute. She is a lecturer at the Binger Filmlab
thu 17 | 14:00
HAU 3, Top Floor
well, then I feel happy because then I know I have done my job well. in Amsterdam, and in 2007, she was a member of the
Where Things Come
Berlinale Jury.
Together:
Campus Post-Production
So then, should the material influence the style of editing? Studio Presentation
Yes, the material and the vision for the film. I don’t believe in (p.65).
editors having their own way of editing or having a personal style
and applying it to any film. That doesn’t make sense to me.
How do you put the first cut together – do you follow

the script exactly or do you just try to read the film
by watching the material?
A kind of mixture, I think. In the beginning I use the script as
a reference, as guidance to orientate myself in the story. For the first
cut, I don’t take out many lines out of respect for the efforts that
went into the script. I think, at this early stage, it is too soon for me

to be that “wise“ on the story. So normally, I do the first cut pretty Selected filmography
1994 riget, The Kingdom , TV -series | Lars von Trier
much according to the script. But after that it is very much the 1996 Bella, min Bella | Astrid Henning-Jensen
editor’s task to work at the transformation from written language to 1998 The Idiots | Lars von Trier
1999 Falkehjerte | Lars Hesselholdt
film language. And that also means taking a distance from the script 2000 Dancer in the Dark | Lars von Trier
and cutting out dialogue, if reasonable. Being exactly at the point of 2001 Portrait of God | Jon Bang-Carlsen
2002 I Am Dina | Ole Bornedal
this transformation: That’s one of the beauties of the editor‘s work. 2002 Kald mig bare Aksel | Pia Bovin
2003 Dogville | Lars von Trier
2004 in YOUR HANDS | Annette K. Olesen
What is your way then of finding the ideal rhythm for a film? 2005 Manderlay | Lars von Trier
Oh, that’s actually the easy part. It results very much from 2005 Dommeren | Gert Fredholm
2006 1:1 | Annette K. Olesen
working with the material. I think, basically, that is the talent you 2006 The Boss of it All | Lars von Trier
need as an editor from the beginning: You can learn a lot about story- 2007 Hvordan vi slipper af med de andre
Anders Rønnow Klarlund
telling, structure and stuff like that, but a sense for rhythm, music and 2011 Melancholia | Lars von Trier
movements you have or you don’t have.
You just finished your 7th film with Lars von Trier – what is
it you both share that you can work together so well?
Humour is a very important part of being together for such a “Have you ever been on a scholar-
long time in the editing room. Then, we use very little energy on
power struggle issues, which is whose territory and so on. The im
ship programme, where every
portant thing is to create a room of trust and respect for each other. sample of work from a fellow
Our working relationship is also based on the fact that I am always
allowed and expected to do experiments. Lars von Trier and I never
participant you see makes you
say to each other: “What a bad idea!”, and then discuss it for ten go: ‘wow!‘?”
minutes. We just try it out. Philipp Alfons Heitmann, participant 2010
Page Talent Project Market Dates
28 talent-spotting in
29 a global market
thu 17 | 12:15
HAU 3, Top Floor
On Track with
Market Trends:
Berlinale Co-Production
Market and
Talent Project Market
(p.64).
“ It was an incredible, invaluable experience,

which really boosted my project specifically
and my professional skills in general.”
Basile Doganis, participant 2010
The Talent Project Market: the unique opportunity

to present projects to potential co-producers
and financiers
Talent Project Market assists fresh ideas
and exciting stories to reach the screen.
The more experimental part of the Berlinale Co-Production Projects selected for the Talent Project Market compete for
Market and a practical training programme of the Campus, the Talent four prizes: three pre-selected projects will be pitched publicly to
Project Market “invites directors and producers with fresh ideas, producers and potential financiers of the Co-Production Market and
exciting and original stories”, explains its coordinator Kathi Bildhauer. receive the three VFF Highlight Pitch Awards of Euros 3,000 each. One
Selected by an international jury, twelve young producers and project, to be selected on the spot, will receive the International
directors have the chance to present their film projects to experienc- Relations ARTE Prize of Euros 2,500. The “Talent Project Highlights“
ed co-producers and financiers attending the Berlinale Co-Production event is sponsored by VFF (German Collecting Society for Inhouse and
Market in pre-arranged one-on-one meetings. Commissioned Production of Film and TV Programmes).
Chosen from over 270 projects, the eleven projects mapping Not only do Talent directors and producers have the unique
the wide world of cinema will find their place in the Co-Production opportunity to present their projects to co-producers and financiers,
Market’s catalogue: the four-day programme of the Talent Project Market also allows them
to prepare for their meetings and learn about the international busi
Challatt of Tunis | produced by Habib Attia Tunisia ness and market. Industry experts and experienced pitching trainers
Preservation | directed by Nicole Brending USA offer valuable insights and guide participating directors and producers
The Babadook | produced by Kristina Ceyton Australia, Germany on presenting and marketing their projects and the technicalities of
Youth | produced by Gal Greenspan Israel international co-production, financing and markets. These initial
Brian | directed by Angela How USA, Singapore training elements serve to prepare Talents for their oncoming one-on-
The Find | produced by Dimitri Klepatski Russian Federation one meetings with potential partners interestedin getting on board
Greicekelly | directed by Rafael Lessa Brazil projects while they are yet in an early stage of development.
The South Is Nothing | directed by Fabio Mollo Italy Over and above, Talents can avail of a multitude of informal
Woman of the Father | produced by Aletéia Selonk Brazil networking possibilities including fruitful exchanges and sharing of
Bad Stock | directed by Rachel Tillotson UK projects with co-participants.
The Here After | produced by Mariusz Wlodarski Poland
and directed by Magnus von Horn Sweden
Talent Press Dates
nothing if not
critical
thu 17 | 14:00
HAU 2
Covering Cinema:
Critics Meet Filmmakers
(p.64).
The participants of Talent Press 2010:

Established forum for eclectic film criticism
“ Participating in Talent Press was not

only a great experience as a young
film critic and as a film lover, but
Passionate and informed criticism is the buzzword also a unique occasion to dive into
as upcoming film critics and journalists plunge
into the world of cinema.
a thrilling universe.” Loïc Valceschini, Talent Press 2010
Writing about films just before they open in cinema halls, the for participants to exchange ideas and learn from one another as well
“job“ part of being a film critic for a daily or weekly publication, is often as build networks for the development of their writing careers. Mentor
far more challenging and stressful than writing film essays for a Chris Fujiwara stated in an interview: “At Talent Press, you have the
monthly magazine or film blog. Talent Press, a collaborative venture chance to talk and work with people who are motivated by the same
of the Berlinale Talent Campus, the Goethe-Institut and FIPRESCI , has thing as you: the desire to see and understand cinema.” Joining him as
participating press Talents experience the pressures of working in an mentors of Talent Press 2011 are Dana Linssen, Derek Malcolm and
editorial room situation with its very tight deadlines, preparing them Stephanie Zacharek. Their articles will be published daily from Feb13-
for the real life challenges of the “job“. 17, 2011 on www.talentpress.org, the website of Talent Press – which
In its eighth edition, eight film critics and journalists at different features articles of press Talents and alumni throughout the year – and
stages in their careers and from different corners of the world come on those of the Goethe-Institut and FIPRESCI “Best of Talent Press”, a
together in Berlin: Josefina Maria Garcia Pullés (Argentina), Francis print publication comprising a selection of articles written during the
Joseph Cruz (Philippines), Conall Cash (Australia), Diego Faraone Campus week, will be released on the last Campus day.
(Uruguay), Eren Odabasi (Turkey), Nicholas Deigman (UK ), Bethsheba Talent Press begins with an “Introduction Day“; mentors and
Achitsa (Kenya) and Pamela Pianezza (France). press Talents come together and get to know one another before they
For many of them, Talent Press facilitates their very first ex- commence their fervent writing and reviewing of films and events.
posure to an international film festival, where they gain the oppor They also gain a more in-depth understanding of the Campus and its
tunity to explore the inner working of the Berlin International Film vast range of events and activities, as well as an overview of the current
Festival and sharpen their knowledge and views on independent and state of film criticism worldwide.
experimental, as well as mainstream cinema. Exchanging views and The first Talent Press International took place in March 2010
receiving feedback and guidance from prominent film critics as they at the Talent Campus Guadalajara.
review films, write about Campus events and conduct high-profile
interviews makes it an invaluable experience. Talent Press, as an For further information on the Talent Press website
established forum for eclectic film criticism, also provides a space see page 12 or visit www.talentpress.org.

57.
BOROS
internationale
kurzfilmtage oberhausen
5. — 10. mai 2011
www.kurzfilmtage.de
Talent Actors Stage Dates
developing the actor

in you
In its second year, the Talent Actors Stage assists actors sun 13 | 14:00
HAU 3, Top Floor
to enhance their technique and develop their craft. Directing Actors
(p.48).
It’s rigorous, but exhilarating! The Talent Actors Stage offers a challenging opportunity mon 14 | 11:00
to explore acting techniques, dialogue delivery, casting, improvisation and more. In its second tue 15 | 11:00
hau 3, black stage
year and going full throttle, this hands-on training programme is not just for actors, but focuses On the Path with
on interdisciplinary collaboration with directors, producers, scriptwriters and cinematographers Jasmila Žbanić
(p.50).
to foster exchange, dialogue and effective cooperation among practitioners of the different
fields of filmmaking. As such, the Talent Actors Stage facilitates the improvement of actors’ mon 14 | 14:00
HAU 3, Top floor
performances by bringing them together with professionals from other film disciplines. In ad Embodying the Character
dition to networking possibilities with other film practitioners and co-Talents, the Talent Actors (p.52).
Stage endeavours to give more prominence to acting Talents within the Campus. tue 15 | 14:00
wed 16 | 14:00
hau 3, black stage
The Talent Actors Stage offers actors five special events: Rehearsed Reading:
Actors Reading Scripts
(p.56).
Directing Actors
Prominent actress and filmmaker Kerry Fox, effective delivery of dialogue, as they read
who was awarded the Silver Bear in 2001 for vital scenes from a selection of Script Station
her outstanding performance in Intimacy , projects.
will draw on her vast experience as an actress
and share her perspective as a director to ex Meet the Expert
plain how she prefers to work with actors to Two established casting directors, Ulrike Mül
assist them in delivering compelling perfor ler and Beatrice Kruger, meet actors in two
mances. separate “Meet the Expert“ sessions.
Ulrike Müller, who casts predomi
On the Path with Jasmila Žbanić nantly German-speaking films, will talk about
For Grbavica , Jasmila Žbanić won the 2006 possibilities for foreign actors to work in Ger
Golden Bear; her subsequent film On the Path many. Beatrice Kruger, on the other hand, also
featured in the 2010 Berlinale Competition. does casting for major Hollywood product
Using these two films as a starting point, but ions and will give insight into casting for inter
also working with new scenes and through im national film productions.
provisations, actors participating in this work
shop will audition for Jasmila Žbanić and re-
ceive valuable feedback on their performances.
Embodying the Character

This intensive, interactive acting workshop,led
by renowned acting coach, movement speci
alist and choreographer Jean-Louis Rodrigue,
focuses on recognising the power of move
ment and physicality in creating a character in
film.
Rehearsed Reading
Dramaturge Alby James will work with actors
and screenwriters on building characters and
bringing scripts to life through smooth and

Page Berlin Today Award 2012
32 every step you take

33
Five directing talents will have the special opportunity to make a short film based on the theme
“Every Step You Take” in collaboration with a production company from Berlin / Brandenburg.
The Berlin Today Award, the annual short film competition of the Berlinale Talent Campus, is within reach.
The short film competition of the Berlinale Talent Campus

invited directors from all over the world to submit ideas inspired by
the motto “Every Step You Take”. Does the flap of a butterfly's wings in
Thailand set off a tornado in Texas? Small decisions we take in everyday
life intrinsically influence our near future. What is a harmless accessory
in one part of the world might be a major statement in another that
leads to a chain of reactions. Whether political or private, it is these
moments of taking a step and being aware of it, that are at the core of
the Berlin Today Award 2012.
Fifteen Talents selected prior to the Campus will be able to
present their film ideas to selected producers during the Producers’
Meeting at the Berlinale Talent Campus 2011. The top five projects will
be produced by five production companies from Berlin and Branden
burg – with funding from the Medienboard Berlin-Brandenburg and
in-kind contributions from the film industry.
The short films will celebrate their world premiere at the
Opening of the Berlinale Talent Campus 2012 as part of the 62nd
Berlin International Film Festival.
“ I met great collaborators and was given a

huge leg-up to grander production values;
from here-on there's no turning back.”
Bryn Chainey, Berlin Today Award winner 2010
Current and former participants of the Berlinale Talent Campus

are invited to apply for the annual Berlin Today Award.
For detailed information

on the competition please visit:
www.berlinale-talentcampus.de/berlin-today-award
The Berlin Today Award has been funded

by the Medienboard Berlin-Brandenburg since 2003.
The Berlin Today Award 2010 (from above to below)

Director Bryn Chainey won the Berlin Today Award 2010 for Jonah and the Vicarious
Nature of Homesickness | Berlin Today Award 2010 jury members Stephen Daldry (left)
and actress Heike Makatsch (2nd from right) with the managing director of the
Medienboard Berlin-Brandenburg, Kirsten Niehuus, the Federal Government
Commissioner for Culture and the Media Bernd Neumann (right) and Berlinale festival
director Dieter Kosslick
Berlin Today Award 2011 Dates
five shorts are

“leaving the Familiar sector”
Sharing the limelight, the five short films competing for sat 12 | 17:00
HAU 1
the Berlin Today Award 2011 celebrate their world premiere Opening Ceremony
at the Opening Ceremony of the Berlinale Talent Campus. & World Premiere
of the Berlin Today Award
Films 2011
Since its invention, cinema has helped us to imagine what our by invitation only
(p.46).
lives could be like and how the world could look. Film offers an extra
ordinary glimpse into a world you've never seen, never dreamt of or SUN 13 | 19:30
ewerk
dared to enter. How do you imagine a world beyond what you've Dine & Shine – Talents
known, and what do you see when you leave the place you know Rendezvous and Award
Ceremony of the Berlin
best? The motto of this year’s competition encouraged filmmakers Today Award 2011
to envision a world beyond the familiar. by invitation only
(p.49).
A jury comprising actress Dorka Gryllus, director Hannes Stöhr
and producer Peter Rommel selects the winner of the Berlin Today wed 16 | 20:00
cinestar 5
Award 2011 from: Screening at the European
Film Market
see Berlinale programme
HACKNEY LULLABIES
by Kyoko Miyake | Japan sun 20 | 17:30
COLOSSEUM
Listen to the gentle lullabies sung by the mothers of Hackney, Public screening
transforming London into a different place for each child. at the Berlinale Kinotag
see Berlinale programme
Produced by Filmkantine.
LITTLE RED
by Eva Pervolovici | Romania
Little Red, don’t dawdle along the way. The woods are dark
and dangerous. Produced by Beleza Film.
MUMMY’S LITTLE HELPER

by Michael Lavelle | Ireland
A mother discovers an illegal way to lose weight, with
frightening consequences … especially for her daughter.
Produced by Macchiato Pictures Filmproduktion.
SPOILT BROTH
by Toby Roberts | UK
A naïve, desperate man’s attempt to rob a post office sets him
The Berlin Today Award
on a collision course with a tough, armed and ruthless criminal. 2011
Produced by heimatmedien.
Hackney Lullabies
Kyoko Miyake
THE DAY WE DANCED ON THE MOON
Little Red
by Tristan Daws | UK Eva Pervolovici
We might all have our day on the moon, but sooner or later
Mummy‘s Little Helper
we will all come crashing down to earth… Michael Lavelle
Produced by Kloos & Co. Medien.
Spoilt Broth
Toby Roberts
The Day We Danced

The Berlin Today Award 2011 is supported by the Medienboard on the Moon
Berlin-Brandenburg and the film industry. Tristan Daws

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Meet the Expert Page
experts at your 34
bidding 35
Join different experts for focused discussions Monday, Feb 14
at HAU 1 and HAU 3.
Michel Reilhac
Sunday, Feb 13 HAU 1, Fox Bar | 11:00-12:00
Michel Reilhac, executive director of ARTE France Cinema and
Bettina Allamoda Director of Film Acquisitions for ARTE France, will throw light on de
HAU 1, Fox Bar | 12:30-13:30 veloping film concepts for broadcasters, be they analogue or cross
A Berlin-based artist focusing on the concealed politics of visi media projects.
bility inscribed in history, documentation, fashion, art and architecture,
Bettina Allamoda will introduce you to the visual art projects within Isabel Arrate Fernández
the Forum Expanded programme and beyond. She will also discuss HAU 1, Fox Bar | 12:30-13:30
practices, spaces and production in the city and everything happening Running the Jan Vrijman Fund of the International Docu-
around this year’s Berlinale related to visual arts. mentary Film Festival Amsterdam. The fund aims to generate
more attention for documentaries and filmmakers from developing
Christian Goldbeck countries. Her session will focus on the work and possibilities for
HAU 3, Black Stage | 12:30 -13:30 funding offered by the Jan Vrijman Fund with special attention on
German production designer and art director, he has worked preparing an application and project proposal.
on films such as The Reader , Krabat , Requiem and Go For Zucker!,
receiving German Film Award nominations for the latter three films. Peter Belsito
He is also production designer of this year‘s Competition film If not HAU 3, Black Stage | 12:45-13:30
us, who?. Goldbeck will talk about the job of production designers – Peter Belsito, US-American producer, cinematographer, pub
to match their visual decisions perfectly with the themes and tone of lisher and executive vice president of FilmFinders, will talk about the
each film they work on. international independent marketplace and world festival circuit. He
will explain the dynamics of bigger and smaller markets at different
Mathias Schwerbrock & Joachim Knaf festivals, how they function, the mandates of the festivals and markets,
LineProducer – The Art of Budgeting and how to navigate and operate at these markets.
HAU 3, Top Floor | 12:45-13:30
In cooperation with the Film and Television University (HFF) Sandra Beerends
“Konrad Wolf“ and Erich Pommer Institut. HAU 1, Fox Bar | 16:00-16:50
Dr. Joachim Knaf, tutor at the Film and Television University Script editor Sandra Beerends has worked with an array of
(HFF) “Konrad Wolf“, and Mathias Schwerbrock, German producer, will screenwriters and directors strengthening the narrative structure of
focus on three essential questions: How do you get hold of new their scripts. She will join you to discuss the creative and strategic
financial sources for your project? What is the best way to compute an choices you have to make during the writing process, the shooting
international co-production? And how can you increase your profit and the editing of the film.
from a production? They will demonstrate answers to these questions
through “LineProducer“, a software designed to link the sectors of Ulrich Kodjo Wendt
budgeting, financing and cash flow. It incorporates factors such as HAU 3, Black Stage | 16:00 -16:50
currency, country-stocks and co-productions, enabling you to effici- German composer for film and theatre, Wendt has composed
ently plan your film production. music for feature films such as Fatih Akin’s In July , as well as docu
mentaries like Jens Huckeriede’s Scoring Blue and Ab nach Rio . He
Sydney Levine will focus on score, sound and silence: The correlation of music and
HAU 3, Black Stage | 16:00-16:50 silence in a film and how to use original sound in a score.
Sydney Levine, founder of FilmFinders with over 25 years ex
perience in the entertainment industry will talk about how you can
enter the market as a producer, and how to find the right market for
your film project.

N P
I R Scholarships for European
P O Audiovisual Media
K G Professionals in Berlin
O R
W A
M
M
Further studies for qualified applicants in the fields of Contact

Film, television and video financing, production, marketing
and distribution Kurfürstendamm 225
New technologies (multimedia, interactivity) D - 10719 Berlin
TV computer design and computer graphics phone: +49 30 614 28 38
fax: +49 30 614 28 26
e-mail: [email protected]
visit: www.nipkow.de
WITH THE SUPPORT OF

Meet the Expert Page
37
Tuesday, Feb 15 Wednesday, Feb 16
Erwin M. Schmidt Wendy Bernfeld

HAU 1, Fox Bar | 12:30-13:30 HAU 1, Fox Bar | 12:30-13:30
German producer, who has worked on a number of art house Wendy Bernfeld, founder and M.D. of Rights Stuff, is a passio
films such as You The Living , Dernel and Orly . A 3D producer for nate film buff specialising in hard core film acquisition and distribution,
Neue Road Movies, he co-produced Wim Wender‘s 3D film Pina which licensing negotiations, and related strategy and rights advice, for
premieres in this year’s Berlinale. 3D goes indie with 3 independent both traditional media and digital new media platforms. She assists
films in the Official Selection of this year's Berlinale. Schmidt will producers / distributors with their international digital strategy to
divulge the secret to achieving the added value of 3D without collap maximise revenues across multiple windows and platforms.
sing under increased costs, technical difficulties and sleepless nights.
Peter Rorvik
Beatrice Kruger HAU 3, Black Stage | 12:30 -13:30
HAU 1, Attic Room | 12:30-13:30 Peter Rorvik will talk about the Durban International Film Festi
A casting director based in Rome, Beatrice Kruger has always val‘s activities for African filmmakers and the existing network that has
been involved in the discovery and promotion of new acting talent been built and supported over the past years.
and recently developed the idea and concept for an interactive web
portal (www.e-talenta.eu). She was responsible for the European and / Kanako Hayashi
or Italian casting of films such as Silk, The International, Casino HAU 3, Black Stage | 16:00 -16:50
Royale, Ocean’s T welve and many more. She will give acting Talents Kanako Hayashi, festival director of the TOKYO FILMeX Inter
insight into casting for international film productions. national Film Festival, which showcases the best contemporary
independent cinema from Asia, will talk about the Japanese film
Iwana Chronis industry at present times.
HAU 3, Black Stage | 12:45-13:30
Manager of the Hubert Bals Fund of the International Film Frédérique Westhoff
Festival Rotterdam, she will inform you about the work of the fund and HAU 1, Fox Bar | 16:15-17:00
the funding schemes for filmmakers coming from Africa, Asia, Latin Head of team at ACPFILMS , with the overall objective to con-
America, the Middle East and parts of Eastern Europe. tribute to the development and structuring of the cinema and
audiovisual industries in the African, Caribbean, Pacific states so that
Hanne Skjødt they can create and disseminate their own works more effectively.
HAU 1, Fox Bar | 16:00 -16:50 Frédérique Westhoff will talk about their projects, programmes and
This is the opportunity for you to ask questions and learn more corresponding new guidelines. In cooperation with ACPFILMS.
about Hanne Skjødt’s work as a network manager at the European
Documentary Network (EDN) in Copenhagen, which supports Thursday, Feb 17
documentary filmmakers. Since 2000, she has been with the Danish
Film Institute as a distribution and promotion consultant and head of Ulrike Müller
unit, and in charge of the promotion and distribution of shorts and HAU 1, Fox Bar | 12:30-13:30
documentaries. Berlin-based German casting director, Ulrike Müller will talk
about how to establish international connections between casting
Jean-Louis Rodrigue directors and actors, and how they can get more freedom to accom
HAU 3, Black Stage | 16:15-17:00 modate actors and actresses of different nationalities in one film.
Jean-Louis Rodrigue, acting coach and movement director,
will talk to you about his acting coaching and movement training as Nikolaj Nikitin
well as on how to present your film project. He will explain the fun HAU 3, Black Stage | 12:30-13:30
damental tools needed to improve your levels of performance in film The Berlinale delegate for Eastern-Europe and co-founder
and to present your script to potential producers and studios. of the film magazine “Schnitt“, curates film festivals across Europe, and
heads the European festival dedicated to editing, “Film+“ in Cologne.

www.pardo.ch
Chapter
04 programme
p.40 Timetable | p.46 Day 1 – Sat, Feb 12

p.47 Day 2 – Sun, Feb 13 | p.50 Day 3 – Mon, Feb 14
p.55 Day 4 – Tue, Feb 15 | p.58 Day 5 – Wed, Feb 16
p.63 Day 6 – Thu, Feb 17
Page Campus programme
40 Timetable
HAU 1 HAU 1 HAU 2 HAU 3

Fox Bar White Stage
9:00 8:30 9:30
Ticketing and Talent Registration (p.46). Script Station:
Project Development Day
9:30 In cooperation with FFA
Rise and Shine Breakfast and SOURCES 2 (p.24).
Presented by Berlinale Talent Campus (p.46).
11:00 11:30 – 12:30

Taking Off
Essential briefing on services,
programme and hands-on-trainings (p.46).
13:00 12:45 Fast Forward Germany

Doc Station Welcome Christine Berg, Mariette Rissenbeek,
At Attic Room. Daniel Saltzwedel. Moderated by Roman Paul.
In cooperation with FFA and SOURCES 2 (p.25). In cooperation with Medienboard
Berlin-Brandenburg, FFA and German Films (p.46).
15:00 Global Speed Matching

Meet and greet session.
Moderated by Matthijs Wouter Knol (p.46).
17:00 Opening Ceremony & World Premiere

of the Berlin Today Award Films 2011
Dieter Kosslick, Kirsten Niehuus.
Moderated by Matthijs Wouter Knol
and Christine Tröstrum.
Supported by Medienboard Berlin-Brandenburg
(p.46).
9:00 8:30 Ticketing 9:30

Doc & Script Station
9:30 Rise and Shine Breakfast In cooperation with FFA
Presented by Deutsche Welle DW-TV (p.47). and SOURCES 2 (p.24-25).
11:00 The Rules of Engagement

Kerry Fox, Henning Mankell and José Padilha.
Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Panorama (p.47).
12:30 Lunch Break Meet the Expert Speed Matching

Bettina Alamoda (p.35). Directors meet writers and cinematographers
(p.46).
14:00 Filming War Kill Your Darlings

Samuel Maoz, Janus Metz, Danis Tanović. Master class with Susan Korda (p.47).
Moderated by Ben Gibson.
In cooperation with Robert Bosch Stiftung (p.47).
15:00
17:00 In the Limelight: Isabella Rossellini Two Producers Sharing Their Secrets
Moderated by Peter Cowie (p.49). Carole Scotta and Paul Trijbits (p.49).
19:30
More information: Colour code Page
Events open to the public

41
Hands-on training events
Workshops
HAU 3 HAU 3 Other Venues

Black Stage Top Floor
9:15 9:00 9:30 Campus Post-Production Studio
Berlin Today Award 2012 Campus Editing Studio: Introduction Day In cooperation with Camelot Broadcast Services (p.26).
Coaching. Andrew Bird, Katja Dringenberg, Susan Korda,
Supported by Medienboard Gesa Marten, Molly Malene Stensgaard. 10:00 Score Competition
Berlin-Brandenburg (p.32). In cooperation with German Film and Television Editing at Wave-line /
Academy Berlin (dffb) (p.26). Feedback session with Michael Nyman (p.22).
Talent Project Market (p.28).
15:00
Talent Press
Editorial meeting. In cooperation with
Goethe-Institut and FIPRESCI (p.29).
sat, FEB 12
10:00
Campus Editing Studio In cooperation with dffb (p.26).
Score Competition Editing at Wave-line (p.22).
Diving Into Post-Production 10:30

Philippe Ros. In cooperation with Camelot Broadcast Talent Project Market (p.28).
Services (p.47).
Meet the Expert 12:45 Meet the Expert Joachim Knaf, Mathias 12:30 Reception Manfred Durniok Foundation
Christian Goldbeck (p.35). Schwerbrock. In cooperation with HFF “Konrad Wolf“ for East Asian Talents.
and Erich Pommer Institut (p.35). Supported by Manfred Durniok Foundation (p.15).
Directing Actors 13:00

Master class with Kerry Fox. Campus Post-Production Studio
Moderated by Marten Rabarts (p.48). In cooperation with Camelot Broadcast Services
(p.26).
16:00 15:00 Talent Press

Meet the Expert Editorial meeting.
Sydney Levine (p.35). In cooperation with Goethe-Institut and FIPRESCI (p.29).
Your Body Speaks:

The Art of Presenting Your Film
Jean-Louis Rodrigue (p.49).
Dine & Shine – Talents Rendezvous with Berlinale Guests

and Award Ceremony of the Berlin Today Award 2011
Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick,
Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr.
Moderated by Adrian Kennedy. Supported by Medienboard
Berlin-Brandenburg and Robert Bosch Stiftung (p.49).
sun, FEB 13 Berlinale Talent Campus #9

42 Timetable

Fox Bar White Stage
9:00 8:30 Ticketing
9:30 Rise and Shine Breakfast 9:30 Doc & Script Station
Presented by Robert Bosch Stiftung In cooperation with FFA
and Sarajevo Film Festival (p.50). and SOURCES 2 (p.24-25).
11:00 Meet the Expert

Michel Reilhac (p.35).

Isabel Arrate Fernández (p.35). Directors meet sound designers and editors
(p.46).
14:00 In the Limelight: Harry Belafonte The Indie Filmmakers Guide to Cross Media I
Moderated by Rajendra Roy. Martin Ericsson, Bruno Felix, Michel Reilhac.
In cooperation with Berlinale Special (p.51). Moderated by Liz Rosenthal (p.52).

Sandra Beerends (p.35).
17:00 The Shortest Track to Cinema

Catherine Colas, Alexander Stein,
Rudolf Worschech.
Moderated by Maike Mia Höhne.
In cooperation with Berlinale Shorts (p.53).
18:00 20:00 Short and Scary Followed by:

Short film screenings. Evert de Beijer, Short Encounters | 18:30-19:30
Peter Larsson, Hugo Lilja, Jerome Sable, Talents meet short film industry.
Yang Hyo-joo. Moderated by Juliette Veber. In cooperation with Berlinale Shorts (p.53).
In cooperation with Berlinale Shorts and
Berlinale Generation (p.54).
9:00 8:30 Ticketing 9:30 Doc & Script Station

In cooperation with FFA
9:30 Rise and Shine Breakfast and SOURCES 2 (p.24-25).
Presented by Berlinale Talent Campus (p.55).
11:00 Too Good to Be True: Directing Reality

Heddy Honigmann and Andres Veiel.
Moderated by Matthijs Wouter Knol (p.55).

Meet the Expert Erwin M. Schmidt (p.37). Directors meet producers (p.46).
at Attic Room: Beatrice Kruger (p.37).
14:00 Cinematography: Play as Process:

The Establishing Shot Worldbuilding and New Ways to Imagine
Master class with Edward Lachman. Shekhar Kapur, Tali Krakowsky, Saku Lehtinen,
Moderated by Ben Gibson (p.55). Alex McDowell and Andrew Shoben.
In cooperation with 5D Conference, L.A. (p.56).

Hanne Skjødt (p.37).
17:00 In the Limelight: Plugging People: European Producers

István Szabó and Ralph Fiennes Positioning Themselves
Moderated by Mike Goodridge. Jean des Forêts, Nicole Gerhards,
In cooperation with FERA and Robert Bosch Peter de Maegd, Soon-Mi Peten.
Stiftung (p.57). Moderated by Fleur Knopperts.
In cooperation with MEDIA (p.57).

43
Workshops

10:00 Campus Editing Studio In cooperation with dffb (p.26).

10:00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).
On the Path with Jasmila Žbanić Let's Make It Legal 10:30 Talent Project Market (p.28).
In cooperation with Robert Bosch Mareile Büscher, Michael C. Donaldson.
Stiftung (p.50). In cooperation with Raue LLP (p.51).
12:45 Meet the Expert 13:00 Camera Workshop at Camelot

Peter Belsito (p.35). In cooperation with Camelot Broadcast Services (p.51).
13:00 Campus Post-Production Studio
In cooperation with Camelot Broadcast Services (p.26).
13:15 Excursion to the Costume House Theaterkunst
In cooperation with Theaterkunst (p.51).
Embodying the Character 15:00 Talent Press

Jean-Louis Rodrigue (p.52). Editorial meeting.
In cooperation with Goethe-Institut and FIPRESCI (p.29).
Meet the Expert Excursion to “Meet the Docs“ at European Film Market
Ulrich Kodjo Wendt (p.35). Sydney Levine. In cooperation with European Film Market (p.53).
The Legal Sound of Music

Mareile Büscher, Milena Fessmann.
In cooperation with Raue LLP (p.53).
New Horizons in 3D:
Mon, FEB 14
Storytelling and Producing Redefined
at Cubix 8. Alain Derobe, Gian-Piero Ringel,
Erwin M. Schmidt, Wim Wenders.
Moderated by Patrick Palmer, joined by Julian Pinn.
In cooperation with Dolby Laboratories (p.54).
9:30 Campus Post-Production Studio

In cooperation with Camelot Broadcast Services (p.26).
10:00 Campus Editing Studio In cooperation with dffb (p.26).
10 :00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22).
On the Path with Jasmila Žbanić 10:30 10:00 Excursion to European Film Market
In cooperation with Robert Bosch Where I Am and Where I Want to Go Sydney Levine.
Stiftung (p.50). Thomas Biniasz (p.55). In cooperation with European Film Market (p.53).
10:00 Camera Workshop at Camelot

12:45 Meet the Expert In cooperation with Camelot Broadcast Services (p.51).
Iwana Chronis (p.37).
Rehearsed Reading I: The Indie Filmmakers Guide to Cross Media II

Actors Reading Scripts Wendy Bernfeld, Ben Grass, Inga von Staden.
Alby James (p.56). Moderated by Liz Rosenthal (p.57). 15:00 Talent Press
Editorial meeting.
In cooperation with Goethe-Institut and FIPRESCI (p.29).

Jean-Louis Rodrigue (p.37).
Building Digital Worlds for the Screen

Shekhar Kapur, Alex McDowell (p.57).
Tue, FEB 15 Berlinale Talent Campus #9

44 Timetable

Fox Bar White Stage
9:00 8:30 Ticketing
9:30 Rise and Shine Breakfast

Presented by ACPFILMS (p.58).
11:00 As Queer As It Gets Dial F for Fiction:

John Greyson, Thunska Pansittivorakul, Script Station Presentation
Wieland Speck, Monika Treut, Christine Vachon. Moderated by Merle Kröger.
Moderated by Matthijs Wouter Knol. In cooperation with FFA and
In cooperation with Berlinale Panorama, SOURCES 2 (p.60).
Berlinale Forum and TEDDY AWARD (p.59).

Wendy Bernfeld (p.37). Directors meet actors (p.46).
14:00 The Internationals: Barbara Hammer:

How Small Stories Become Big Claudia Llosa, 16:15 Meet the Expert Making Movies Out of Sex and Life
Kornél Mundruczó, Abderrahmane Sissako. Frédérique Westhoff. Barbara Hammer. Moderated by Stefanie Schulte
Moderated by Dorothee Wenner. In cooperation In cooperation with ACPFILMS Strathaus. In cooperation with Berlinale Forum
with ACPFILMS and Robert Bosch Stiftung (p.60). (p.37). Expanded (p.60).
16:00
17:00 The Great World of Sound Why Poverty? Talent Project Market
Master class with Michael Nyman. Hans Robert Eisenhauer and Don Edkins (p.62). Wrap-up session (p.28).
Moderated by Peter Cowie (p.62).
20:30 Christoph Schlingensief: Five Favorites

Anselm Franke, Carl Hegemann, Francis Kéré,
Matthias Lilienthal, Georg Seeßlen. Moderated
by Dorothee Wenner. In cooperation with
Theater Hebbel am Ufer (HAU), Berlinale Forum
Expanded, Goethe-Institut South Africa (p.62).
9:00 8:30 Ticketing 9:30

Doc & Script Station
9:30 Rise and Shine Breakfast In cooperation with FFA and
Presented by Institut français (p.63). SOURCES 2 (p.24-25).
11:00 The Schrader Way to Start a Film 10:30

Paul Schrader. Moderated by Peter Cowie. Talent Actors Stage
In cooperation with Berlinale Special (p.64). Wrap-up session (p.31).

Ulrike Müller (p.37). Last call for everyone (p.47).
14:00 Censored Cinema Covering Cinema: Critics Meet Filmmakers

Sepideh Farsi, Mehrangiz Kar, Rafi Pitts, Alma Har'el, Gerhard Midding, Jay Weissberg,
Ali Samadi Ahadi. Przemyslaw Wojcieszek. Moderated by
Moderated by Vincenzo Bugno. Dana Linssen. In cooperation with Robert Bosch
In cooperation with World Cinema Fund (p.64). Stiftung, Berlinale Forum and Panorama (p.64).
17:00 17:30 Say It with a Score: Score Competition 16:00

Presentation and Award Ceremony Things to Take Home
Ehud Freedman, Roger Goula, Hubert Henle, Marjorie Bendeck, Kathi Bildhauer,
Michael Nyman, Felix Rösch. Christine Tröstrum.
Moderated by Milena Fessmann. Moderated by Matthijs Wouter Knol (p.65).
In cooperation with Dolby Laboratories (p.65).
21:00 Closing Party (p.65)


45
Workshops

10:00 Berlin Today Award 2012 Producers' Meeting
Supported by Medienboard Berlin-Brandenburg (p.59).
10:00 Excursion to the European Film Market

Sydney Levine. In cooperation with European Film Market (p.53).
The Indie Filmmakers Guide to Cross-Media III 10:00-15:30

Martin Ericsson, Ben Grass, Lena Thiele. Absolute Hearing I-IV
Moderated by Liz Rosenthal (p.59). For composers and sound designers only.
In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film Orchestra
Babelsberg and the Film and Television University (HFF) “Konrad Wolf“ (p.58-59).
Meet the Expert Excursion to the European Film Market

Peter Rorvik (p.37). Sydney Levine. In cooperation with European Film Market (p.53).
Rehearsed Reading II: Welcome to Reality: Doc Station Presentation 13:00 Screening the Future: Excursion to the Heinrich Hertz Institut
Actors Reading Scripts Heino Deckert. Moderated by Sirkka Möller. In cooperation with Fraunhofer/Heinrich Hertz Institut (p.60).
Alby James (p.56). In cooperation with FFA and SOURCES 2 (p.61).
Meet the Expert 17:00 15:00 Talent Press

Kanako Hayashi (p.37). Happy Returns: The Future After the Campus Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29).
Rosario García-Montero, Kaspars Goba, Javier Fuentes-
León. Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Generation / Panorama /
Co-Production Market, World Cinema Fund (p.62).
wed, FEB 16
10:00 Dress to Impress – Master Class

at Costume House Theaterkunst
In cooperation with Theaterkunst (p.63).
10:30 Disclosing the World Cinema Fund Talent Press

Vincenzo Bugno, Sonja Heinen. Editorial meeting.
In cooperation with World Cinema Fund (p.63). In cooperation with Goethe-Institut and FIPRESCI (p.29).
Meet the Expert 12:15 On Track with Market Trends: Berlinale

Nikolaj Nikitin (p.37). Co-Production Market and Talent Project Market
Kathi Bildhauer, Martina Bleis, Sonja Heinen.
In cooperation with Berlinale Co-Production Market (p.64).
Where Things Come Together: Cutting on the Edge: Campus Editing Studio Presentation
Campus Post-Production Studio Presentation at CinemaxX 17.
Philippe Ros. Susan Korda, Paz Lázaro and Florian Weghorn.
Moderated by Christine Tröstrum. Moderated by Kevin Murphy.
In cooperation with Camelot Broadcast Services (p.65). In cooperation with dffb (p.65).
Thu, FEB 17 Berlinale Talent Campus #9

46 Saturday, feb 12
Ticketing and Talent Registration Global Speed Matching

8:30 | HAU 2 Meet and greet session.
Find out what matters most! Stop by the Talent counter to Moderated by Matthijs Wouter Knol.
pick up your accreditation, and learn about the multitude of events 15:00 | HAU 2
and activities offered at the Campus and in the Berlinale film pro Think on your feet! Think fun! Speed matching provides a
gramme. Our staff members will be happy to answer all your questions stimulating way to connect and network with peers and perhaps find
related to logistical issues, ticketing and travel reimbursement. the perfect match for your film team from this global filmmakers‘
Besides, here’s where you can meet up with fellow Talents. village. The Berlinale Talent Campus, which serves as a networking
platform, invites all Talents for a rapid, efficient and interactive round
Rise and Shine Breakfast to meet future partners and possibly kick-start projects. A good ice-
Presented by Berlinale Talent Campus. breaker for effective networking in the days to come, this is where you
9:30 | HAU 2 will meet fellow Talents – actors, directors, screenwriters, directors of
Variety is the spice of life. And not just on the breakfast menu. photography, producers, editors, music composers – you name it. We
A host of filmmakers from around the world are just as eager for promise you a personally and professionally enriching worldwide tour.
conversation as you. A tête-à-tête with fellow Talents or members of Focused speed matching sessions for directors to meet producers or
the Campus team over hot coffee and croissants is the right start for editors or writers, etc. will take place daily at 12:30.
you. This breakfast is presented by the Berlinale Talent Campus.
This year’s speed matching sessions are as follows:
Taking Off Feb 13 – directors meet writers and cinematographers
11:30 | HAU 2 Feb 14 – directors meet sound designers and editors
This very first and essential briefing will provide all-impor- Feb 15 – directors meet producers
tant information about the coming Campus week. Meaning that you Feb 16 – directors meet actors
will be introduced not just to Campus team members, but also Feb 17 – last call for everyone
provided information about internet usage and accessing the Campus
database. Moreover, the overall Campus programme and its wide Opening Ceremony and World Premiere
palette of events will be presented alongside an overview of the of the Berlin Today Award Films 2011
Berlinale film screenings. Last but not least, you will get an idea of Dieter Kosslick, Kirsten Niehuus.
what the various hands-on trainings of the Campus offer. They are the Moderated by Matthijs Wouter Knol
Score Competition, Campus Studio, Doc and Script Station, Talent and Christine Tröstrum.
Press, Talent Project Market, the Talent Actors and the Berlin Today Supported by Medienboard Berlin-Brandenburg.
Award. 17:00 | HAU 1
We welcome all Talents, mentors and experts to the inaugural
Fast Forward Germany ceremony of the Berlinale Talent Campus 2011! The masters of cere
Christine Berg, Mariette Rissenbeek and Daniel Saltzwedel. mony, Matthijs Wouter Knol and Christine Tröstrum, will greet Talents
Moderated by Roman Paul. and invited guests and present the focus of this year’s Campus. Dieter
In cooperation with Medienboard Berlin-Brandenburg, Kosslick, Berlinale festival director, will step into the limelight to
FFA and German Films. address the audience and officially declare open the #9 Berlinale
13:00 | HAU 2 Talent Campus. The screening of the five Berlin Today Award films,
Interested in making films with German partners? Film funding which celebrate their world premiere, will bring the event to a close.
organisations from Germany present their respective initiatives and For details on the Berlin Today Award see p.32-33.
objectives in promoting German cinema and the prerequisites for
funding. This event invites both German and non-German Talents to
acquaint themselves with what these organisations have to offer.
Representatives of Medienboard Berlin-Brandenburg, German Federal
Film Board (FFA) and German Films will interact with Talents providing
them relevant details.
Campus programme Page
Sunday, feb 13 47
Rise and Shine Breakfast the combination of old lighting tricks, new contrast curves and col
Presented by Deutsche Welle DW-TV. ourist skills allowed him to achieve his goals quite successfully.
9:30 | HAU 2 Placing emphasis on the relationship between the chief digital imag
The Deutsche Welle DW-TV , whose crew members are busy ing technician and the colourist, Ros will show how the directors of
capturing the high-spirited action at the Campus, present this morn Oceans succeeded in creating a strong team and involving the DoPs
ing’s breakfast. Start your day with a good, healthy breakfast as you in extensive research at various levels.
get to know the Deutsche Welle representatives and catch up with
fellow Talents. Filming War
Janus Metz, Samuel Maoz and Danis Tanović.
The Rules of Engagement Moderated by Ben Gibson.
Kerry Fox, Henning Mankell and José Padilha. In cooperation with Robert Bosch Stiftung.
Moderated by Matthijs Wouter Knol. 14:00 | HAU 1
In cooperation with Berlinale Panorama. Portraying high pressure and life-risking situations is inherent
11:00 | HAU 1 to filmmaking processes that depict war and crisis situations, whether
Whether mainstream blockbuster or low-budget document fiction or documentary. The very notion of crisis implies that film
ary, films are capable of engaging the realm of politics, society and makers have to deal with specific issues: decide what to show and how
culture. But tackling contemporary issues or working within a very to deal with the (fictitious) reality of war and extremity. Reflecting on
specific niche is by no means easy. How could a new generation of such issues are three reputed filmmakers – Danis Tanović bagged an
filmmakers position themselves in such a climate? Brazilian director Oscar in 2001 for No Man’s Land , Janus Metz won the 2010 Grand
José Padilha won the 2009 Golden Bear for Elite Squad , and his latest Prize at the International Critics' Week of the Cannes Film Festival for
Elite Squad 2 – The Enemy within features in this year’s Berlinale his documentary Armadillo , and Samuel Maoz won the 2009 Golden
Panorama. Padilha explores in his films the problems of crime in Rio, Lion at the Venice International Film Festival and two European Film
particularly in relation to police corruption and middle-class indif Awards for Lebanon . All three critically acclaimed films depict war and
ference. Joining him on stage is New Zealand actress and director portray people under tremendous pressure. Janus Metz and his cine
Kerry Fox who won the 2001 Silver Bear for Best Actress for her role in matographer had to expose themselves to the same risks as the
Intimacy , and Swedish author, screenwriter, dramatist and activist soldiers. They filmed with two cameras the entire time and even had
Henning Mankell, who is best known for the “Kurt Wallander Mysteries”. some soldiers wear helmet cameras. The absence of dialogue in Maoz’
Mankell was on the “Ship to Gaza“ in 2010, which tried to break the film script for Lebanon meant that rehearsing seemed pointless: “I
Israeli embargo of the Gaza strip. The three panellists will talk about took each of the actors and, separately, locked them in a very small,
how it all began for them – the initial impetus that led them down dark and hot container. After about two hours, when I knew their
their individual paths, how it impacted their lives, shaped subsequent bodies would have shut down, as if hypnotised, I knocked on the iron
projects, and how this engagement further developed taking on a life walls with a bar, something that sounded very like an attach on a tank
of its own. […] When they came out and I looked in their eyes, I could see that I
didn’t have to explain anything else.” In No Man’s Land , Tanović relies
Diving into Post-Production heavily on humour to defuse the tension and highlight the ironies
Case Study with Philippe Ros. of the situation. The three filmmakers will discuss their distinctive
In cooperation with Camelot Broadcast Services. approaches to depicting tense, life-threatening situations, as well as
11:00 | HAU 3, Top Floor the creative and political decisions they took while making their films.
Reputed director of photography and digital imaging super
visor from France, Philippe Ros will conduct a case study on Oceans , a Kill Your Darlings
film directed by Jacques Perrin and Jacques Cluzaud, which was in Master class with Susan Korda.
production for over six years. As digital imaging director, technical 14:00 | HAU 2
supervisor of the image and one of 17 DOPs on oceans , Ros will The editing process which sounds simple enough – you select
divulge “secrets“ to dealing with the challenges that arise when shots and you arrange and modify them to clarify and refine their form
matching film and digital formats, in particular when numerous shots and content – is actually a rather complex and dynamic process. It is a
are taken under totally different conditions, at differing depths and question of technique and art. Film editing isn’t just about how the
with varied lighting, as was the case for Oceans . He will explain how stories you choose to tell in your films can be enhanced, it sometimes

48 Sunday, feb 13
Isabella Rossellini with William Hurt in the Berlinale

Special‘s film Late Bloomers. (insert)
Toast by SJ Clarkson and produced by Paul Trijbits runs
in the Berlinale Special and at the Culinary Cinema. (left)
comes down to rescuing an entire film project. Films often find their Directing Actors
true form in the editing room. This master class by Susan Korda will Master class with Kerry Fox. Moderated by Marten Rabarts.
take you on an inspiring and educational journey that lays bare the 14:00 | HAU 3, Top Floor
lessons learnt by previous film teams and editors. You will learn how to Acting is first and foremost a craft. And although honing one’s
craft a film’s structure and perfect its look such that it grabs an acting skills is crucial, it doesn’t come with certified roles or with the
audience and keeps it there. experience of dealing with the demands of each role. Prominent act
Susan Korda, editor, director, writer and lecturer at Columbia ress and filmmaker, winner of the 2001 Silver Bear for Best Actress for
University, and long-time Campus expert, will provide an insider view her outstanding performance in Intimacy , Kerry Fox will reflect on
of the dynamics of the craft of editing showing clips from a selection what it means to dive head and heart into a role and how directors can
of films such as Bonnie and Clyde to draw attention to a multitude of assist actors in delivering compelling performances. Drawing on her
details from the sound and edit to the background of a film. She will vast and versatile acting career and sharing her perspective as a
discuss different approaches to the work of an editor and elaborate on director, she will give insight into her own style of working with actors
the importance of experimentation, for example, by illustrating how a and her personal experiences with the various directors in whose
film can function quite well despite flaws in the wardrobe or the angle films she has starred. Kerry Fox stepped into the limelight with her role
of the camera. She will guide you on how to “kill your darlings“ in the in Jane Campion’s An Angel At My Table and went on to establish
editing process without losing your collaborators in the montage herself internationally, working in independent films and television.
stage of filmmaking, and explain how an editor can work with an Amongst numerous others, she has starred in Gillian Armstrong’s The
overwhelming amount of excess footage, and yet succeed in extra Last Days of Chez Nous , Danny Boyle’s Shallow Grave , Thom Fitz
cting the best material which is carefully woven into the film, every gerald’s The Hanging Garden , Michael Winterbottom’s Welcome to
decision shaping the tone and pace of the film. Sarajevo and Hans-Christian Schmid’s Storm .
Campus programme Page
Sunday, feb 13 49
In the Limelight: Isabella Rossellini Your Body Speaks: The Art of Presenting Your Film
With Isabella Rossellini. Jean-Louis Rodrigue.
Moderated by Peter Cowie. 17:00 | HAU 3, Top Floor
17:00 | HAU 1 How the director and producer present their project to
As the daughter of Ingrid Bergman and Roberto Rossellini, potential studio executives and investors often determines if the film
Isabella Rossellini has been in the limelight her entire life. An actress, will be made. Effective presentation requires clarity of expression,
writer and director, it was her gut-wrenching performance in David confident body language, accessing the imagination and engaging
Lynch’s Blue Velvet which shot her to fame, and subsequently her the audience’s attention by connecting to their emotions. This involves
prominent roles, among others, in Death Becomes Her , Immortal understanding how to use “watcher identification“ and empathy as a
Beloved and Wyatt Earp . She also delivered an unforgettable perfor way to connect and “seduce” your audience, using mind mapping to
mance in Canadian avant-garde filmmaker Guy Maddin’s The Saddest plan a presentation that communicates effectively, developing phy
Music in the World and narrated his film Brand Upon the Brain! at sical and mental coordination in order to act out the story dynamically
the 2007 Berlinale. The famed actress then turned her hand to writing in time and space, using heroism as a way of making your presentation
– collaborating with Maddin on My Dad Is 100 Years Old , a film about unforgettable, and connecting to your senses to create the “dream
her father – and directing. She wrote, directed and starred in the world” of your story so they “hear and see it”. This is an interactive,
delightfully surreal short film series Green Porno about animal sex. hands-on workshop led by acting coach, movement trainer, choreo
Isabella Rossellini, Jury President of the 61st Berlin International Film grapher and senior teacher of the Alexander Technique Jean-Louis
Festival, will talk about the various transitions in her professional life, Rodrigue. Some Talents will have the opportunity to present their
her recent foray into writing and directing and her spirited engagement projects to Rodrigue in front of an audience as practical application.
in human rights advocacy. The session will commence with the screen This workshop is open primarily to directors, writers, and producers.
ing of My Wild Life , a documentary film that portrays her life and
work by German director Gero von Boehm. Dine & Shine – Talents Rendezvous with Berlinale Guests
and Award Ceremony of the Berlin Today Award 2011
Two Producers Sharing Their Secrets Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick,
Carole Scotta and Paul Trijbits. Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr.
17:00 | HAU 2 Moderated by Adrian Kennedy.
Many jobs in the film industry are well-defined, for example, Supported by Medienboard Berlin-Brandenburg
that of the director, scriptwriter or director of photography. Any and Robert Bosch Stiftung.
defin ition of the role of the film producer is imprecise at best! Film 19:30 | ewerk
production requires someone who has the expertise and vision to A dinner event where you might find yourself seated beside a
take decisions through all four stages of filmmaking. US-American film renowned film personality as you feast on mouth-watering delicacies
producer Richard Zanuck once said: “The producer is like the con- – that is “Dine & Shine – Talents Rendezvous“. You never know who
ductor of an orchestra. Maybe he can't play every instrument, but he you might get seated next to; with every course you switch tables so
knows what every instrument should sound like.” Production neces- that you can converse with different Campus experts. Delicious food,
sitates a command of hundreds of details while keeping the broad delectable company and, if you’re lucky, some much needed advice for
objective of the film firmly in view. This simultaneously implies pro your current or next film project. Dine & Shine is traditionally also the
viding insights and feedback on the creative aspects of filmmaking. celebration for the winner of the Berlin Today Award; jury members
Two veteran film producers, Carole Scotta (The Class and Black will announce the contestant who takes home the 2011 award.
Heaven ) and Paul Trijbits (Tamara Drewe and Toast – which features
in this year’s Berlinale), who between them have been involved in the
production of up to a hundred films and received numerous awards
and nominations, go behind the scenes to explain not just their role
vis-à-vis finance, marketing and distribution, but also the creative
elements to being a producer. Giving examples of some of their past
projects, they will focus on the role of producers as sparring partners,
working closely with directors right from the start, connecting content
with the harsh but creative reality of producing films.

50 monday, feb 14
Sing your song : Susanne Rostock‘s portrait of Harry Belafonte

On the Path with Jasmila Žbanić: critical feedback for actors
Rise & Shine Breakfast: make your first contacts in the morning
Rise and Shine Breakfast

Presented by Robert Bosch Stiftung and Sarajevo Film Festival.
9:30 | HAU 2
Hosting this morning’s breakfast of sweet and savoury delights
are the Robert Bosch Stiftung and the Sarajevo Film Festival. Meet
representatives of both institutions and learn more about the Co-Pro
duction Prize (see p.15) and the Sarajevo City of Film initiative.
On the Path with Jasmila Žbanić

Actors Workshop with Jasmila Žbanić.
In cooperation with Robert Bosch Stiftung.
Feb 14 + 15 | 11:00 | HAU 3, Black Stage
Auditioning for a role is very different from actually acting in a
film. For many, this is a daunting prospect. Practice and experience is
the only way to overcome the fear and to show your talent in the most
convincing way. This intensive casting workshop is led by director
Jasmila Žbanić, who won the 2006 Golden Bear for Grbavica . Her
subsequent film On the Path featured in the 2010 Berlinale Compe
tition. Using these two films as a starting point, but also working with
new scenes and through improvisations, actors will have the benefit
of Jasmila Žbanić‘s insight as director and will experience her style of
casting. The workshop will allow actors to try and test their form and
Campus programme
monday, feb 14 51
style which will prepare them for their auditioning experiences in the might find themselves in, in the future. Moreover, this practical work
professional world. Scenes enacted by acting Talents will be recorded shop allows participants to gain real hands-on experience with the
on camera, which will allow them to reflect on and discuss their own cameras in question and to try them out for themselves. This way, they
performances as well as those of others based on the critical feedback can perform their own tests, whether shoulder-held or tripod-based.
they receive from Žbanić.
Excursion to the Costume House Theaterkunst
Let’s Make It Legal In cooperation with Theaterkunst.
Mareile Büscher and Michael C. Donaldson. 13:15 | Meeting point 13:00
In cooperation with Raue LLP. at the entrance to HAU 1
11:00 | HAU 3, Top Floor Whether it is a dark thriller, a heart-warming comedy, an opu
One of the major worries of a filmmaker is the threat of a law lent period drama or a racy science fiction film – they are all fitted
suit, and consequently the fear of the completed film languishing in with costumes and accessories at the Costume House Theaterkunst.
legal limbo for an indefinite period of time. Indeed, filmmaking is and The largest and oldest costume house for film, television, theatre and
should be a creative endeavour, but in order that this creativity is re advertising in Germany, the institution celebrated its hundredth
cognised and appreciated, it is vital to invest attention and resources anniversary in 2007. With branches in Hamburg, Munich and Cologne,
to the legal aspects of filmmaking. In fact, taking care of these rather and headquarters in Berlin, the costume house offers about 10 million
unglamorous issues in a timely manner can be just as important to the pieces from all styles, epochs and trends, making it possible to trace
ultimate success of the film as having a great script, an outstanding the past decades of film history and costume equipment. They have
cast, spectacular cinematography or stunning special effects. fitted such films as Varieté , Ben Hur , Metropolis , and more recently,
This session focuses on the legal issues likely to be encount the likes of Inglourious Basterds , The Reader and The White Rib
ered during film production. Michael C. Donaldson has represented bon . Innumerable rows of clothes and accessories, the latter includes
writers, directors, producers and artists for over 30 years; his book scarves, gloves, glasses, jewellery, hats and umbrellas, from every era
“Clearance and Copyright: Everything the Independent Filmmaker imaginable adorn the racks of the Theaterkunst, making one wonder
Needs to Know” is used as a textbook in over 40 colleges and univer about the extent of creative expression and extreme attention to con
sities. Joining him onstage is Mareile Büscher, legal counsel at Raue textual and historical accuracy that go into putting together each
LLP , who specialises in intellectual property matters, media and enter costume and film. This general tour is open to ten Talents.
tainment law and copyright litigation and negotiation; she is also a
lecturer on art and copyright law at various institutions. The two legal In the Limelight: Harry Belafonte
counsels will advise, using examples from the productions they have Harry Belafonte.
dealt with – Donaldson in North American and Büscher in Europe – on Moderated by Rajendra Roy.
what to beware of when making films. In cooperation with Berlinale Special.
14:00 | HAU 1
Camera Workshop at Camelot Legendary singer actor and human rights activist, Harry
In cooperation with Camelot Broadcast Services. Belafonte is one of the most successful US-American musicians known
Feb 14, 13:00 | Shuttle leaves at 12:30 from HAU 2 worldwide for bringing the Jamaican calypso beat to mainstream
Feb 15, 10:00 | Shuttle leaves at 9:30 from HAU 2 audiences. As an actor, he made his debut in 1953 with Bright Star
Camelot‘s camera workshop during the Campus offers parti and went on to work on such great cinematic works as Otto Preminger's
cipants the possibility to see first-hand and ask questions about a hit musical Carmen Jones (1954), Robert Wise’s 1959 film noir Odds
variety of cameras. They will be demonstrated and guided through Against Tomorrow and Robert Altman’s jazz age drama Kansas City
the cameras’ many functions and possibilities. Of particular interest (1996). Alongside his recording and cinematic work, he has hosted
will be Sony‘s F35, the Arri Alexa, the Red One with MX sensor, the and appeared as guest on innumerable TV shows, remaining at the
PMW F3, the Pro-35 adaptor and the Canon 7D with PL mount. Parti same time, steadfastly committed to humanitarian issues. A close con
cipants will be able to learn about the cameras‘ many different pro fidant of Dr. Martin Luther King, he was appointed UNICEF Goodwill
perties and recording possibilities, and will also be warned of potential Ambassador in 1987 and has garnered numerous awards and honours
pitfalls in addition to receiving tips on the best ways to avoid them. from the Peace Corps and UNICEF . In conversation with chief curator of
This will place them in a better position to shoot material in a way that film at MOMA Rajendra Roy, Belafonte will talk about his life, his long-
best suits whatever production or post-production workflow they spanning and versatile career and his active involvement in human

52 monday, feb 14
rights advocacy. Encouraging a younger generation of filmmakers, he and expectations – they want immersion and interaction. As audiences
will explain how he went about using his popularity to reach out to move from one platform to another, how does one develop stories
people in his fight against racial and social inequality. and characters that can travel across screens and devices?
In the first of a series of three sessions on cross-media story
The Indie Filmmakers Guide to Cross-Media I telling, experts and pioneers will describe how to build story worlds
Extending the Story: An Introduction to Cross-Media Storytelling that can span across multiple platforms and engage audiences in
Martin Ericsson, Bruno Felix and Michel Reilhac. powerful new ways.
Moderated by Liz Rosenthal.
14:00 | HAU 2 Embodying the Character:
Before the Internet, the way that stories were told, delivered Acting on Screen with Your Body
and shared were restricted by running times, distribution formats and Acting workshop with Jean-Louis Rodrigue.
platforms. The impact of new technologies coupled with an audience 14:00 | HAU 3, Top Floor
that has way more control over their media than ever before is im- If you did not have words, could you still tell the story? This
pacting on the art and craft of storytelling. Just as sound changed the workshop focuses on recognising the power of movement and
landscape of filmmaking, technology is changing audience behaviour physicality in creating a character in film. Jean-Louis Rodrigue, a re
nowned movement and acting coach and a senior teacher of the
Alexander Technique as applied to performance in film, helps actors
and actresses find the fluidity of ease, power, precision and passion
in their performance. The Alexander Technique is a method that
explores the basic impulses of human movement – how we interfere
Your Body Speaks: movement trainer Jean-Louis Rodrigue

working with actors (insert) | Dancing in 3D: Wim Wenders‘ Pina
premieres in the Berlinale 2011
Photo Donata Wenders © NEUE ROAD MOVIES GmbH
Campus programme
monday, feb 14 53
with our own coordination and how we can change it. Rodrigue’s The Shortest Track to Cinema
teachings emphasise the awareness of the body and the physicality of Catherine Colas, Alexander Stein and Rudolf Worschech.
performance. Moderated by Maike Mia Höhne.
Every gesture has enormous implications in telling the story In cooperation with Berlinale Shorts.
and revealing the character. The workshop will explore the elements 17:00 | HAU 2
that make an actor charismatic, emotionally authentic and clearly ex Short films that find their way into regular cinema programmes
pressive by developing kinesthetic awareness of your body, exploring remain few and far between. And although some dismiss short films
the basic principles of the Alexander Technique, connecting to breath as a medium for filmmakers just starting out, this under-appreciated
coordination and voice to text, being in space and entering the world genre is thriving, innovative and extremely active. What chances do
of the story, understanding how to bring ritual, myth and primal an short films have these days to be screened in regular cinemas? New
cestors into your performance, and using animal movement as a way strategies are being developed by proponents of the short film; one
to find the spine of the character and connecting to your emotions. such example is an initiative launched in Germany, which will be
Participants are required to have a monologue ready for this intensive presented by Catherine Colas (ZDF/ARTE) . Berlinale Shorts curator
hands-on workshop and interactive experience. Maike Mia Höhne will discuss, the various ways, means and actions
undertaken to ensure that shorts get to the big screen, with Catherline
Excursion to the European Film Market Colas, Alexander Stein, Interfilm Festival producer, and Rudolf Wor
With Sydney Levine. schech, chief editor of the German film magazine EPD Film. Addit-
In cooperation with European Film Market. ionally, some of the shorts which have managed to reach cinemas and
Meeting point | entrance to HAU 1 audiences will be screened during this session.
always 15 minutes prior to the start.
“Meet the Docs” Short Encounters
Mon 14, 16:00 | Tue 15, 10:00 In cooperation with Berlinale Shorts.
Wed 16, 10:00 + 12:30 18:30 | HAU 2
The European Film Market (EFM ), a film trade fair, is a major A singular opportunity for Talents and experts of the short film
industry meeting for the international film circuit. For nine days during genre to network and explore possibilities of producing, distributing
the Berlinale, film professionals have the opportunity to find out about and showcasing short films follows the panel. This mini “marketplace“
the latest productions and developments in the global film scene. The will comprise short film industry professionals from within Germany
annual EFM acts as a vital barometer for the upcoming film year, attrac and abroad – broadcasters, distributors, sales agents, producers, festi
ting distributors, film buyers, producers, financiers and co-production val programmers and short film marketing institutions. The informal
agents, as it assists their positioning in the market and offers oppor event is meant to assist Talents in making contacts for screening and
tunities to develop and cultivate business contacts. This year, over 400 distributing their short films, enquiring about opportunities, potential
exhibitors from 54 countries and over 650 films will be presented to partners and funders, and familiarising themselves with the market of
industry visitors. The historical location of the EFM , which is housed in alternative venues.
the renaissance-style exhibition hall of the Martin-Gropius-Bau, lends
the vibrantly active event lasting nine days, a certain glamour and The Legal Sound of Music
charm. Mareile Büscher and Milena Fessmann.
Excursions guided by Sydney Levine, who will also conduct a In cooperation with Raue LLP.
“Meet the Expert“ session (see page 35), will enable Talents to acquaint 17:00 | HAU 3, Top Floor
themselves with the structure and workings of the EFM. Talents specia The legal ramifications inherent to the filmmaking process
lising in documentary filmmaking can also join the special tour to influence not just the creative but also the practical aspects of making
“Meet the Docs”, a joint initiative with the European Documentary films and film music. Simply contemplating the myriad copyrights
Network (EDN ) and specifically dedicated to the documentary indu and clearances one needs is a scary prospect. But protecting your film
stry. “Meet the Docs” aims to promote networking and exchange from lawsuits makes these legal issues integral to filmmaking itself.
among buyers, sellers, directors, producers as well as distributors of Milena Fessmann and Mareile Büscher will elaborate on the import
documentaries. ance of obtaining music rights and the ins and outs of the process.
Milena Fessmann is a music supervisor and the founder of Cinesong;
the company offers a range of services related to music and films. One

54 monday, feb 14
of their latest film projects is Wim Wender’s 3D film Pina which prem
ieres at this year’s Berlinale. Mareile Büscher is a legal counsel for Raue
LLP on press, media and copyright law. The two experts discuss various
aspects related to rights to music in film: how and when you should go
about obtaining these rights, the process involved in clearing rights to
sound and music and what a proper request for licensing music should
look like.
New Horizons in 3D: Storytelling and Producing Redefined

Alain Derobe, Gian-Piero Ringel, Erwin M. Schmidt, Wim Wenders.
Moderated by Patrick Palmer, joined by Julian Pinn.
In cooperation with Dolby Laboratories.
18:00 | Cubix 8
A shuttle bus starts at 17:30 from meeting point in HAU 1 Short and Scary: Broken Night by Yang Hyo-joo (above)
Get Real! by Evert de Beijer (bottom left)
Films using 3D technologies have gained immense popular
ity with audiences and filmmakers in recent years. The 3D experience
provides audiences with a new immersive experience while it gives Showing excerpts from the film, Wenders, together with
filmmakers the opportunity to narrate stories in ways that are more stereographer Alain Derobe and producers Gian-Piero Ringel and
elaborate, more life-like than ever before and to push the boundaries Erwin M. Schmidt, presents a case study on Pina and discusses the
of filmmaking to the limits of their imagination. creative possibilities that 3D technologies open up for filmmakers, and
Internationally renowned filmmaker Wim Wenders, who has the role of the producer in developing such highly artistic films that
made masterpieces such as Wings of Desire , the Cuban music create a truly immersive experience for audiences.
documentary Buena Vista Social Club and Paris, Texas , presents
his latest documentary Pina , a 3D dance film that is a tribute to the late Short and Scary
German contemporary dancer and choreographer Pina Bausch, at this Short film screenings. Evert de Beijer, Peter Larsson, Hugo Lilja,
year’s Berlinale. As Wenders explains, “The two-dimensional cinema Jerome Sable and Yang Hyo-joo. Moderated by Juliette Veber.
screen is just not capable of capturing Pina Bausch’s work, either In cooperation with Berlinale Shorts and Berlinale Generation.
emotionally or aesthetically. When I watched her dance for the first 20:00 | HAU 1
time twenty-five years ago, I was captivated and deeply moved. I was You would think that you’ve seen it all already, the chills and
able to understand human movement, gestures and feelings in a thrills that delight twisted minds. What we offer those in the mood for
whole new way. And this magic is what I would like to translate to the a little spine-chilling fear is an exceptional selection of five short scary
screen […] 3D gives us the possibility of taking the audience directly films from this year’s programmes of the Berlinale Shorts and Berlinale
onto the stage, into the middle of the event”. Generation. We take you through dark worlds and the many faces of
horror with a couple who struggle with catching and taming zombies,
bloody lobotomy experiments and a relationship on the verge of
falling apart in Hugo Lijla’s The Unliving, with the atmospheric photo
graphy of Yang Hyo-joo’s Broken Night , which depicts harsh reality
when one is ensnared by one’s own tricks, with the woods, the soil and
the darkness – damp, raw and stone age-like in Peter Larsson’s ani
mated experimental Seven Days in the Woods , with Jerome Sable
and Eli Batalion’s horror rock musical The Legend of Beaver Dam
which has kids, an evil monster and a gory fight to death in the woods,
and last but not least, with a high school student lost in the world of
computer games, protecting a sexy female mega singer from all kinds
of attacks in Evert de Beijer’s Get Real!. Present at the screenings will
be the five filmmakers who discuss their short and scary works with
New Zealand director and producer Juliette Veber.
Campus programme
tuesday, feb 15 55
Rise and Shine Breakfast Too Good to Be True: Directing Reality

Presented by the Berlinale Talent Campus. Heddy Honigmann and Andres Veiel.
9:30 | HAU 2 Moderated by Matthijs Wouter Knol.
This morning’s Rise and Shine Breakfast offers the early birds a 11:00 | HAU 1
tasty start to a promising new Campus day. Enjoy a selection of sweet Incorporating fictional-style elements in documentary films
and savoury delights as you catch up with Talents and Campus team have enriched the genre tremendously and resulted in compelling
members. storytelling taken from reality. Yet, critics question re-enactments,
staging of interviews or even the adding of music in documentary
Where I Am and Where I Want to Go: films. On this panel are two outstanding filmmakers who have creat-
Choosing Personal Strategies in Daily Life ed their own unique filmic language in both their documentary and
Workshop by Thomas Biniasz. fictional work: Andres Veiel is considered one of Germany’s leading
10:30 | HAU 3, Top Floor documentary filmmakers; his latest feature If not us, who? features in
Any kind of creative work requires the ability to grasp some this year’s Berlinale Competition. Veiel’s social and political viewpoint
thing that exists purely in the imagination and shape it into something is strongly reflected in the choice of themes of his remarkable pro
tangible and successful. Translating innovative ideas into reality ductions, for example, the documentary Black Box BRD and the
requires a creative strategy. This hands-on workshop, led by psycho feature the kick . Another preeminent filmmaker, Heddy Honigmann
logist, executive coach and management consultant Thomas Biniasz, is noted for her ability to make an emotional connection with people
focuses on learning to define yourself and your projects in the present, she films; her subjects have included cab drivers in Peru, immigrant
visualising possible options for the future and developing and im musicians on the Parisian metro and Cuban exiles in New Jersey.
proving decision-making in order to synchronise the present and the Winner of major awards at festivals around the world, her artistic
future. œuvre has been honoured with retrospectives, for example, at the
Biniasz, whose core competencies comprise executive coach MOMA in New York and Arsenal Cinema in Berlin. Through examples
ing, developing and implementing leadership programmes and facili from their respective filmographies, the experts will discuss the extent
tating change processes in large organisations, will take you through to which directors can create their own filmic reality when making
the three-phased “Walt Disney Strategy“ which divides the world into documentaries or use documentary elements when making fiction
dreamers, realists and critics. This workshop, designed for up to 20 films.
participants, will help you learn about your personal goals and your
professional positioning to enhance your individual impact. Cinematography: The Establishing Shot
Edward Lachman. Moderated by Ben Gibson.
14:00 | HAU 1
One of the most significant cinematographers of independent
Rehearsed Reading: an acting and scriptwriting workshop
and Hollywood cinema, Ed Lachman has worked with directors such
with independent producer and script consultant Alby James as Werner Herzog, Wim Wenders, Todd Haynes, Todd Solondz, Steven
Soderbergh and Ulrich Seidl, and is reputed to successful switch bet
ween documentary and fictional forms. “It’s not a cameraman’s job to
make nice pictures,” says Lachman, “but to bring out the truth.” His
guiding principle can be seen in the multitude of films he has shot,
such as The Virgin Suicides , Far From Heaven – which earned him an
Academy Award nomination, Erin Brockovich , Desperately Seeking
Susan and the documentaries Lightning Over Water and La Sou
frière . This highly acclaimed director of photography, who is also a
filmmaker – he directed the controversial Ken park together with
Larry Clark in 1995, will show excerpts from some of his independent
and Hollywood film projects and elaborate on his style of working and
his artistic influences, as well as on how one can create a particular
look and atmosphere of a film from the start, one that penetrates with
insight and accuracy and pervades until the end.

56 tuesday, feb 15
Exciting discussions: Actor and director Ralph Fiennes with Vanessa Redgrave
in his Berlinale Competition film Coriolanus | Production designer Alex McDowell
joins the Campus again (insert) | Liz Rosenthal moderates all three “Indie
Filmmakers Guide“ sessions (right page)
Play as Process: Worldbuilding and New Ways to Imagine

Shekhar Kapur, Tali Krakowsky,
Saku Lehtinen, Alex McDowell and Andrew Shoben. Rehearsed Reading
In cooperation with 5D Conference, L.A. Workshop with Alby James.
14:00 | HAU 2 Feb 15 + 16, 14:00 | HAU 3, Black Stage
Our lives are subject to a structure within which we enact our The look, the style of movement and the ability to adapt these
daily acts and rituals, play our games and design our future. The five to the different character roles and filmic setting are core aspects of
guests on this panel – each an expert in his/her field of specialisation
the actor’s craft. Equally crucial to bringing characters of a script to life
– will address how one can create a virtual landscape of things and is the smooth and effective delivery of dialogue. This workshop of the
spaces around us and consequently in art and film. This session brings Talent Actors Stage focuses on dialogue training and will have Talent
together production designer Alex McDowell (Fight Club, Minority actors reading vital scenes from a preselected script of the Script
Report ), he is also the founder of 5D: The Future of Immersive Design; Station. Mentor Alby James will work with Talent actors and script
filmmaker Shekhar Kapur (Elizabeth and Elizabeth the Golden writers on building characters, exploring how characters would act,
Age ); experience designer and founding member of 5D Tali Krakowsky; react and talk in a variety of circumstances and in the different
founder of Greyworld, an artists‘ collective creating art in public situations portrayed in each scene. Alby James, a successful theatre
spaces, Andrew Shoben; and art director of Remedy Entertainment director for fifteen years before he moved into films, radio and
Saku Lehtinen, who is responsible for the audiovisual experience of television drama, was previously head of development for two years
games. Based on the core idea behind the 5D Conference – talking with EON Screenwriters’ Workshop in London and is currently inde
about learning about seeing better stories – the five panellists will pendent producer. Scriptwriters will have the opportunity to observe
explore the notion of “playing“ at the centre of the new creative col a screenplay brought to life for the first time. Participating actors and
laborative space, and the designer’s recent ability to build worlds scriptwriters are invited to offer opinions, reactions, feedback and
using digital tools, for an immersive audience experience. suggestions at the end of each reading.
Campus programme
tuesday, feb 15 57
The Indie Filmmakers Guide to Cross-Media II Three European producers, who have made their mark in the
Extending Partnerships: past decade, will discuss the dos and don’ts when establishing oneself
How to Produce Cross-Media Projects as a producer. They will be joined by Soon-Mi Peten, MEDIA Develop
Wendy Bernfeld, Ben Grass and Inga von Staden. ment Programme representative, who will emphasise the significance
Moderated by Liz Rosenthal. of new producers and entrepreneurs for the audiovisual industry and
14:00 | HAU 3, Top Floor highlight the opportunities MEDIA offers young producers: how it en
Creating cross-media projects demands a whole new set of ables them to broaden their horizons and strengthen their profiles,
skills, collaborators and finance partners from across the media indu gain access to financing and networking opportunities. MEDIA, the
stries. This session looks at the extended role of the cross-media pro EU 's support programme for the European audiovisual industry, has
ducer and examines potential new alliances and partnerships with facilitated the development and distribution of thousands of films as
online networks, multiplatform broadcasters, brands, agencies well as training activities, festivals and promotion projects through
and other new financiers, as well as the legal issues involved. out the continent over the past 20 years. MEDIA is one of the Berlinale
Talent Campus’ most essential partners.
In the Limelight: István Szabó and Ralph Fiennes
With Ralph Fiennes and István Szabó.
Moderated by Mike Goodridge.
In cooperation with FERA and Robert Bosch Stiftung.
17:00 | HAU 1
Renowned British actor turned director Ralph Fiennes, whose
debut film Coriolanus premieres prominently at this year’s Berlinale,
has acted in films such as The Constant Gardener, Sunshine, The
Reader, The Hurt Locker, Schindler’s List and The English Patient .
He was nominated for Oscars for the latter two films. Fiennes steps
into the spotlight with Hungarian filmmaker, István Szabó – a name
that resonates in the world of cinema. He was awarded an Oscar for
Mephisto and received tremendous accolade not just for his impres-
sive slate of films such as Colonel Redl , Hanussen , Meeting Venus Building Digital Worlds for the Screen
and Sweet Emma, Dear Böbe , but also for the historic and contem- Shekhar Kapur and Alex McDowell.
porary relevance of the social and political themes they address. 17:00 | HAU 3, Top Floor
The celebrated actor and director who worked closely together on Creating the physical world surrounding a film story involves
Sunshine , an epic tale that follows the Hungarian Jewish family, not just design but also in-depth research, problem-solving and
Sonnenschein, through five generations, will discuss what it takes for technical insight. As a creative process of visualising and physically
a director to get actors to step into their roles with an ease that brings developing an environment, it becomes a key element of the story
out convincing performances and what the close collaboration on the telling process. This workshop, for a selected group of production de
content of the film means and entails. signers, is led by two master craftsmen: Indian filmmaker and pro
ducer Shekhar Kapur and production designer and producer Alex
Plugging People: European Producers Positioning Themselves McDowell. Shekhar Kapur has made critically acclaimed films like
Jean des Forêts, Nicole Gerhards, Peter de Maegd Bandit Queen , the award-winning historical biopic Elizabeth and its
and Soon-Mi Peten. Moderated by Fleur Knopperts. sequel Elizabeth: The Golden Age , which was nominated for two
In cooperation with MEDIA. Oscars. Alex McDowell is one of Hollywood’s most acclaimed pro
17:00 | HAU 2 duction designers with films such as Minority Report , Charlie and
Emerging producers have plenty of tools to put their compa the Chocolate Factory , Fear and Loathing in Las Vegas , Fight
nies on the map and can choose from an array of funding opportunities Club and Corpse Bride comprising his film portfolio. Showing ex
for support. So much for marketing talk! What is the reality on ground cerpts from their films, the two professionals will examine in-depth
when you set up your own company and want to distinguish yourself the production of a plausible and realistic world on screen. Participa
from others? How can you build a steady track record as a producer ting Talents will have the opportunity to discuss their own projects
and be successful in getting your film out there? and receive input, insight and guidance.

58 wednesday, feb 16
Rise and Shine Breakfast Absolute Hearing I-IV

Presented by ACPFILMS. Excursions to the Heinrich Hertz Institut and the German
9:30 | HAU 2 Film Orchestra Babelsberg; Q&A with Michael Nyman;
Early birds catch the worm! In this case, it’s the breakfast. This Master Class Sound Editing & Re-recording Mixing
morning’s scrumptious spread of breakfast delights is offered by at the Film and Television University (HFF) “Konrad Wolf”.
ACPFILMS . Learn more about their fund and get to know their repre For composers and sound designers only.
sentatives over hot coffee and delicious chocolate croissants. In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film
Orchestra Babelsberg, Film and Television University (HFF) “Konrad Wolf“.
9:30 | Meeting point at the entrance of HAU 1
Absolute Hearing I-II: Excursions to the Heinrich Hertz Institut
and the German Film Orchestra Babelsberg
The Heinrich Hertz Institut is a state-of-the-art research insti
tute for communication systems and digital media and services where
Talents will learn about pioneering technologies for screen and sound
developed for the future. The scores of the Score Competition, recor
ded with the German Film Orchestra Babelsberg, are remixed in Wave
Field Synthesis (WFS), in order to show the spatial sensation of the tech
nology. These scores will be presented at the Heinrich Hertz Institut.
WFS is a sound technology which offers high creative potential for an
immersive interactive “cinema of the future”.
In the Berlinale Forum: Thunska Pansittivorakul‘s The Terrorists

(above) | The future after the Campus shone bright for alumna
Rosario García-Montero whose The Bad Intentions runs in the
Berlinale Generation
Campus programme
wednesday, feb 16 59
The excursion then moves to the German Film Orchestra As Queer As It Gets
Babelsberg, the only professional orchestra for film music in Germany, John Greyson, Thunska Pansittivorakul,
invites sound designers and composers for a guided tour of its pre Wieland Speck, Monika Treut and Christine Vachon.
mises. It gets its name from the illustrious Babelsberg Studios, where Moderated by Matthijs Wouter Knol.
noteworthy films such as Dr. Mabuse , The Blue Angel , The Life of In cooperation with Berlinale Panorama,
Others and The Ghost Writer were produced. Berlinale Forum and TEDDY AWARD.
11:00 | HAU 1
Absolute Hearing III-IV: Queer cinema originated in times when queer opinions and
Master class sound editing & re-recording mixing on lifestyles weren’t as yet part of the prevailing film industry in western
The Last Station at the HFF-mixing stage countries. Queer filmmakers experimented with new, different forms
The sound and music excursion makes its final halt at the Film of storytelling working with low-budgets and digital shooting formats
and Television University (HFF ) “Konrad Wolf”. A tour of one of the most way before the mainstream caught up with them. Not only has queer
modern and biggest film academies in Germany will be followed by a cinema established itself as a thriving niche in present times, it has
Q&A session with esteemed composer and Score Competition mentor also been successful in forging greater mainstream acceptance of
Michael Nyman. Prof. Martin Steyer, vice president of HFF “Konrad queer perspectives in cinema and everyday culture. At the same time,
Wolf” and re-recording mixer of the award-winning film The Last queer cinema appears increasingly less interested in demonstrating
Station directed by Michael Hoffman and featuring Helen Mirren, the importance of “daring to be different“, but more in celebrating the
James McAvoy and Christopher Plummer, will conduct a master class fact that “queer“ is now somewhat “normal“. Is this what the queer
on the film: the relation and interaction of picture and sound and the movement has been striving to achieve? How does one define a
creative work in the mixing theatre (the re-recording stage). Based on queer film today and are there differences at an international level?
an autobiographical novel of the same name by Jay Parini, The Last Celebrating the 25th TEDDY AWARD , the queer film prize of the
Station is a historical drama that depicts the last year in the life of Berlinale, five prominent filmmaking professionals come together on
Russian author Leo Tolstoy and his struggle to balance fame and this panel: Filmmaker and queer activist Wieland Speck, who is one of
wealth with his commitment to a life devoid of material things. the initiators of the TEDDY AWARD in 1985; renowned indie producer
Christine Vachon, who has produced many of the iconic queer films of
Berlin Today Award 2012 the past two decades; Thai filmmaker Thunska Pansittivorakul, whose
Producers’ Meeting The Terrorists premieres in this year’s Berlinale Forum; Canadian
Supported by Medienboard Berlin-Brandenburg. filmmaker, video artist and activist John Greyson, whose Urinal
10:00 | Hessische Landesvertretung (1989) and Fig Trees (2009) both won TEDDY AWARDs at the Berlinale;
The Berlinale Talent Campus offers young directors worldwide and Monika Treut, one of Germany's most preeminent directors when
the opportunity to work with producers from Berlin-Brandenburg, it comes to queer films, whose Gendernauts won the TEDDY AWARD
and a golden chance at the Berlin Today Award 2012. Five films based in 1999. They will discuss the concept and form of the “queer film“, the
on the theme “Every Step You Take” will enjoy their world premiere at possible future role of queer cinema and the challenges faced by
the 10th Berlinale Talent Campus in 2012. The winning film, which will filmmakers in less queer-friendly parts of the world.
take home the Berlin Today Award 2012, will be selected by a jury of
five eminent film professionals. But that’s still in time to come! At this The Indie Filmmakers Guide to Cross-Media III
year’s Campus, fifteen preselected Talents and ten production com Extending the Audience:
panies will converge at the Producers’ Meeting for a marriage of sorts. How to Engage an Audience Across Multiple Platforms
Talents will meet Berlin-based producers in one-on-one meetings Martin Ericsson, Ben Grass and Lena Thiele.
to present their film projects; likewise producers will present their Moderated by Liz Rosenthal.
respective companies and the scope of their work. An intensive day, 11:00 | HAU 3, Top Floor
full of presentations and discussions, Talents and producers will also As audiences discover and experience stories across a rapidly
vote for their preferred partners. From the wish list put together at the expanding array of platforms and devices, strategies for engaging
Producers’ Meeting, the Campus will select in spring 2011 the final five audiences are evolving. Looking at a variety of case studies, speakers
film projects and match them with five production companies. Please will demonstrate a number of models and lessons learned from mak
see page 32 for more information on the Berlin Today Award and the ing film stories available across multiple platforms, sites and devices to
theme for 2011. special events and digital word-of-mouth campaigns.

Screening the Future: Excursion to the Heinrich Hertz Institut The Internationals: How Small Stories Become Big
In cooperation with Fraunhofer / Heinrich Hertz Institut. Claudia Llosa, Kornél Mundruzcó and Abderrahmane Sissako.
13:00 | Heinrich Hertz Institut Moderated by Dorothee Wenner.
Meeting Point | 12:30 at the entrance to HAU 1 In cooperation with ACPFILMS and Robert Bosch Stiftung.
Innovations for the digital future – this is the core of the 14:00 | HAU 1
research and development work conducted by the Heinrich Hertz The most powerful stories emerge from the reality one is most
Institut – both in the field of high-tech communications systems and engaged in. They are linked to the place(s) you come from, situations
digital media and services use. The Heinrich Hertz Institut is a leading you’ve experienced and reflect issues that deeply move and interest
research institute for Mobile Broadband Communications, Photonic you. In the words of award-winning filmmaker and producer Abder
Networks and Electronic Imaging for Multimedia. Multimedia is seen rahmane Sissako, “When you work as a filmmaker, you have an intense
as one of the key components in information technology as images, desire to express yourself and I think that the best way to do so is to
video, language, sound and additional data are being used for an speak about oneself or one's experiences”. But how does one transform
increasing number of services. Additionally, the institute heads the small, unique stories into compelling narratives that appeals to inter
German National project (PRIME), which deals with 3D production national audiences?
technologies for film and broadcasting. Their innovative approaches On stage with Abderrahmane Sissako, whose sharply political
for the film industry comprise image processing, image communication films such as Bamako and Life on Earth are fitting critiques of glo
and 3-D displays, as well as the development of new audio technologies. balisation, colonisation and social justice, is critically acclaimed film
Research and development trends in the next generation of cutting- maker Claudia Llosa, who won the 2009 Golden Bear and an Academy
edge screen and sound technologies will be demonstrated and ex Award nomination for The Milk of Sorrow , and Hungarian director
plained to Talents visiting the institute. and 2003 Campus alumnus Kornél Mundruczó, whose Tender Son –
The Frankenstein Project screened in competition at Cannes in
Dial F for Fiction: Script Station Presentation 2010, his current project features in the 2011 Berlinale Co-Production
Moderated by Merle Kröger. Market. The noted filmmakers, whose films are deeply grounded in
In cooperation with German Federal Film Board (FFA) and SOURCES 2. stories from their own backyard and have received tremendous
14:00 | HAU 3, White Stage international recognition, will elaborate on how they decide which
It isn’t the director alone who makes a great film artistic. They stories to develop into films and what makes a local film an inter
do so because they work with exceptional, artistic scripts. The best film national one. They will discuss the significance of support at a national
scripts are therefore lasting works of art which contain moments of and regional level, particularly if one is keen on working and distri
brilliance, elegance and emotionality that make us want to return to buting films internationally.
them time and time again. As every year, the Script Station 2011 will
be a fascinating showcase of current global storytelling – locally roo Barbara Hammer:
ted in twelve writers’ experienced reality and personal imagination. Making Movies Out of Sex and Life
One topic depicted in several stories is farewell – as a long process of Barbara Hammer.
accompanying a mother with dementia, as a harsh break when a wife Moderated by Stefanie Schulte Strathaus.
suddenly disappears, leaving her husband thrown out of his daily In cooperation with Berlinale Forum Expanded.
routine, as a painful experience in letting go an impossible love to save 14:00 | HAU 2
one’s own identity. Reflections of world politics shine through highly She has inspired a generation of queer, feminist and avant-
personal encounters – taking place in Athens and Beirut, or even garde artists and filmmakers. Barbara Hammer, a highly prolific visual
beyond the coastline of Somalia. Remarkably strong women have to artist working primarily in film and video, has made over eighty films
deal with teenage pregnancy in the US Bible Belt or with the drug and videos in the past forty years. Galvanised by the second wave of
scene in Bucharest, with prejudice in Jordan and Uganda. While male feminism, Hammer soon became a pioneer of queer cinema. Although
protagonists catch our hearts in their vulnerability: be it an outcast the subjects she addresses are astonishingly diverse, her innovative
young rebel from rural India or a boy in love with death on the island and playful approach to form is unchanging. Her work is about revea
of Borneo, Indonesia. These screenplays, at various stages of devel ling, showing, expressing, uncovering that which has not been seen
opment, will be discussed for the first time as works in progress by before. “I try to give voice and image to those who have been denied
their writers and expert mentors, each depicting the aural, visual and personal expression.” Her experimental films of the 1970s dealt with
lingual elements required to transform their stories into cinema. taboo subjects through performance, in the 1980s she used optical
Campus programme
wednesday, feb 16 61
Barbara Hammer‘s Generations screens at the Berlinale Forum

Expanded (above) | Michael Nyman, the Score Competition‘s
mentor (insert)
printing to explore perception and the fragility of 16mm film itself,

and in the 1990s she began making documentaries about hidden
aspects of queer history. Her documentaries tell the stories of people
who have been excluded and relegated to the margins of history and
are often essay films that are multilayered and engage audiences
viscerally and intellectually with the goal of activating social change.

Each decade has marked a new direction in her work as she continues
her inward exploration with an unfailing radical sincerity to talk about
sexuality, womanhood, illness, aging and mortality.
Her film A Horse is Not a Metaphor won the 2009 Teddy
Award for Best Short Film, and her most recent Generations (made
with Gina Carducci) celebrated its world premier at the MOMA in
New York in 2010. Barbara Hammer, who will present the two films
Generations and Maya Deren’s Sink at the Berlinale Forum Expanded
this year, will talk about the evolution of her wide-ranging body of from Colombia to a revolutionary love story in Guatemala. We learn
avant-garde films and on how she views her own creative trajectory. how the economic crisis hits a family business in China, and how an
Ethiopian girl is hit by her HIV diagnosis. The directors unravel com-
Welcome to Reality: Doc Station Presentation plex patterns of life in small-town Germany, in Barcelona’s suburbia,
Heino Deckert. Moderated by Sirkka Möller. moving from New Zealand to China, and from Chile to Sweden. They
In cooperation with German Federal Film Board (FFA) and SOURCES 2. seduce us with the timeless idea of love in Mexico, and with the
14:00 | HAU 3, Top Floor ancient songs of Belize. And last but not least, they surprise us with the
Turning a fascinating idea grounded in reality into a factual story of a Kenyan female truck driver, and the dilemma of two cage-
work of art is indeed a long and lengthy process. The Doc Station gives fighting friends in Germany, who have to face each other. These stories
a unique snapshot of the world, seen through the eyes of 12 filmmakers of the Doc Station, currently at different stages of development, will
from five continents. They span from personal histories of violence be presented for the first time to a professional audience.

The Great World of Sound Happy Returns: The Future After the Campus
Master class with Michael Nyman. Rosario García-Montero, Kaspars Goba
Moderated by Peter Cowie. and Javier Fuentes-León.
17:00 | HAU 1 In cooperation with Berlinale Generation, Berlinale Panorama,
Scoring for film is not a solo venture, but rather a collaborative World Cinema Fund, Berlinale Co-Production Market.
project that requires a comprehensive understanding of the film and 17:00 | HAU 2
the aim of the filmmaker, envisaging it from a sonic perspective before The ninth edition of the Campus assists filmmaking profes
bringing it to life. That’s what most people are familiar with vis-à-vis sionals in their quest to position themselves in an ever-expanding and
the music of Michael Nyman – the distinguishing style of his film fast changing world of cinema, where taking risks and facing challen
scores. Having worked as a film composer for over 30 years, he has ges head-on is slowly becoming a matter of course. In the limelight
composed a string of notable scores for over ten films of British art today are Campus alumni who have been invited to the Berlinale 2011
house director Peter Greenaway, several Michael Winterbottom films, with the films or market projects they worked on since they attended
and of course the astounding music for Jane Campion’s The Piano . the Campus. Javier Fuentes-León and Rosario García-Montero will tell
But Nyman is more than just a film composer – with over 300 works us how they managed to make their film projects a reality, discussing
only ten percent are film scores. He is also a conductor, composer, their personal and professional struggles in staying on the filmmaking
leader of the Michael Nyman Band, photographer and filmmaker. In path and in positioning themselves. Presenting excerpts from their
this master class, Nyman will explore ideas behind the tension which films, they will elaborate on how they addressed the challenges that
exists between music/soundtrack composing, sound effects and arose whilst taking creative and strategic decisions for their projects,
moving and still images, and how all of these interact and affect each decisions that have brought them back to the Berlinale with inspiring
other in the completion of a film. Showing excerpts from his own films new films.
as well as the commercial films he has scored, he will talk about his
approach and understanding of soundtrack composing from the Christoph Schlingensief: Five Favourites
perspective of a visual artist and filmmaker. Anselm Franke, Carl Hegemann, Francis Kéré,
Matthias Lilienthal and Georg Seeßlen.
Why Poverty? Moderated by Dorothee Wenner.
Don Edkins and Hans Robert Eisenhauer. In cooperation with Theater Hebbel am Ufer (HAU),
17:00 | HAU 2 Forum Expanded and Goethe-Institut South Africa.
Myriad films have been made on poverty but a large propor 20:30 | HAU 1
tion of them are stereotypical approaches often seen on television. He was once arrested for exhibiting a poster with the words
Experts call them “development porn“ as images of passive helpless “Kill Helmut Kohl” (then chancellor of Germany), and a year later
ness and deprivation are easy to absorb and easier to ignore. “Why formed a political party, Chance 2000, which urged Germans to vote
Poverty?” aims to initiate a global dialogue on poverty through public for themselves in the 2000 national elections. Christoph Schlingensief,
media, challenging people to participate and come up with their own the enfant-terrible of the German-speaking cultural scene, and cer
solutions to eradicate poverty. This cross-media project, launched by tainly its best-known artistic provocateur, passed away in August
Don Edkins, executive producer of the HIV/Aids project “Steps for the 2010. An artist, film, theatre and opera director, he was tireless in his
Future” and “Why Democracy?”, will comprise eight one-hour and attempts to urge a critical reflection on issues such as immigration,
thirty short documentary films to be distributed via innumerable unemployment, rights of the disabled, etc.
international broadcasters, the internet and mobile platforms during This evening isdedicated to Christoph Schlingensief with se
a theme week in 2012. The films will depict how people find ways lected film, photo and sound material from his work in theatre, visual
to overcome and fight poverty in daily life, fostering the belief that art, film and opera. Five specialists, friends and companions will show,
things can improve if we set our minds to it. Don Edkins will explain comment and discuss their favourite Schlingensief work. With Anselm
the underlining concept and the objectives of the project, the broad Franke (curator) on “Medien-Kunst” (“Media Art”), Carl Hegemann
themes related to poverty under which the films will be made, and (dramaturge) on “Mea Culpa”, “Parsifal” and “Der fliegende Holländer”
the process of applying with short film ideas, which can be submitted (“The Flying Dutchman”), Matthias Lilienthal (artistic director of
by interested Talents from February 2011. Joining him on stage is HAU) on “Ausländer Raus!” (“Foreigners Out!”), Francis Kéré (architect)
co-initiator Hans Robert Eisenhauer (ZDF/ARTE ), who will elaborate on on the “Operndorf” (“Opera Village”) and Georg Seeßlen (film critic) on
the process of initiating a project of this size and scale. his films.
Campus programme
thursday, feb 17 63
Rise and Shine Breakfast and production designing. Talents will also benefit from an enlight
Presented by Institut français. ening case study of the historical drama The Last Station , which was
9:30 | HAU 2 filmed in Germany and supplied costumes by Theaterkunst. The film is
Today’s breakfast is presented by the Institut français and offers an adaptation from the best-selling historical novel by Jay Parini and
you a great start to a new Campus day. Meet representatives of the illustrates Russian author Leo Tolstoy’s struggle to balance fame and
Institut français and chat with fellow Talents as you enjoy café au lait wealth with his commitment to a life devoid of material things.
and oven-fresh croissants.
Disclosing the World Cinema Fund
Dress to Impress Vincenzo Bugno and Sonja Heinen.
Master class for production designers In cooperation with World Cinema Fund.
at Costume House Theaterkunst. 10:30 | HAU 3, Top Floor
In cooperation with Theaterkunst. With the aim of bringing new perspectives to the big screen
10:00 | Excursion | Shuttle leaves at 9:30 from HAU 2 from countries with little financial aid, the World Cinema Fund, an
Production designers and their teams would be at quite a loss initiative of the Berlin International Film Festival, the German Federal
if it wasn’t for the Theaterkunst. A reputed institution with a long Cultural Foundation in cooperation with the Goethe-Institut, finances
tradition of outfitting films, Theaterkunst designs very personal and independent productions from around the world. Supporting films
individual collections for each film in line with their specifications. from Latin America, Africa, the Middle East, Central and South East
Their highly skilled team of wardrobe masters, tailors, designers and Asia and the Caucasus, the fund looks for independent cinema that
costume painters custom-makes every piece of clothing (or disguise) narrates local stories, embodies innovative ideas, concepts and aes
no matter how eccentric. As film costumes are a vital part of the narra thetics. As Project Manager Vincenzo Bugno explains, “Our job is an
tive elements and contribute to the overall effect of the film, nothing incredible privilege. We deal with countless stories, visions and visual
about their form, colours, material, cut and design can be left to worlds but we are also very ambitious: we try our best in order to
chance. Visiting the Theaterkunst is similar to taking a journey into the support strong projects with an original artistic profile. And it works!”
past where one revisits such classics as Ben-Hur , The Blue Angel and Eighty fiction and documentary films have received funding from the
Metropolis , and the more recent critically acclaimed films The Lives World Cinema Fund so far. One of their very recent success stories is
of Others and Inglourious Basterds . Uncle Boonmee Who Can Recall his Past Lives by Thai director
A guided tour around Theaterkunst will introduce produc- Apichatpong Weerasethakul, which won the Palme d’Or in Cannes in
tion designer Talents to the vast collection of clothes and accessories 2010. Moreover, three World Cinema Fund films will have their world
stretching back decades and to the tiny details that go into costume premiere at the 2011 Berlinale: The prize in Competition, Medianeras

64 thursday, FEb 17
in Panorama and the bad intentions in Generation. In this session, opportunities for young filmmakers to present their projects at the
Project Managers Vincenzo Bugno and Sonja Heinen elaborate on the Co-Production Market and connect with international film industry
scope and objectives of the fund before they present all-important in professionals. Head of the Co-Production Market, Sonja Heinen, to
formation regarding the application process. gether with Kathi Bildhauer and Martina Bleis will introduce the role
and workings of the market, its range of events and the application
The Schrader Way to Start a Film and selection process, as well as how Campus alumni can apply to the
Paul Schrader. Moderated by Peter Cowie. Talent Project Market.
In cooperation with Berlinale Special.
11:00 | HAU 1 Censored Cinema
When the lights go off, the hall goes dark and the curtain rises, Sepideh Farsi, Mehrangiz Kar, Rafi Pitts and Ali Samadi Ahadi.
its time to sit back and enjoy the film. The anticipation that comes with Moderated by Vincenzo Bugno.
the opening scene is often crucial to the success of the film as it sets In cooperation with World Cinema Fund.
the tone and allows the viewer to delve into the world it is creating. 14:00 | HAU 1
Many films hinge on the success of the opening scene as they compel Filmmaking remains politically sensitive facing censorship and
us to remember and relive the moment, either with relish or tense limitation of artistic expression in far too many countries, one such
with fear. Paul Schrader, US-American screenwriter and director, has example is Iran. Iranian filmmakers Jafar Panahi and Mohammad Ras
written a range of outstanding films such as Taxi Driver – which soulov were recently sentenced to imprisonment and banned from
features in the 2011 Berlinale Special – Raging Bull and The Last making films. Yet, films do get made in Iran, films that strive to tackle
Temptation of Christ , and is the acclaimed director of Mishima: A social issues head-on. And despite the fact that Iran’s current creative
Life in Four Chapters , American Gigolo and Blue Collar . With a climate continues to be in the clasp of a repressive regime, an impres
spotlight on the perfect opening scene, Schrader will talk about sive body of work earning critical acclaim and international recognition
creating an atmosphere that engages the audience, defines the film is being produced. How do Iranian filmmakers deal with censorship
and keeps the audience hooked from the very start. Using excerpts and the imposed restrictions, and what consequences does this have?
from the films he has written and/or directed, he will discuss how to Prominent Iranian filmmaker Rafi Pitts, whose film The Hunter premi
open a film story that imparts the opening thematic component of ered in the 2010 Berlinale Competition, will be joined by Mehrangiz
everything that is to follow. Kar, eminent Iranian human rights activist and author, Iranian director
Sepideh Farsi and Ali Samadi Ahadi, German filmmaker of Iranian
On Track with Market Trends: descent. They will talk about how filmmakers can join forces and
Berlinale Co-Production Market & Talent Project Market respond to political censorship.
Kathi Bildhauer, Martina Bleis and Sonja Heinen.
In cooperation with Berlinale Co-Production Market. Covering Cinema: Critics Meet Filmmakers
12:15 | HAU 3, Top Floor Alma Har'el, Gerhard Midding,
The 8th Berlinale Co-Production Market brings together about Jay Weissberg and Przemysław Wojcieszek.
500 reputed international producers, film financiers, sales agents and Moderated by Dana Linssen.
distributors, as well as broadcasting and funding representatives, for In cooperation with Robert Bosch Stiftung,
exclusive and concentrated networking. As its name implies, it is a ser Berlinale Forum and Berlinale Panorama.
vice platform for those interested in international co-production to 14:00 | HAU 2
discover the most promising pre-selected projects, financing possi Films, the most accessible and popular of art forms, are pre
bilities and have productive exchanges on current topics. A person dominantly reviewed and evaluated in print and online media. A rare
alised schedule of one-to-one meetings with producers of selected opportunity to experience a face-to-face session between film critics
projects is put together for each participant based on their preference and filmmakers as they discuss the latters‘ films! Under critical review
of projects from the Co-Production Market’s catalogue. Since its in- are Made in Poland by Przemysław Wojcieszek, which feature in this
ception in 2004, 115 films, comprising approximately 40% of all pro year’s Berlinale Forum, and Bombay Beach by Alma Har‘el, screening
jects presented at the Berlinale Co-Production Market, have been in the Berlinale Panorama. Reputed film critics – Gerhard Midding,
made, premiered at major festivals worldwide and released in cinemas. freelance film critic for German daily newspapers, magazines, as well
In addition, the Co-Production Market closely collaborates with the as radio and television, and Jay Weissberg, film critic for Variety – will
Berlinale Talent Campus for the Talent Project Market, which opens up undertake an in-depth critical analysis of the film, dissecting the
Campus programme
thursday, feb 17 65
thematic, the dramatic and the aesthetics aspects with the filmmakers Things to Take Home
in question. The panelists will also reflect on the current state of film Marjorie Bendeck, Kathi Bildhauer and Christine Tröstrum.
criticism: how young filmmakers deal with critiques and vice-versa. Moderated by Matthijs Wouter Knol.
16:00 | HAU 2
Where Things Come Together: One of the last events of the ninth Berlinale Talent Campus and
Campus Post-Production Studio Presentation you begin to ask yourself – is this really the end? This session is de
Philippe Ros. signed to show you that there is life after the Campus, and in fact,
Moderated by Christine Tröstrum. there is a whole lot in store – a host of new opportunities, activities
In cooperation with Camelot Broadcast Services. and events that may be of advantage to you and can be availed of
14:00 | HAU 3, Top Floor from your home base. Members of the Campus team will present an
The right blend of ideas and techniques can take your film overview of the various extra-Campus services that could be useful in
places, but getting acquainted with technological aspects of film developing your current and future film projects. Information about
making can be quite intimidating. The Campus Post-Production Studio Campus activities throughout the year, including the online Campus
is a technical hands-on training programme geared to assist Talents in community and Campus international editions will be provided.
learning practical filmmaking techniques with the latest digital work
flow equipment and the guidance of prominent cinematographers Say It with a Score:
and post-production experts. 24 Talents chosen to work with expert Score Competition Presentation and Award Ceremony
practitioners in the Digital Workflow segment were able to shoot and Ehud Freedman, Roger Goula, Hubert Henle, Michael Nyman
experiment with digital cameras like Sony F3 and ARRI Alexa and digi and Felix Rösch. Moderated by Milena Fessmann.
tal post-production processes including editing, grading, mastering In cooperation with Dolby Laboratories.
and data management. Philippe Ros will present the final outcomes of 17:30 | HAU 1
this bustling post-production hub. Scoring for film is all about imagery – it not only helps to create
the ambience of the film and its plot, but also to elicit the emotions
Cutting on the Edge: Campus Editing Studio Presentation of the characters. The transformative power of a score when com-
Susan Korda, Paz Lázaro, Florian Weghorn. bined with images is quite amazing. It guides emotions and can signal
Moderated by Kevin Murphy. a change in theme or mood, a quality in a particular character or lend
In cooperation with dffb. landscapes a certain character-like quality. As Francis Ford Coppola
14:00 | CinemaxX 17 stated, “Music is a big factor in helping the illusion of the film come to
That extra little insight and input is sometimes all it takes to life.” And it is most effective when it works subtly, evoking and tuning
polish a rough-cut and strengthen the narrative structure of a fiction the emotional response of the audience without them being aware of
or documentary project. Internationally renowned editors join the it. This is the craft of the sound composer – complementing dialogues,
Campus Editing Studio to give advice and feedback that will help take lighting, set-design and the montage of the film with music. Three
films that extra distance. Selected participants will present excerpts emerging composers and finalists of the Campus Score Competition
from their rough-cuts and describe how the one-day session in the have spent the past week working on their scores under the guidance
editing room provided fresh insights and approaches to their projects. of Michael Nyman. The three composers join him on stage to discuss
In conversation with Susan Korda, the participants will explain the the process of creating original music and weaving it seamlessly to
challenges they identified within their rough-cuts and the various moving images. At the end of the session, the winner will be presented
approaches that were tried and tested in the Editing Studio. the Score Competition Award 2011: a unique tour of the best sound
Often the editing process can drag on longer than expected, studios in Los Angeles, sponsored by Dolby Laboratories.
and film festival submission deadlines are fast approaching. When is
a rough-cut polished enough to present to festival programmers? Paz Closing Party
Lázaro, Programme Manager, Berlinale Panorama, and Florian 21:00 | HAU 2
Weghorn, Co-Director, Berlinale Generation, will join the conversation As the exhilarating Campus week comes to a close, we invite
and share their experiences when viewing rough-cuts during the all Talents and experts to wind down at the Closing Party in HAU 2.
programming process. The discussion will turn to when and how to A final farewell from the Campus team will follow the screening of the
present a rough-cut, as well as shedding light on the expectations of “Best of Berlinale Talent Campus”, snapshots of the week captured by
programmers when they select a rough-cut for screening. the Deutsche Welle DW-TV Crew.

Chapter
05 Index
p.68 Index of events | p.69 Index of experts

p.75 Index of participants | p.77 Note of thanks
p.78 Team and imprint | p.79 Partners
Page Index of events
68 make your own itinerary
Alongside the master classes that are of general interest, the Berlinale Talent Campus
offers about 80 panel discussions, workshops and individual sessions.
Find out which events best suit your needs:
Interesting for actors Cutting on the Edge: Interesting for producers

Directing Actors | p.48 Campus Editing Studio Presentation | p.65 Dial F for Fiction:
Embodying the Character | p.52 Filming War | p.47 Script Station Presentation | p.60
On the Path with Jasmila Žbanić | p.50 Disclosing the World Cinema Fund | p.63 Disclosing the World Cinema Fund | p.63
Rehearsed Reading | p.56 The Indie Filmmakers Guide Excursion to the European Film Market | p.53
The Rules of Engagement | p.47 to Cross Media | p.52,57,59 The Indie Filmmakers Guide
Speed Matching on Feb 16 | p.46 Kill Your Darlings | p.47 to Cross Media | p.52,57,59
Let‘s Make It Legal | p.51 The Legal Sound of Music | p.53
Interesting for cinematographers New Horizons in 3D: Let‘s Make It Legal | p.51
Camera Workshop at Camelot | p.51 Storytelling and Producing Redefined | p.54 New Horizons in 3D:
Cinematography: The Establishing Shot | p.55 Short Encounters | p.53 Storytelling and Producing Redefined | p.54
Diving into Post-Production | p.47 The Shortest Track to Cinema | p.53 On Track with Market Trends:
Speed Matching on Feb 13 | p.46 Speed Matching on Feb 13 | p.46 Berlinale Co-Production Market and
Where Things Come Together: Campus Post- Speed Matching on Feb 14 | p.46 Talent Project Market | p.64
Production Studio Presentation | p.65 Speed Matching on Feb 15 | p.46 Plugging People: European Producers
Speed Matching on Feb 16 | p.46 Positioning Themselves | p.57
Interesting for composers Welcome to Reality: Short Encounters | p.53
and sound designers Doc Station Presentation | p.61 The Shortest Track to Cinema | p.53
Absolute Hearing | p.58 Why Poverty? | p.62 Speed Matching on Feb 15 | p.46
The Great World of Sound | p.62 Your Body Speaks | p.49 Two Producers Sharing Their Secrets | p.49
The Legal Sound of Music | p.53 Welcome to Reality:
Say It with a Score: Score Competition Interesting for editors Doc Station Presentation | p.61
Presentation and Award Ceremony | p.65 Cutting on the Edge: Why Poverty? | p.62
Speed Matching on Feb 14 | p.46 Campus Editing Studio Presentation | p.65 Your Body Speaks | p.49
Diving into Post-Production | p.47
Interesting for directors Kill Your Darlings | p.47 Interesting for production designers
Covering Cinema: Where Things Come Together: Campus Building Digital Worlds for the Screen | p.57
Critics Meet Filmmakers | p.64 Post-Production Studio Presentation | p.65 Dress to Impress – Master Class at Costume
House Theaterkunst | p.63
Excursion to the Costume House
Theaterkunst | p.51
Play as Process: Worldbuilding
and New Ways to Imagine | p.56
Interesting for screenwriters

Dial F for Fiction:
Script Station Presentation | p.60
New Horizons in 3D:
Storytelling and Producing Redefined | p.54
Rehearsed Reading | p.56
Speed Matching on Feb 13 | p.46
Katriel Schory at the Campus 2010: Check also the Meet the Expert sessions
Why Poverty? | p.62
for talks that might interest you Your Body Speaks | p.49
Index of experts Page
experts 69
Abram, Ido Bird, Andrew

Director of communications of the EYE Film Institute Netherlands, the new national British-born editor who works chiefly in German cinema. He collaborated with Fatih
film institute. He is a board member of ACE and member of the International Ad Akin, whose films THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN he edited. Among
visory Board of the CineMart and the Hong Kong Film Financing Forum. (p.28) others, he received the German Camera Award and Film+'s Schnitt Prize. He edited
Allamoda, Bettina Miranda July’s THE FUTURE, which runs in this year’s Berlinale Competition. (p.26)
Artist working in the contextual field of visual arts in a transdisciplinary sense, her Brinkmann, Kathrin
work reflects architectural interdependencies of urban public spaces and projective Commissioning editor of the department ARTE “Thema” within the German TV
functions of the built environment. Focusing on the mediatisation of history and channel ZDF, she used to commission “Das Kleine Fernsehspiel” from 1994-2000.
documentation, her work shows the analysis and exposure of concealed politics of Recently she commissioned COMRADE COUTURE by Marco Willms, SUPER ART MARKET
visibility inscribed in the surfaces of fashion, art and architecture. (p.35) by Zoran Solomun and A JIHAD FOR LOVE by Parvez Sharma. (p.25)
Arrate Fernández, Isabel Büscher, Mareile
Head of the Jan Vrijman Fund, initiated in 1998 by the International Documentary Berlin-based lawyer at Raue LLP, she focuses on intellectual property matters, media
Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded over and entertainment law, as well as copyright litigation and negotiation. She has lec
400 creative documentary projects in development and (post-)production stage by tured on the subject of art and copyright law for various institutions including the
filmmakers from developing countries. (p.35) Humboldt University Berlin. (p.51, 53)
Beerends, Sandra Chronis, Iwana
Dutch script editor and guest lecturer. She has worked with an array of screenwriters, Manager of the Hubert Bals Fund of the International Film Festival Rotterdam.
directors and producers strengthening the narrative structure of their scripts and Previously, she worked at the Prince Claus Fund for Culture and Development,
films. At the public broadcaster NTR, she was responsible for various award-winning where she coordinated the Cultural Emergency Response (CER) programme. During
series and worked on several feature films, family films and documentaries. (p.35) those years, she also collaborated with IFFR’s CineMart for the Prince Claus Fund
Behesht Nedjad, Roshanak Film Grant. (p.37)
She is the founder and producer of Flying Moon, a Berlin-based production com Colas, Catherine
pany, which focuses on features films and documentaries. With an emphasis on Commissioning editor for short and long films at ZDF/ARTE, she is also responsible
international co-productions, Flying Moon films include COMRADES IN DREAMS and for the ZDF magazine “Short Circuit”. Since 1995, she works at ARTE in Paris in the
FULL METAL VILLAGE. She also produced FOOTBALL UNDER COVER, OVERSEAS AND feature film department, for the programme “Metropolis” and as production mana
UNDER YOUR SKIN and HOME FROM HOME and most recently, LOVESONG. (p.28) ger for documentary films. (p.53)
Belafonte, Harry Cowie, Peter
In addition to a long, successful singing and acting career, the US-American Harry Film historian and long-time international publishing director of “Variety" magazine,
Belafonte is well-known as an advocate for human rights and has received awards he has written some 30 books on film and film icons, and has contributed numerous
from the Peace Corps and UNICEF. His film career includes Carmen Jones, Island in commentaries to “Criterion” DVDs. In 1963 he was the founding editor of the annual
the Sun and Kansas City. Susanne Rostock’s documentary about Belafonte’s life, “International Film Guide”. His latest book is on Akira Kurosawa. (p.49, 62, 64)
Sing Your Song, will be screened at this year’s Berlinale Special. (p.51) De Beijer, Evert
Belsito, Peter Dutch short film director, screenwriter and graphic designer. In 1980 he completed
American producer, cinematographer and publisher, he was the executive vice pre his first animated film, Gerard which ran successfully at festivals, followed by The
sident of FilmFinders. Together with Sydney Levine, he successfully merged Film Characters which was honoured with numerous prizes and awards. His most re
Finders with IMDb and Amazon.com. He has been involved in the professional edu cent film Get Real! will be shown in this year’s Berlinale Generation. (p.54)
cation of young filmmakers at festivals, market panels and forums. (p.35) de Maegd, Peter
Berg, Christine Independent film producer focusing on new opportunities of the converging media.
Former managing director of the Film Fund Schleswig-Holstein, she is the project He was involved in the production and marketing of various Caviar Films releases
director of the German Federal Film Fund (DFFF) at the German Federal Film Board such as DIRTY MIND, LEFT BANK and MY QUEEN KARO. With Caviar Films, he develops
(FFA). She also worked for the production company Kinowelt where she produced the drama series THE ARTISTS in co-production with several European broadcasters.
MOSTLY MARTHA. (p.46) In 2004 he founded the production company Potemkino. (p.57)
Bernfeld, Wendy Deckert, Heino
Founder of Rights Stuff BV, established in 1999. She specialises in hardcore content Producer and managing director of MA.JA.DE Film Production. In 1995 he founded
licensing negotiations and related rights advice for traditional and new media. d.net, an informal union of seven European producers. In 2003 he established the
Based in Amsterdam, she has over 24 years experience in film/payTV channel start- world sales agency Deckert Distribution. He lectures on documentary production
up and programme buying, beginning originally as an entertainment lawyer and and distribution for organisations such as EDN and Eurodoc. (p.61)
then spending her career as a senior movie buyer/TV executive. (p.37,57) Derobe, Alain
Beyer, Klaus-Peter French cinematographer and stereographer. Having been involved in numerous
Artistic director of the German Film Orchestra Babelsberg, he was the music produ feature films, Derobe specialised on 3D cinema and developed various systems that
cer of the 2001 version of Lotte Reiniger’s THE ADVENTURES OF PRINCE ACHMED, music are crucial for 3D filming. He is the founder of the Association of French Cinema
composer of CONVERSATIONS WITH A BEAST and studio manager of THE MUSKETEER. tographers and UP3D, an association of French stereographers. He is the stereo
(p.22, 58) grapher of PINA, screening in this year‘s Berlinale. (p.54)
Biniasz, Thomas des Forêts, Jean
Psychologist, executive coach and management consultant. Since 2001, he is direc Alumnus of 2008, he is the producer of numerous short and feature films including
tor of PSM. His core competencies are executive coaching, developing and imple AGUA FRÍA DE MAR by Paz Fábrega and HÉROS by Bruno Merle. In 2010 he started his
menting leadership programmes and facilitating change processes in big organi own company, Petit Film. Currently in production are 40 DAYS OF SILENCE by Saodat
sations. (p.55) Ismailova, LEONES by Jazmín López and WIR SIND TOT by Tobias Nölle. (p.14, 57)

Page Index of experts
70 experts
Donaldson, Michael C. Fox, Kerry

Entertainment lawyer for independent filmmakers for over thirty years. In addition Acclaimed New Zealand actress, her film debut was Jane Campion’s An Angel At My
to representing writers, producers and directors, he serves as General Counsel to Table, for which she won, among others, the Best Actress Award at the New
Film Independent and the Writers Guild Foundation. His books on faire use, copy Zealand Film & TV Awards. Fox starred in Welcome to Sarajevo and won the Silver
right, negotiation and trademarks for independent filmmakers are standard refer Bear for Intimacy at the Berlinale 2001. In 2009 she performed in Hans-Christian
ence books. He lectures at law and film schools worldwide. (p.51) Schmid’s Storm, and will soon appear in Jonathan Teplitzky’s Burning Man.
Driessen, Ellis (p.31, 47, 48)
Working through the privately owned company Proctor Film & TV, she has also Franke, Anselm
worked for Fortissimo Films as the acquisition consultant for Europe & the Middle Curator and writer, he is the artistic director of Extra City Centre for Contemporary
East, as an independent sales agent and an individual producer for German speaking Art in Antwerp. He has edited and published with different publishing houses and
countries. Driessen has been involved in the Binger Filmlab and is a member of the contributes to a number of magazines such as Partkett and Cabinet Magazine.
feature film advisory commission of the Netherlands Film Fund. (p.28) Franke is on the advisory board of the Berlinale Forum Expanded. (p.62)
Dringenberg, Katja Fuentes-León, Javier
One of Germany’s finest film editors, she won the German Camera Award for Andres Peruvian filmmaker, he made the film Undertow, which received awards at festivals
Veiel‘s Black Box BRD and Die Tödliche Maria by Tom Tykwer. She has also directed such as Sundance and San Sebastian. It was also Peru‘s national entry for the 2011
the documentaries Kindheit Hinter Draht and Ich Dich Auch. (p.26) Oscars. 2005 Talent Project Market alumnus, Fuentes-León returns to the Berlinale
Edkins, Don Co-Production Market with his project “The Woman Who Feared the Sun“. (p.14, 62)
Producer of the Southern African series on truth and reconciliation Landscape of Fujiwara, Chris
Memory, and the multi-awarded documentary project Steps for the Future. He is Writer, film critic, journalist, editor and translator, he is the author of various books
executive producer of the STEPS International global documentary project “Why such as “Jerry Lewis," "Otto Preminger: The World and Its Double” and “Jacques
Democracy?” which encompassed long and short films, one of which, TAXI TO THE Tourneur: The Cinema of Nightfall”. He is editor of “Defining Moments in Movies” and
DARK side, won an Oscar for Best Documentary in 2008. (p.62) of the online film-criticism magazine “Undercurrent” and contributes to numerous
Eisenhauer, Hans Robert journals such as “Film Quarterly”. (p.29)
Head of Thema at ZDF/ARTE. Before working in the film industry, he was a freelance García-Montero, Rosario
journalist and moved to ZDF/ARTE in 1991, where he commissioned international Peruvian director and screenwriter and Campus alumna from 2007, her short film
co-productions including Buena Vista Social Club and Taxi to the dark side. (p.62) Are You Feeling Lonely? (2003) won numerous awards at film festivals. Her feature
Ericsson, Martin film The Bad Intentions, for which she found her co-producers at the Talent Project
Senior designer and creative director of The Company P in Sweden. He has initiated, Market 2007 and which is supported by the World Cinema Fund, will celebrate its
written and designed more than twenty pieces of participative art ranging from world premiere in this year’s Berlinale Generation. (p.14, 62)
reality games to Sci-Fi and Fantasy-LARPs. Together with the Swedish channel SVT, Gazdag, Gyula
he created The Truth About Marika, which won an Emmy Award in 2008. (p.52, 59) Hungarian director of theatre, film and television, his feature films include: A
Farsi, Sepideh HUNGARIAN FAIRY TALE, STAND OFF and SINGING ON THE TREADMILL. He is the artistic
Iranian filmmaker based in Tehran and Paris. Before making her first film, she worked director of the Sundance Filmmakers Lab, teaches at the Binger Filmlab and is a
in visual arts and photography. She won the FIPRESCI Prize at the Mumbai Inter Distinguished Professor at the UCLA School of Theatre, Film & TV. (p.24)
national Film Festival for Homi D. Sethna, filmmaker and Best documentary prize in Gerhards, Nicole
Festival dei Popoli for Harat. Her most recent documentary Tehran Without Producer for NIKO Film, her filmography includes films The Stranger in Me, Chaque
Permission which portrays her hometown, is shot entirely on a mobile phone. (p.64) Jour est une Fête and Töte Mich. She was supported as “New Talent“ by MEDIA in
Felix, Bruno 2007. (p.57)
Director and independent new media producer. In 2000 he co-founded Submarine, Gibson, Ben
an independent production studio specialised in documentaries and new media. As Director of the London Film School, he has commissioned and produced films by
a producer, he has worked with directors such as Douglas Gayeton, Peter Greenaway Terence Davies, Derek Jarman, John Maybury and many others as an independent
and Thé Tjong-Khing. Previously, he was responsible for the new media strategy of producer and as the head of production at the British Film Institute. He is the found
Dutch Public broadcaster VPRO, and Director of VPRO Digital. (p.52) ing chairman of The Script Factory. (p.47, 55)
Fessmann, Milena Goba, Kaspars
German music supervisor, she is the founder of Cinesong, which offers a full range Documentary film director and photographer, he made the award-winning Seda.
of services related to music and films. She was music consultant for more than a People of the Marsh. His home@lv features in this year’s Berlinale Panorama.
hundred films including Wender’s pina which premieres at the Berlinale. (p.53, 65) Since 1996, he has worked as a director, scriptwripter and cinematographer on more
Fiennes, Ralph than 15 documentaries that focus on social and environmental issues. (p.62)
Oscar-nominated British actor, he celebrates his directing debut at this year’s Goldbeck, Christian
Berlinale Competition with Coriolanus. His extraordinary filmography as an actor German production designer and art director. He has worked on films such as The
includes films such as Schindler’s List , The English Patient , The Hurt locker, Reader, Krabat and Requiem; he was nominated for the German Film Award for all
István Szabó’s Sunshine, and The Reader. (p.57) these three films. He is production designer of Andres Veiel’s If Not Us, Who? which
Fontaine, Dick premieres in this year’s Berlinale Competition. (p.35)
Documentary filmmaker, currently head of documentary direction at the National Goodridge, Mike
Film and Television School UK, he has made over 40 films for television and inde Editor of Screen International, he is in charge of all editorial content on the brand
pendent media. A founding member of Granada Television’s WORLD IN ACTION, he which covers Screendaily.com, Screen print dailies at Berlin, Cannes, Toronto and
developed experimental art films with John Cage, Roland Kirk, Johnny Rotten and AFM and the monthly print magazine. He has a regular column in El Mundo in Spain.
Kathleen Battle. (p.25) In 2000 he published his first book “Directing”. (p.57)
71
Gough, Louise Honigmann, Heddy

Australian script editor and dramaturge currently based in NYC, she has worked as a Peruvian-born documentary and feature filmmaker, as well as screenwriter. Her
script manager, edited a number of feature film scripts and has developed over extraordinary filmography includes Metal and Melancholy , O Amor Natural ,
40 professionally produced plays. She works as a development executive for Robyn Good Husband, Dear Son and Goodbye. Winner of numerous awards, her work has
Kershaw Productions, Australia, and as a script editor at SOURCES 2. (p.24) been honoured in many retrospectives including at the MOMA in 2003. (p.55)
Grass, Ben James, Alby
Managing director of Pure Grass Films, he produced BEYOND THE RAVE and KIRILL, Former head of development at EON Screenwriters’ Workshop. Independent produ
which won a Webby for Best Drama Episode in 2009. Pure Grass Films are currently cer and script consultant for emerging talent for feature films and television drama
working on four transmedia properties and financing a contemporary remake of series. His career began in theatre and he has produced, directed and written a large
Oliver Twist (TWIST). Grass was formerly responsible for Sony Pictures Digital in number of notable theatrical and radio plays. His work on feature films and tele-
Europe and was senior advisor for Corporate Strategy at the BBC. (p.57, 59) vision dramas started in the mid-90s. (p.31, 56)
Greyson, John Kapur, Shekhar
Canadian filmmaker, video artist, writer and activist, he directed numerous short Acclaimed Indian film director and producer. He rose to popularity with his film
films including THE PERILS OF PEDAGOGY and MOSCOW DOES NOT BELIEVE IN QUEERS. Bandit Queen. Among others, he directed Elizabeth, which was nominated for
Among his feature films are ZERO PATIENCE, LILIES and FIG TREES; the latter won the seven Oscars and Elizabeth: The Golden Age, starring Cate Blanchett. His future
2009 TEDDY Award for Best Documentary. He is a professor at York University, where projects include Paani, to be released in 2011, produced by Danny Boyle. (p.56, 57)
he teaches film and video theory, film production and editing. (p.59) Kar, Mehrangiz
Gryllus, Dorka Iranian lawyer, human right activist and author. She has served as a fellow, among
Hungarian award winning film and theatre actress who studied at the Budapest others, at the National Endowment for Democracy, the American University in
Academy of Drama and Film. In 2004 she participated in the Berlinale Talent Campus Washington DC, the University of Virginia and Columbia University. She was a Rad
and was selected as a Shooting Star during the 55th Berlinale. Among her most cliffe Fellow at Harvard and is currently based at the Carr Center for Human Rights
recent films are The Bone Man by Wolfgang Murnberger (Berlinale Panorama 2009), Policy at Harvard’s John F. Kennedy School of Government. (p.64)
Soul Kitchen by Fatih Akin and Irina Palm by Sam Garbarski. (p.33, 49) Kennedy, Adrian
Hadžihalilović, Lucile Actor/comedian, TV writer and senior producer of Deutsche Welle DW-TV‘s daily
French director, editor and producer. Her first feature INNOCENCE won numerous show “Euromaxx“. He is a founding member of the Berlin & Brandenburg Society for
awards including Best First Film at San Sebastian Film Festival. Previous films include Authentic and Historical Music. (p.49)
MIMI, which was shown at Sundance, Cannes and Toronto. With Gaspar Noé, she Kéré, francis
founded the production company Les Cinémas de la Zone, which most recently An architect and development activist from Burkina Faso, he won the Aga Khan
produced ENTER THE VOID, for which she co-wrote the script. (p.24) Award for Architecture in 2004. Together with Christoph Schlingensief, he is the
Hammer, Barbara architect of Operndorf Africa, which will put in place working and living conditions
American experimental filmmaker, video artist, feminist activist and author. Hammer that facilitate education, dialogue and art production. (p.62)
has directed over eighty films and videos. Her most recent films include Resisting Knaf, Joachim
Paradise and A horse is not a metaphor, which won the Teddy Award in 2009. Tutor at the Film & Television University (HFF) “Konrad Wolf” for interdisciplinary film
Her memoir “HAMMER! Making It in Sex and Movies“ was published in the spring of economics, with a focus on financing and calculation. He has been working in inter
2010. Retrospectives of her work were shown at The Museum of Modern Art in New national feature and documentary production since 1996 and was producer and line
York City, the Reina Sofia in Madrid, and the Tate Modern in London. Two of her films producer of numerous international co-operations. (p.35)
will be screened at this year’s Berlinale Forum Expanded. (p.60) Knopperts, Fleur
Har’el, Alma Former director of the Forum for international co-financing of documentaries at IDFA
Music video and commercial director, her documentary Bombay Beach was selected in Amsterdam. In 2007 she set up MeetMarket – international marketplace for inde
for this year’s Berlinale Panorama. In addition to directing a number of music videos, pendent documentary projects at Doc/Fest Sheffield. Since 2009, she is head of
she has directed TV spots starring Danny DeVito, Carl Reiner, Garry Marshal and Jerry development at Volya Films. (p.25, 57)
Stiller for Obama’s presidential campaign. (p.64) Korda, Susan
Hayashi, Kanako Susan Korda edited the Oscar-nominated and Sundance-crowned FOR ALL MAN
Festival director of the TOKYO FILMeX International Film Festival, which showcases KIND, and TEDDY winner TREMBLING BEFORE G-D. Korda also writes and directs, and
contemporary independent cinema from Asia, she was a member of the Berlinale was most recently a producer on WILLIAM KUNSTLER: DISTURBING THE UNIV ERSE.
Jury in 2002 and the Manfred Salzgeber Prize of the Panorama section. (p.37) Her own work includes VIENNA IS DIFFERENT and ONE OF US. Korda teaches at
Hegemann, Carl Columbia’s Graduate Film Program and Binger Film Lab, Amsterdam. (p.26, 47, 65)
Prominent dramaturge, he has worked at a number of theatres including The Kosslick, Dieter
Berliner Ensemble. He served as the dramaturg-in-residence at the Volksbühne am Festival director of the Berlin International Film Festival since 2001, he was managing
Rosa-Luxemburg-Platz in Berlin, working with notable directors such as Frank director of Hamburg‘s cultural film fund since 1983. He became director of the
Castorf, Christoph Schingensief, Rene Pollesch and Einar Schleef. (p.62) Hamburg Film Fund in 1988 and director of the Filmstiftung Northrhine-Westphalia
Høgel, Jakob Kirstein in 1992. (p.46, 49)
Artistic director of the talent development scheme New Danish Screen. Previously, Krakowsky, Tali
he was a film consultant at the Danish Film Institute, supporting documentaries, Former director of experience design at Imaginary Forces, she is a founding member
and was co-founder of the documentary production company Cosmo Doc where he of “5D: Future of Immersive Design”. Throughout her career, she has led the con
produced award-winning films such as PROSTITUTION BEHIND THE VEIL. (p.25) ceptual and strategic development of projects integrating storytelling, new media
and physical environments. She has published several articles and given lectures on
the topics of design, technology and architecture. (p.56)

72 experts
Kruger, beatrice the International Jury at the Berlinale in 2009. He is socially and politically engaged,
A casting director based in Rome, Beatrice Kruger was responsible for the European and participated in the “Ship to Gaza” project in 2010. (p.47)
and/or Italian casting of films such as SILK , THE INTERNATIONAL , CASINO ROYALE , Maoz, Samuel
OCEAN’S TWELVE and many more. (p.31, 37) Israeli film director; his debut feature film LEBANON won the Golden Lion at the
Kurz, Sibylle Venice Film Festival in 2009 and the European Discovery and Best Photography at
Pitching trainer and consultant for film schools and film institutes all over Europe, the European Film Awards in 2010. (p.47)
she specialises in intensive pitching training, project presentation, proposal devel Marten, Gesa
opment, dramaturgical doctoring and consultancy work. (p.28) German editor, dramaturge and lecturer, she was nominated for Best Editing at the
Lachman, Edward German Television Awards for ABNEHMEN IN ESSEN and at the German Camera Award
Oscar-nominated US-American director of photography and filmmaker. He has for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won Film+‘s Schnitt
worked with directors such as Steven Soderbergh, Paul Schrader and Robert Prize for WAS LEBST DU? in 2005 and for Perestroika in 2009. (p.26)
Altman. His extraordinary filmography includes Erin Brockovich , Far From Martens, Meike
Heaven and most recently Ulrich Seidl‘s new film Paradise. (p.55) German producer and production manager for co-productions, she participated in
Larsson, Peter the Campus in 2009. She co-produced numerous films and documentaries including
Swedish animation film director, his Seven Days in the Woods will be screened in THE DAY OF THE SPARROW and NOSTALGIA DE LA LUZ, directed by Patricio Guzmán,
this year’s Berlinale Shorts. His most recent films are The People And The Whale, The which won the Prix Arte at the European Film Awards 2010. (p.25)
Man Who Got Nowhere, What We Already Know and Seven Trips Wo rse. (p.54) McDowell, Alex
Lehtinen, Saku British production designer and film producer, he has worked with Tim Burton,
Finnish art director of Remedy Entertainment Ltd, he is responsible for the entire Steven Spielberg and David Fincher. His filmography includes FEAR AND LOATHING
audiovisual experience of games such as the recent psychological action thriller IN LAS VEGAS, FIGHT CLUB and minority report. He is also founder and director of
game “Alan Wake“. (p.56) “5D Conference”, an interdisciplinary network focusing on the impact of technologies
Levine, Sydney in design fields. (p.56, 57)
Over 35 years experience in the entertainment industry, she was a pioneer acqui Metz, Janus
sitions executive and founder of FilmFinders, the first database used for tracking Danish documentary director whose latest film ARMADILLO premiered at the Cannes
new films worldwide. She established the video rental division of Republic Pictures Film Festival and was awarded the Grand Prix de la Semaine de la Critique. Metz
and Lorimar Home Video. (p.35, 53) holds a master degree in visual anthropology, his international breakthrough came
Lilja, Hugo in 2008 with the two films, LOVE ON DELIVERY and TICKET TO PARADISE. (p.47)
Swedish film director. He has worked with the Emmy Award winning company ”The Midding, Gerhard
Company P” and directed their web series Dollplay, which was developed by FOX. Film journalist for EPD Film magazine and several other newspapers, film maga
He founded and run the productions company Accordion Film in Sweden between zines and radio programmes in Germany, Austria and Switzerland, he is the German
2005-2007. Lilja presents his film The Unliving in the Berlinale Shorts 2011. (p.54) correspondent of the French magazine “Positif”. (p.64)
Lilienthal, matthias Müller, Ulrike
Artistic director of Theater Hebbel am Ufer (HAU), he was head dramaturge at the German casting director for films such as When We Leave with Sibil Kekilli, which
Volksbühne in Berlin, and in 2002 directed the “World Theatre” festival in the Ruhr won numerous awards and Hochhäusler’s Eine Minute Dunkel, which premieres in
district in Germany. He has successfully developed a chain of performing arts pro the Berlinale Forum, and Sleeping Sickness, which features in this year’s Berlinale
jects that look at contemporary society with a sharp and insightful eye. (p.62) Competition. Müller was awarded the German Casting Prize in 2010. (p.31, 37)
Linssen, Dana Mundruczó, Kornél
Since 1997, she is writing film criticism for the Dutch daily newspaper NRC Handels Hungarian director, actor and writer. He won, among others, the FIPRESCI prize for
blad, became editor-in-chief in 1998 and later co-publisher of the Dutch indepen the film Delta at the 2008 Cannes Film Festival. His film Pleasant Days won a Silver
dent film monthly De Filmkrant. She recently launched the Slow Criticism Project as Leopard at the Locarno Film Festival in 2002. He returns to the Co-Production Market
a counterbalance against the commodification of film criticism. (p.29, 64) with his new project “The Flying Man“. (p.14, 60)
Llosa, Claudia Nikitin, Nikolaj
Peruvian filmmaker whose first feature film MADEINUSA won numerous awards, The Berlinale delegate for Eastern-Europe and co-founder of the film magazine
among them the FIPRESCI prize in Rotterdam. Her second film THE MILK OF SORROW “Schnitt“, he is member of FIPRESCI and the European Film Academy. He curates
won the Golden Bear at the 2009 Berlinale. THE MILK OF SORROW was nominated for international film festivals in Germany and across Europe, and heads the only
the Academy Award in the Best Foreign Film category in 2010. (p.60) European festival dedicated to editing, “Film+“ in Cologne. (p.37)
Maccarone, Angelina Nyman, Michael
Director and writer based in Berlin. Her first feature film UNVEILED was nominated See interview on p. 23 (p.62, 65)
for various awards and won the Hessische Filmpreis. In 2006, her film PUNISH ME Padilha, José
received the Golden Leopard at the Locarno Film Festival. Maccarone works as a Award-winning Brazilian director of the films Bus 174 and Elite Squad, the latter
lecturer at the German Film and Television Academy Berlin (dffb). (p.22) won the Golden Bear at the 2008 Berlinale. Most recently, he directed the
Malcolm, Derek documentaries Garapa and Secrets of the Tribe. Padilha presents his sequel Elite
British film historian and critic for “The Guardian” for decades, he is President of the Squad 2 – The Enemy Within at this year’s Berlinale Panorama. (p.47)
British Federation of Film Societies and the International Film Critics Circle, as well as Palmer, Patrick
Honorary President of FIPRESCI. He writes for the “London Evening Standard”. (p.29) Co-founder and chief operating officer of IRIDAS, he has worked on the front edge of
Mankell, Henning software technologies for the film industry for the last decade. Palmer is one of the
His most iconic literary creation is a series of crime novels with the character of Kurt driving forces in making Stereo 3D post-production tools more versatile. He also
Wallander. He has written children’s books and several plays. He was a member of gives master classes on Stereo 3D at various locations throughout Europe. (p.54)
73
Pansittivorakul, Thunska Roginas, Renate

Thai independent film director, his short films, documentaries and feature films Renate Roginas led, as producer, the international co-production department of
were screened in over 100 international film festivals. Most recently, he directed The Telfrance. She works as head of studies, lecturer and tutor. She established Villa Kult
Terrorists which will be screened in this year’s Berlinale Forum. (p.59) in Berlin, a venue and meeting place for international professionals from film, tele
Paul, Roman vision, media, radio and the arts. (p.32)
Co-founder of Razor Filmproduktion. He co-produced the Oscar-nominated Waltz Rommel, Peter
with Bashir and Paradise Now (the Berlinale’s Blue Angel Award, a Golden Globe German producer, whose GRILL POINT by Andreas Dresen won the Silver Bear in
and an European Film Award). He also co-produced Cirkus Columbia and Miranda 2002. Other films are NIGHT SHAPES, LOST KILLERS and SUMMER IN BERLIN. His 2009
July’s The Future; the latter premieres in this year’s Berlinale Competition. (p.46) production CLOUD 9 won a German Film Award and WHISKEY WITH VODKA was the
Peten, soon-mi winner of the International Film Festival Karlovy Vary. (p.33, 49)
Audiovisual consultant before joining the MEDIA Programme in 2000, she specialised Rorvik, Peter
in development support for independent European producers. She continues this Director of the Durban International Film Festival, a flagship project of the Centre
work as selection coordinator within the European Commission‘s Education, Audio for Creative Arts, which Rorvik has headed since 1999. He is also the director of
visual and Culture Executive Agency. (p.57) three other major annual festivals produced by the CCA; Time of the Writer, Jomba!
Pinn, Julian Contemporary Dance Experience and Poetry Africa. (p.37)
Chair of both the BSI and ISO Technical Committees on Cinematography, he is res Ros, Philippe
ponsible for the development of Dolby’s motion picture services portfolio. With Director of photography and digital imaging. He supervised the cinematography in
fifteen years experience as a Dolby consultant for both original and foreign language HOME, Yann Arthus-Bertrand’s feature film from 2009. Ros was cinematographer for
movie releases, he is heavily involved with standards-making. (p.54) OCEANS, directed by Jacques Perrin and Jacques Cluzaud, and has worked as techni
Pitts, Rafi cal supervisor of cinematography. (p.26, 47, 51, 65)
Iranian filmmaker, producer and screenwriter, his short and feature films received Rosenthal, Liz
numerous awards at international festivals and are often categorised as films of the Digital film and media expert, she is the founder and director of Power to the Pixel, a
new wave of Iranian Cinema. His most recent films It’s Winter and The Hunter were cross-media company and forum based in London. She also founded Earthly Delight
screened in the Berlinale Competition in 2006 and 2010. (p.64) Films, launched the online animation project “Marsipan” and set up and ran the UK
Rabarts, Marten office for Next Wave Films from 1998 to 2002. (p.52, 57, 59)
Artistic director of the Binger Filmlab Amsterdam, he is a producer and screenwriter Rossellini, Isabella
for cinema and TV. He worked for LA's Propaganda Films, PolyGram Filmed Enter- Italian actress, filmmaker and author. Her career is defined by a diverse body of
tainment group and Manifesto, and has collaborated with Sarah Radclyffe, Tim work, including films such as Blue Velvet, The Saddest Music in the World and
Bevan and Alison Owen on films such as Derek Jarman's EDWARD II. (p.24, 48) The Solitude of Prime Numbers, which was nominated for a Golden Lion at the
Reilhac, Michel Venice Film Festival in 2010. She is this year‘s President of the Berlinale Jury (p.49)
Michel Reilhac is the executive director of ARTE France Cinéma and the director of Roy, Rajendra
film acquisition for ARTE France. For Canal+, he made TO BE A MAN in 1999, and in Chief curator of film at the Museum of Modern Art, New York. From 2004-08, he was
2000 directed KENYA ISLANDS for ARTE. He produced CRY WOMAN, which was in Un on the Competition Selection Committee of the Berlinale, and continues to serve as
Certain Regard of the Cannes Film Festival, and THE GOOD OLD NAUGHTY DAYS an advisor to the festival. (p.51)
(which he directed) was presented in the Filmmakers Fortnight. (p.35, 52) Sable, Jerome
Ringel, Gian-Piero Writer, director and composer with credits in stage and film. His film The Legend of
German producer, he founded his own film production company Ringel in 2004. In Beaver Dam, which he co-directed with Eli Batalion, will be screened at this year’s
2006 he produced the short film Das MaSS der Dinge and his first feature film Berlinale Generation. Sable co-wrote and directed the short comedy series crazy/
Nachmittag premiered in the 2007 Berlinale Forum. As managing director of the sexy/awkward for FremantleMedia, and the musical short Meanwhile… (p.54)
company Neue Road Movies, he has produced Wim Wender’s Pina, which features in Saltzwedel, Daniel
this year’s Berlinale. (p.54) Funding advisor for feature-length documentary films at the Medienboard Berlin-
Rissenbeek, Mariette Brandenburg, he has worked extensively in film production as a production assistant
Managing director of German Films, she is responsible for public relations and press, and subsequently, as a producer at Zero Film. (p.46)
international festivals and “Das Rendezvous“, an annual German-French film meet Samadi Ahadi, Ali
ing. Her career began at Tobis Filmkunst in Berlin before she started working as a German filmmaker of Iranian origin. In 2006 his documentary Lost Children won
producer at Ziegler Film. Independently, she produced HIGHWAY SOCIETY by Mika the German Film Award. Most recently, he directed the intercultural comedy Salami
Kaurismäki, among others. (p.46) Aleikum. With his documentary The Green Wave, which features in this year’s German
Rodenkirchen, Franz Cinema-LOLA@Berlinale, he responds to the opposition movement in Iran. (p.64)
Script advisor and tutor in international workshops and individual project devel Schmidt, Erwin M.
opment, he is based in Berlin. He is head of selection for Torino Film Lab, a script German producer, he has been involved in a number of art house films, including
advisor at the Binger Filmlab, where he also teaches script editing to industry pro You The Living, Dernel and Orly. He was line producer for Shirin Neshat’s Women
fessionals. (p.24) without Men which won the 2009 Silver Lion at the Venice Film Festival. Since 2008,
Rodrigue, Jean-Louis he has been working as a 3D producer for Neue Road Movies, co-producing Pina,
Member of the faculty at the UCLA School of Theater, Film and Television, his unique which premieres in this year’s Berlinale. (p.37,54)
style of acting coaching, movement training and movement design can be seen in Schory, Katriel
W. with Josh Brolin, HUMAN NATURE with Patricia Arquette, THE AFFAIR OF THE Executive director of the Israel Film Fund since 1999, he founded the production
NECKLACE with Hilary Swank, SEABISCUIT with Elizabeth Banks and BEE SEASON with company Belfilms and produced over 200 films including award-winning feature
Juliette Binoche. (p.31, 37, 49, 52) films, TV dramas and international co-productions. (p.28)

74 experts
Schrader, Paul Stein, Alexander

US-American screenwriter and film director. He wrote the screenplays of some of the Managing director of the International Short Film Festival, Interfilm, in Berlin. Stein
most iconic films of modern cinema. Among them are Taxi Driver, which is part of has been working for Interfilm since 1998 and co-founded the limited company
this year‘s Berlinale Special. He celebrated his directorial debut with Blue Collar in Interfilm in 2000. (p.53)
1978 and wrote/directed American Gigolo and Adam Resurrected. (p.64) Stensgaard, Molly Malene
Schulte Strathaus, Stefanie See interview on p.27. (p.26)
Curator at Arsenal – Institute for Film und Video Art in Berlin, and programmer of the Steyer, Martin
Berlinale Forum Expanded, she is the co-founder and board member of the Kinothek German sound mixer who worked on numerous acclaimed films including YELLA,
Asta Nielsen in Frankfurt/ Main. (p.60) THE LAST KING OF SCOTLAND and THE LAST STATION. He won the German Film Award
Schwerbrock, Mathias for Best Sound Editing for REQUIEM and TRADE. He is Professor at the Film & Television
German producer, his film portfolio includes AIMÉE & JAGUAR, NIGHTSONGS and JOHN University (HFF) “Konrad Wolf” since 2005 and its vice president since 2006. Since
RABE. In 2009 he worked as a producer of 24H BERLIN, a 24-hour documentary told in 2008, he has been the programme director of INSIGHT OUT at the HFF. (p.59)
real time. He is currently co-producing the Shah Rukh Khan production DON 2. (p.35) Stöhr, Hannes
Scotta, Carole German director and scriptwriter who studied at the German Film and Television
French producer and founder of the independent production and distribution Academy Berlin (dffb). Among the films he wrote and directed are Berlin is in
company Haut et Court. The company produced and co-produced over twenty Germany (Panorama Audience Award 2001), One day in Europe (Berlinale Com
feature films, among them COCO AVANT CHANEL and ENTRE LES MURS and distributed petition 2005) and Berlin calling (2008). He works as a guest lecturer at the dffb
over hundred films. It is currently producing THE WOMAN IN THE FIFTH directed by and the Film Academy in Ludwigsburg. (p.33, 49)
Pawel Pawlikowski with Kristin Scott Thomas and Ethan Hawke. (p.49) Szabó, István
seeSSlen, georg Hungarian filmmaker who won an Academy Award for MEPHISTO in 1981. His films
One of Germany‘s most influential media critic, Georg Seeßlen writes for magazines MEETING VENUS, SWEET EMMA, SUNSHINE and BEING JULIA have received numerous
and newspapers like “Die Zeit“, “taz“ and “EPD film“. He teaches at different German awards, among others, at the Berlinale, Cannes and Venice Film Festivals. Most
film academies and universities and has written about 20 books on film topics. (p.62) recently, he wrote and directed, THE DOOR, starring Helen Mirren. (p.57)
Shoben, Andrew Tanović, Danis
Founder of Greyworld, which has created works in hugely coveted locations across Bosnian film director and screenwriter. His film No Man’s Land won an Oscar for Best
the world and has permanent installations in twelve countries. In 2004 he launched Foreign Film, the European Film Academy Award and the César Award. Tanović was
“The Source”, a permanent installation for the London Stock Exchange. Shoben is a member of the international Jury in Cannes in 2003. Well received by the critics was
regular contributor to television, radio and print. (p.56) also his most recent film Cirkus Columbia. (p.47)
Simonen, Ulla Thiele, Lena
Producer in her own company MADE, she also works as a producer for Klaffi Produc As creative director and cross-media producer Lena Thiele is developing and pro
tions and as a documentary script advisor for SOURCES 2. She lectures both nationally ducing new formats in the field of documentary film, online, mobile and games. She
and internationally on different aspects of documentary productions and is a mem joined Gebrüder Beetz Filmproduktion in January 2010. Previously she headed a
ber of the European Film Academy. (p.25) Berlin-based digital media company and a games studio as creative director. (p.59)
Sissako, Abderrahmane Todsharow, Martin
Filmmaker who has worked in Mali and France. His WAITING FOR HAPPINESS won the Film music composer, producer and musician. He wrote scores for Oskar Roehler’s
FIPRESCI Prize at the 2002 Cannes Film Festival. Sissako was a member of the inter films including ELEMENTARY PARTICLES and AGNES AND HIS BROTHERS. He also wrote
national Jury at the Berlinale and at Cannes. In 2008, he contributed the segment scores for NOTHING BUT GHOSTS, MINOTAUR and HILDE and worked as lecturer at the
DIGNITY to the international project “Stories on Human Rights”. (p.60) Film Academy Ludwigsburg, the German Film and Television Academy Berlin (dffb)
Skjødt, Hanne and the Film & Television University (HFF) “Konrad Wolf” in Potsdam. (p.22)
Network manager at the European Documentary Network (EDN) based in Copen Treut, Monika
hagen. Since 2000, she has been with the Danish Film Institute as distribution and One of Germany‘s most preeminent documentary and fiction directors when it
promotion consultant and head of unit for the promotion and distribution of shorts comes to queer films. She writes and produces her own films, among which are the
and documentaries. (p.37) award-winnning VIRGIN MACHINE, MY FATHER IS COMING and GENDERNAUTS, for
Speck, Wieland which she won a Teddy Award in 1999. (p.22)
Head of Berlinale Panorama since 1992, he initiated, together with Manfred Salz Trijbits, Paul
geber, the Teddy Award. He is author and producer of numerous film productions Producer of award-winning films such as THE MAGDALENE SISTERS, THE WIND THAT
and directed, among others, Escape to Life: the Erika and Klaus Mann Story. He SHAKES THE BARLEY and TOUCHING THE VOID. He was head of the New Cinema Fund
has also worked for European film institutions and taught at universities. (p.59) of the UK Film Council before he joined Ruby Films in 2007 as partner and executive
Staden, Inga von producer. Recently completed at Ruby Films were TAMARA DREWE and TOAST, the
Media architect, coach and educator for creative industries. She directs the pro latter features in Culinary Cinema at this year’s Berlinale. (p.49)
gramme Interactive Media at the Film Academy Ludwigsburg. Having initiated, Ukwuoma, Selina
founded and directed various projects such as “The Academy of converging media”, Formerly a development executive at EON Screenwriters' Workshop and Cuba Pict
she also worked for the Medienboard Berlin-Brandenburg from 2004-2007. (p.57) ures, she now works as a freelance script editor, consultant and tutor. She has worked
Stehling, Frank on a number of projects including the feature BOY A, which screened at the 2008
CEO and owner of the Berlin based PRIMEHOUSE GmbH. He has been active in many Berlinale Panorama. (p.24)
fields of the film and media business such as scriptwriting, direction, production and Vachon, Christine
funding. Stehling’s professional focus includes business development and script US-American producer of critically acclaimed films such as BOYS DON’T CRY, I’M NOT
development, market research, world sales, financing and interactive media. (p.32) THERE and FAR FROM HEAVEN. Vachon formed the production company Killer Films
Index of experts Index of participants Page
75
with Pamela Koffler and Katie Roumel. In 1998 her first book “Shooting to Kill” was A Broadhurst,
published, followed by “A Killer Life” in 2006. Vachon was a jury member of the Abdollahyan, Frances Clare
Sundance Film Festival and at the Sarajevo Film Festival. (p.59) Fatima Geza Brown, Rob
Veber, Juliette Abuhamdan, Zaid Busch, Olaf
New Zealand producer and director, she produced films such as The Price of Milk Achitsa, Bethsheba Butzmühlen, Stefan
and Toy Love. Veber's debut feature-length documentary Trouble is My Business Adizes, Topaz Buyi, Philip Roy
premiered in the 2008 New Zealand International Film Festival. (p.54) Ai , Elizabeth
Veiel, Andres Ajayi, Christine C-D
Leading German film director, his film If Not Us, Who? features in this year’s Berlinale Albuliwi, Bandar Cash, Conall
Competition. His documentaries Black Box BRD won the 2002 European Film Award Aldershoff, Chiel Ceyton, Kristina
and Addicted to Acting won the 2004 Panorama Audience Award. (p.55) Alexandre, Zeff Chalupnik, Roman
Weissberg, Jay Aloni, Omri Chapman, David
Film critic at “Variety“, he was a researcher at the Photofest film stills archive in the Alves, Maria Collington, Sasha
USA and continues to divide his interests between film and art history by working in Amat, Georgina Corthouts, Lieven
the world of Old Master drawings. (p.64) Amescua, Priscila Cotorruelo, Ivonne
Wenders, Wim Amirpour, Ana Lily Cruz, Francis Joseph
Wenders has been an influential figure in New German Cinema. His films The Anadu, Chika Cukali, Koloreto
American Friend, Wings of Desire and Buena Vista Social Club have won num Anderson, Josephine Damnjanovic, Natasa
erous prestigious awards. His forthcoming film Pina, an homage to the late choreo Andreeva, Maria Davari, Maryam
grapher Pina Bausch, was shot in 3D and premieres at this year‘s Berlinale. (p.54) Andrizzi, Mauro De Felice, Fabio
Wendt, Ulrich Kodjo Apopei, Mihai Marius Deigman, Nicholas
German composer for film and theatre who did music for feature films such as In July, Arias, Felipe Delbeke, Maarten
directed by Fatih Akin, as well as the documentary films Scoring Blue by Christian Asim, Adnan Diaz, Augusto Cesar
Bau and Ab nach Rio by Jens Huckeriede. His work in theatre includes The World Attia, Habib Doering, Philipp
Is Big and Salvation Lurks Around the Corner and live performances. (p.35) Aubert, Sebastien Duncan, Alyx
Wenner, Dorothee Aun, Anu Durán, Mauricio
Documentary filmmaker, author and journalist, she has been on the selection Ayub, Ishtiaque Durand, Jonathan
committee of the Berlinale Forum since 1990 and serves as the Berlinale delegate for Dvornik, Klemen
India and Sub-Saharan Africa. Among others, she has made the 2008 documentary B
Peace Mission. (p.60, 62) Bajac, Stasa E-F
Westhoff, Frédérique Bakker, Tristen Eakwattanakij,
Head of team at ACPFILMS; its overall objective is to contribute to the development Balci, Emine Emel Kamontorn
and structuring of the cinema and audiovisual industries in the African, Caribbean, Baletic, Hajdana Eliash, Elisa Valentina
Pacific countries so that they can create and disseminate their own works more Ballús, Neus Erríquez, Ezequiel
effectively. (p.37) Balulu, Rafael Escala, Charena Theressa
Wojcieszek, PrzemysŁaw Baptist, Willem Essuman, Hawa
Polish film director. He made his directorial debut with Kill them all, followed by Barrejón, Sergio Evans, Gareth
the critically acclaimed Louder than Bomb in 2001. Since 2004, Wojcieszek has also Bartenev, Denis Exarchou, Sofia
directed plays. He wrote and directed the feature film Made in Poland, which Bastes, May Anne Fantone, Gerald Patrick
celebrates its world premiere in the 2011 Berlinale Forum. (p.64) Bastos, Mario Faraone, Diego
Worschech, Rudolf Baumeister, Clemens Farina, Giorgia
Editor of the EPD Film magazine, he was a research associate at the German Film Ben Hamra, Fariñas, Mauro
Museum, Frankfurt from 1987 to 1995, where he curated several exhibitions and film Mohamed Ali Fegan, Jorge Alejandro
series and published texts on Western and German films and on film policy. (p.53) Berliner, Caroline Fernández, Juan Daniel
Yang, Hyo-joo Berliner, Michael Ferreiro, Héctor
Korean short film director, her film The Unbroken will be presented in this year’s Biain, Juan Manuel Freedman, Ehud
Berlinale Shorts. She won numerous awards for her previous shorts One Last Day Bisset, Christopher
and Jouissance. Most recently, she won the Asian New Force award at the 15th Bizri, Hisham G
Hong Kong Independent Short Film and Video Awards. (p.54) Boeuf, Sabrina Gamat, Zalina
Zacharek, Stephanie Bofarull, Anna Maria Gammon, Charlotte
Chief film critic for “Movieline”, she was the senior writer and film critic for Salon.com Böhrnsen, Jytte-Merle Gandour, Molly
for many years. Her writing on books and pop culture has also appeared in “The New Bohun, David Ganuza, Iker
York Times”, “The Los Angeles Times”, “Rolling Stone” and “Sight and Sound”. (p.29) Borghi, Pablo Gabriel García, Josefina María
Žbanić, Jasmila Boulay-Goldsmith, García, Daniel
Bosnian screenwriter, artist and director, she won the 2006 Golden Bear for Grbavica. Charlotte Gebresenbet, Zelalem
In 1997 she founded the artists’ association Deblokada – through which she has Bravo, Angela Geissendörfer, Hana
directed and produced her films. Her latest film On the Path was presented in the Brending, Nicole Gerbaulet, Alexandra
Berlinale Competition 2010 and distributed worldwide. (p.31, 50) Brkusic, Hrvoslava Giampà, Giorgio

Page Index of participants Index of countries
76 Participants
Giberti, Luca Kofler, Michael Milne, Anne R Steyer, Sabine Meet participants
Gieren, Stefan Kolb, Tilman Mishra, Bikas Ranjan Rachuba, Remigiusz Steytler, Willem from 88 countries:
Gildehaus, Lisa Koos, Olivier Molina, Catalina Raffel, Felix Stránská, Martina
Giorgetti, Alessio Koskas, Corentin Mollo, Fabio Rajabi, Hamed Strelnikova, Svetlana Afghanistan,
Goldstein, Verena Leona Kostovski, Ogi Morales, Maura Ramadan, Mohamed Szymańska, Joanna Albania, Angola,
Goula, Roger Kozemount-Sanidis, Moreira, Francisco Raman, Shanker Argentina, Armenia,
Grant, Lauren Michelle Efthymios Motoyoshi, Retsu Randriamahaly, Sitraka T Australia, Austria,
Greene, Nicholas Krastev, Georgi Muhumuza, Peter Rankin, Matthew Takkin, Helen Bangladesh, Belgium,
Greenspan, Gal Kristoffersen, Erlend M. Müjdeci, Hüseyin Kaan Rantonen, Mika Tanović, Ines Belize, Bolivia,
Griniūtė, Albina Krizmanić, Ivana Munsamy, Kimeshree Rebner, Daniel Tillotson, Rachel Bosnia and Herzegovina,
Grinspum, Daniel Krummenacher, Michael Reddy, Emmet Tisminetzky, Micaela Brazil, Bulgaria,
Groothof, Marinus Kubescha, Mirjam Anne N Reich, Julian Titova, Yana Cameroon, Canada,
Grosan, Cristina Kuonen, Sebastian Nasiru, Idi Reischer, Laila Torres, Harald Carlos Chile, China,
Großheim, Juliane Nel, Willem Renneke, Ursula Toulemonde, Jacques Colombia, Costa Rica,
Gueli, Caterina L Nesterenko, Mariia Reshetnikova, Ekaterina Traila, Alex Croatia, Cuba, Cyprus,
Guerrero, Ianis Lääne, Madli Neuville, Maaike Rév, Marcell Trifonova, Temenuga Czech Republic,
Lai, Yan Chi Niemczyk, Aleksandra Riddell, Benjamin Trinh, Dinh Le Minh Denmark,
H Laizāne, Agnese Nistor, Edgar Alexandru Rittmannsberger, Ecuador, Egypt,
Haddad, Fadi Lale, David Noonan, Mark Michael U-V Estonia, Ethiopia,
Halldorsson, Jakob Lamhene, Eric Norton, Sam Rodman, Miha Ugarte, Myriam Finland, France,
Hariche, Hugues Lamont, Emma Nyaruri, Zippy Rodríguez, Octavio Valente, Maria Georgia, Germany,
Haseen, Nohar Langhof, Julia Romagno, Andrada van der Tholen, Jemima Ghana, Greece,
Hazboun, Ramzi Laperrousaz, Clara O Rösch, Felix van Koevorden, Niels Guatemala,
Heinzerling, Zachary Lara, Katia Odabaşı, Eren Vardar, Özcan Honduras,
Hommer, Jörg Leclere, Astrid Okorougo, Obinna S Vavouris, Nikolaos Hong Kong,
Hörcher, Gábor Lee, David O'Leary, Terence Saag, Sigrid Vekarić, Barbara Hungary,
Hotait, Laila Lenken, Susanna Oliva, Mariana Saleem, Azhur Vilanova, Lara Iceland, India,
How, Angela Leo, Maximilian Olsson, Iris Salvatori-Sinz, Axel von Horn, Magnus Indonesia, Iran,
Hsiung, James Levick, Jessica Omewiri-Pius, Peter Samavi, Setareh von Lingen, Markus Ireland, Israel, Italy,
Hussaini, Sayed Jalal Liauw, Suryani Opalka, Tomasz Samusik, Rafal Voutas, Sam Jamaica, Japan,
Hutter, Magdalena Lim, Kah Wai Orey, Mauricio Santos, André Vukovic, Vesi Jordan,
Lindner, Tobias Orjonikidze, Nino Saqr, Hisham Salah Kazakhstan, Kenya,
I-K Lindström, Tobias Oswald, Thomas Sárkány, Claudia W Latvia, Lithuania,
Ilana, Nadira Little-White, Damali Sarmiento, Juan Wagenbauer, Kristina Luxembourg,
Inserra, Lovissa Ļitvinova, Elīna P-Q Sattarov, Azizbek Wagner, Johanna Madagascar,
Ismaiel, Ahmed Lo Savio, Giorgia Pacsay, Attila Savill, Michelle Wai Kit, Wong Malaysia, Mexico,
Ivanov, Volodymyr López, Nazly Pálos, Gergely Scarlato, Dimitri Wallner, Martin Moldova,
Jalla, Rajesh Lovre, Ivana Paradis, Katia Scheidt, Marie Elisa Warrink, Derk-Jan Netherlands,
Jimeno, Margarita Lupik, Victoria Parhizgar, Golkou Schmidt, Steffen Philipp Watson, Justine New Zealand,
Jurkiewicz, Tomasz Pastor, Carles Schönherr, Andrea Weber, Klaudia Aida Nigeria, Norway,
Kadan, Soudd M Pedregal, Alejandro Sedgwick, Gabriel Wermke, Christoph Pakistan,
Kalafati, Dafni Foteini Machado, Paulo Pedreira, Rafael Segal, Ron Weydemann, Jonas Palestinian Territory,
Kamya, Agnes Maciulskis, Vilius Petev, Vladimir Sekyaya, Patrick Wigens, Jon Peru, Philippines,
Kangas, Jonas Mackerras, Josephine Pianezza, Pamela Selonk, Aletéia Włodarski, Mariusz Poland, Portugal,
Kanic, Vladimir Magee, Micah Pfeifer, Mario Shakeel, Mohammed Wolf, Janine Romania,
Kato, Yosuke Marre, Emmanuel Pitsillidou, Theofano Shan, Zuolong Wysocki, Jonathan Russian Federation,
Kerimaa, Ville-Veikko Martínez, Jesús Gerardo Portillo, Otilia Sheridan, Tomás Serbia, Singapore,
Kesteris, Pauls Masferrer, Marta Pourseifi, Hossein Shoval, Deborah Y-Z Slovenia, South Africa,
Khaindrava, Giga Matthews, Kate Procter, David Šimić, Ivana Yamamoto, Hyoe South Korea,
Khan, Jibran Mavroidi, Martha Protsenko, Guillaume Singh, Pushpender Yim, Kyung-dong Spain, Sweden,
Khedr, Tamer Maza, Santiago Prühl, Karsten Skalski, Rafal Zabukaite, Jurga Switzerland, Syria,
King, Peter Mazzi, Enrico Pujol, Anna Snorrason, Ragnar Zaharia, Thailand, Tunisia,
Kirkland, Alex McConville, Sean Quadekker, Matthias Sokolova, Ekaterina Maria-Florentina Turkey,
Klem, Flemming McGrath, Anna Quinones, Jesse Solf, Rita Zirngibl, Christoph Uganda, Ukraine,
Christian Meghie, Alison Soper, Ben Zlotorowicz, Piotr United Kingdom,
Klepatski, Dimitri Mendoza, David Carlos Sotorra, Alba Zogka, Elena Antigoni United States,
Knuten, Henrik Martin Mesich, Jennifer St. John, Jennifer Zoldnere, Astra Uruguay,
Koçi, Gentian Mijović, Luna Stan, Monica Zoratti, Carlo Vietnam
Danke schön! Page
MANY THANKS 77
ACPFILMS Frédérique Westhoff, Moussa Sawadogo. Fraunhofer / Heinrich Hertz Institut Michael Witte The Film and Television University (HFF)
Ambassade de France Charles Malinas, and Ralf Schäfer. „Konrad Wolf“ Prof. Dieter Wiedemann,
Nathalie von Bernstorff and Carole Lunt. Gahrens & Battermann Michael Kugel. Prof. Martin Steyer and Holger Lochau.
A&O HOTEL and HOSTEL Mitte Robert Hering, Tina Goethe-Institut Buenos Aires Stefan Huesgen, The Post Republic Rebekka Garrido and Michael Reuter.
Bierwolf, Denitza Babekova and Jasper Beckmann. Dr. Gabriela Massuh and Inge Stache. TOP-IX Torino e Piemonte Internet Exchange
ARTE Deutschland Hans Robert Eisenhauer and Goethe-Institut Johannesburg Peter Anders. Silvano Giorcelli and the entire team.
Kathrin Brinkmann. Goethe-Institut Mexico Folco Näther, Sebastian Huber. U.S. Embassy Berlin Philip D. Murphy, Elisabeth Corwin,
ARTE France Michel Reilhac and Annamaria Lodato. Goethe-Institut Tokyo Raimund Wördemann Wolfgang Brandt and Kerstin Reichert.
Auswärtiges Amt (Federal Foreign Office) and Mihoko Tanno. VFF Prof. Johannes Kreile, Prof. Norbert Flechsig
Dr. Guido Westerwelle, Werner Wnendt, Goethe-Institut München Prof. Dr. Klaus-Dieter and Prof. Georg Feil
Max Maldacker, Helmut Lörsch, Bernhard Abels and Lehmann, Dr. Hans-Georg Knopp, Viva con Agua Benjamin Adrion.
Katharina Cramer-Hadjidimos. Dr. Christian Lüffe and Marina Ludemann. Wave-Line Matthias Behrens.
Bar 7000 Jeremias Loock. Gorol & Partner Stephan Gorol, Verena Zimmermann Wirtshaus am Ufer Thomas King and the entire team.
Berliner Pilsener Bettina Pöttken. and Leonie Würfel. 20sec.net Jens Rietdorf and Robert Wagner.
Berlin Today Award Producers 2011 Beleza Film: Guadalajara International Film Festival KBB – Kulturveranstaltungen des Bundes in Berlin
Jessica Landt, Falk Nagel; Filmkantine: Katrin Springer, Iván Trujillo Bolio. GmbH Charlotte Sieben, Ute Meyer, Johannes Emig,
Volker Ulrich; heimatmedien: Moritz Wessendorff; Hebbel am Ufer (HAU 1-3) Matthias Lilienthal, Andrea Schreiber, Susanne Grünberg, Petra Hemprich,
Kloos & Co. Medien: Stefan Kloos, Vanessa Temp; Sonja Hildebrandt, Rahel Häseler, Elisabeth Knauf, Stefan Martin and Jana Daubitz.
Macchiato Pictures Filmproduktion: Ismail Sahin, Kirsten Hehmeyer, Matthias Schäfer, Kathrin Veser Berlin International Film Festival: Our colleagues
Holger Sorg. and the entire HAU team for their cool theatre. Thomas Hailer, Bernadette Kamp, Juliane Grieb, Antonia
Binger Filmlab Gamila Ylstra and Marten Rabarts. Holland Subtitling Wibo de Groot, Ron van der Meij. Pössinger, Denise Anh-Dao Beyschlag, Karin Hoffinger
BKM – Der Beauftragte der Bundesregierung für Hugo Boss Philipp Wolff and Claudia Schmidt. and Daniela Weber. Johannes Wachs and Wolfgang
Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg IDFA Cathalijne de Wilde. Janßen. Anne Gebhardt, Kerstin Iskra, Melike Öztürk,
Berggreen-Merkel, Ulrike Schauz and Michael Knoche. Insight Out Max Hemmo. Dr. Albert Drügemöller and Eva Simhart. The section
BMW Karsten Engel, Maximilian Schöberl, Internationale Kurzfilmtage Oberhausen heads Christoph Terhechte, Maike Mia Höhne, Dr. Rainer
Manfred Bräunl and Hans-Reiner Schröder. Marcus Schütte. Rother, Maryanne Redpath and Florian Weghorn, Linda
British Council Rebecca Walton, Amaka Ugwunkwo, jobs und böhm Sonja Jobs and Sylvia Böhm. Söffker, Wieland Speck and their teams. Vincenzo Bugno,
Christine Bardsley and Elke Ritt. Kulturprojekte Berlin Tommy Nick. Stefanie Schulte Strathaus, Wilhelm Faber, Frauke Greiner,
Camelot Broadcast Services Victor Nikolaidis, London Film School Ben Gibson. Dagmar Forelle, Anne Marburger and their teams.
John Henry and Christian Klimpke. L’ORÉAL PARiS Jérôme Bruhat, Yvonne Rostock Hans von Trotha. Markus Hönle, Nina Orda, Gunnar
COLT Dr. Adelino Santos. and Heike Leder. Gilgen and Irena Akopjan; Karen Arikian, Anke Leweke,
Daazo Film and Media Ltd. Dániel Deák, Zoltán Aprily Manfred Durniok Foundation Michiko Teramoto. Elisabeth Lequeret, Alexis Grivas, Pamela Pickering,
Deutsche Weine Monika Reule. MEDIA Training Programme of the European Nikolaj Nikitin, Norman Wang and Dorothee Wenner for
Deutsche Welle Eric Bettermann, Christoph Lanz, Union Aviva Silver, Costas Daskalakis, Arnaud Pasquali, strategic expert approach. Last but not least Dieter
Rainer Traube, Arno Hefner, Melanie Matthäus, Bettina Soon-Mi Peten and Aurélie Varin. Kosslick! Our juries: Score Competition Klaus-Peter
Kolb, Dieter Roser, Hanne Kehrwald, Fred Oelschlegel, MEDIA International Beyer, Martin Steyer, Martin Todsharow, Angelina
Pamela Schobess, and the Deutsche Welle trainees. Irina Orssich Slavetich and Emmanuel Cocq. Maccarone. Doc Station Kathrin Brinkmann, Fabienne
Deutsches Filmorchester Babelsberg Medienboard Berlin-Brandenburg Kirsten Niehuus, Moris, Sirkka Möller. Script Station Alby James, Franz
Klaus-Peter Beyer and the musicians. Elmar Giglinger and Daniel Saltzwedel. Rodenkirchen, Merle Kröger. Talent Project Market
dffb – German Film and Television Academy Nipkow Programme Uta Ganschow Katriel Schory, Roshanak Behesht Nedjad, Ellis Driessen
Prof. Jan Schütte, Maximilian Müllner, and Petra Weisenburger. and Prof. Georg Feil. Talent Press Klaus Eder, Marina
Kathrin Osterndorff, Stefan Beckers, Laura Gintar Rabenhorst Johannes H. Mauss. Ludemann, Oli Baumgarten, Rubaica Jaliwala, Frauke
and Alex Leser. Robert Bosch Stiftung Dr. Ingrid Hamm, Greiner, Christiane Steiner. Berlin Today Award Jury
Dolby Laboratories Julian Pinn and Hubert Henle. Dr. Kurt Liedtke, Frank Albers and Karin Angela Schyle. Dorka Gryllus, Peter Rommel, Hannes Stöhr. Berlin Today
Durban International Film Festival Peter Rorvik Sarajevo Film Festival Mirsad Purivatra, Award preselection Daniel Saltzwedel, Bärbel Mauch,
and Nashen Moodley. Amra Baksić Camo and Jovan Marjanović. Alexandra Gramatke, Gerhard Meixner, Christiane
European Film Academy Marion Döring, Serve-U Phillip Sünderhauf. Steiner. Special thanks to Peter Cowie and Liz Rosenthal.
Stephanie Röders and Pascal Edelmann. SOURCES 2 Dr. Renate Gompper, Marion Gompper. Campus Team 2011 Andrea, Anja, Ana, Anna, Andreas,
European Film Market Beki Probst, Catherine Buresi. Talent Campus Buenos Aires María Marta Antin, Carme, Christiane, Daniel, Farina, Jana, Janne, Johannes,
European Film Promotion Renate Rose and Karin Dix. Manuel Ferrari and Agustina Arbetman. Kathi, Katrin, Kevin, Lira, Marcie, Marcus, Maria, Marjorie,
ewerk Ralf Regitz (†), Friedrike Tiedtke, Tjabo Reuter. Talent Campus Durban Monica Rorvik. Merle Ka., Merle Krö., Michael, Nan, Nicole, Oli, Rubaica,
Festival internazionale del film di Locarno Talent Campus Guadalajara Lorena Rossette Riestra Sirkka, Stefan, Susann and Tobi; to all photographers,
Nadia Dresti and Mario Timbal and Ana de la Rosa Zamboni. volunteers, angels, service suppliers and technicians.
FFA – German Federal Film Board Peter Dinges, Talent Campus Sarajevo Asja Makarević, Many thanks to our location partners
Christine Berg and Birthe Klinge. Ivana Pekušić and Adnan Beširović.
FIDMARSEILLE Jean-Pierre Rehm, Fabienne Moris Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer.
and Anaëlle Bourguignon. Theaterkunst Susanne Franke, Nikole Fölster,
FIPRESCI Klaus Eder. Birgit Raabe.

Page Imprint
78 Team
Matthijs Wouter Knol, Marjorie Bendeck, Kevin Murphy, Kathi Bildhauer, Marcus Forchner, Carme Correa, Farina Isrusch,
Maria Casas, Michael Hoffmeister, Christiane Steiner, Rubaica Jaliwala, Andrea Rieder, Merle Kröger, Andreas Westphal,
Nicole Münch, Tobi, Lira Lousinha, Anna Lässer, Katrin Wirth, Johannes Sieverding, Jana Daedelow, Anja Joos,
Merle Kasprzak, Oliver Baumgarten, Christine Tröstrum, Nan Xiao, Stefan Pethke, Verena Zimmermann, Sirkka Möller
and Marcie Jost. (from left to right)
Berlin International Editor Talent Project Market Press Acquisition Rubaica Jaliwala, Publisher
Film Festival Daniel Bickermann Dr. Kathi Bildhauer, & Support Matthijs Wouter Knol, Berlin International
Festival Director Sonja Heinen Susann Pataki Farina Isrusch, Film Festival
Dieter Kosslick Online Editor Talent Press Daniel Bickermann
Marcus Forchner Oliver Baumgarten, Administration Support Berlinale Talent Campus
Berlinale Talent Campus Rubaica Jaliwala Michael Hoffmeister Cartography Potsdamer Straße 5
2011 Talent Administration Talent Actors Stage Runze & Casper, 10785 Berlin
Programme Manager Coordination: Anja Joos Event Agency Berlin
Matthijs Wouter Knol Marjorie Bendeck , Berlin Today Award Gorol & Partner: Phone: +49 30 25 92 05 15
Lira Lousinha Christiane Steiner, Stephan Gorol, Photography Fax: +49 30 25 92 05 19
Project Manager Maria Casas Verena Zimmermann, Berlin International [email protected]
Christine Tröstrum Selection Commitee Leonie Würfel Film Festival, www.berlinale-talentcampus.de
Marcie Jost, Guest Managers David Ausserhofer,
Head of Press Kevin Murphy, Jana Daedelow, IT Project Management Peter Himsel and An initiative of the Berlin International
Film Festival, a business division
and Communication Stefan Pethke, Anna Lässer 20sec.net –Jens Rietdorf cooperation partners, of the Kulturveranstaltungen des
Christiane Steiner Ana de la Rosa Zamboni distributors, Bundes in B erlin GmbH.
Trainee IT Technology film productions
Programme Coordination Hands-on trainings Merle Kasprzak serve-u –
Andrea Rieder Score Competition Phillip Sünderhauf Print | Design
Marcie Jost, Interns Print
Events & Administration Janne von Busse Programme Consultant Königsdruck, Berlin
Nicole Münch Campus Studio Farina Isrusch Peter Cowie Cover
Andreas Westphal, Press BOROS, Christian Boros,
Press & Communication Kevin Murphy, Johannes Sieverding Imprint Ingo Maak,
Assistant Katrin Wirth Stefan Pethke Talent Administration Circulation 4.000 Sven Quadflieg
Doc & Script Station Nan Xiao Layout
Communication & Event Sirkka Möller, Website, Communication Editorial Office jobs und böhm,
Assistant Maria Casas Merle Kröger Carme Correa Oliver Baumgarten, Sonja Jobs
Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin
Celebrating Our Official Partners
Main Partner
Co-Partner
Supporter
The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes
in Berlin GmbH , funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German Bundestag.
In cooperation with MEDIA – Training programme of the European Union and Medienboard Berlin-Brandenburg.


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Hebbel am Ufer 12 – 17 Feb 11

Berlinale Talent campus

350 Talents from

Berlinale Talent Campus #9

p. 07 Editorial Dieter Kosslick

p.07 Editorial Dieter Kosslick

Find your frame! 06

“A unique opportunity for networking.

a strong artistic profile, a clear approach and focus are indispensable.

Berlinale Talent Campus #9

Application date: 1st July 2011 for the workshop in Luleå/Sweden,

SOURCES 2 at Berlinale Talent Campus

Please visit the SOURCES 2 stand at HAU 1!

SOURCES 2 • Köthener Straße 44 • D-10963 Berlin

“I have learned so much, met many people

Out of 3,967 filmmakers who applied, you have made it to

Berlinale Talent Campus #9

“To ensure that creativity of the highest order continues

Costas Daskalakis Bernd Neumann

“ Dear Talents and mentors from all over the world,

Kirsten Niehuus, Elmar Giglinger

“ We are delighted to have you here during the most

The Berlinale Talent Campus website is not only a great source

“I met great collaborators and

Four international editions of the Campus, modelled along

3rd Talent Campus Guadalajara (March 24-28, 2011)

6th Talent Campus Buenos Aires (April 6-9, 2011)

4th Talent Campus Durban (July 22-26, 2011)

Berlinale Talent Campus #9

14 returning to home base

An impressive number of Campus alumni will feature in

Berlinale Talent Campus #9

which world do you

Berlinale Talent Campus #9

p.22 Score Competition | p.23 Interview Michael Nyman

If music communicates anything at all, it communicates emo­

the Berlin Today Award 2011 (see page 33).

“ It was amazing to be involved in every

Priceless insights from their mentor, renowned composer

create your world

Have there been moments in your career where you thought

Photo Francesco Guidicini

Berlinale Talent Campus #9

The Script Station: working

“Stories may belong to individuals but storytelling

The Doc Station: a week of undivided

“The Berlinale Talent Campus shifts you from

Good films – those that tell a compelling story and effectively

the editor as transformer

How do you put the first cut together – do you follow

“ It was an incredible, invaluable experience,

The Talent Project Market: the unique opportunity

The participants of Talent Press 2010:

“ Participating in Talent Press was not

Berlinale Talent Campus #9

developing the actor

Embodying the Character

Berlinale Talent Campus #9

32 every step you take

The short film competition of the Berlinale Talent Campus

If music communicates anything at all, it communicates emo