Participants of the Berlinale Talent Campus #8:
The Talent Campus Blog
February 22, 2010 13:37
On Thrusday evening, February 18, the Talent Campus wrapped up after six instense days of cross-cultural exchange through every discipline of filmmaking. The Campus gives a very special thanks to each and every Talent, from this year and the previous editions, and extends our sincerest gratitude to all the film professionals and experts who contributed their wealth of creative knowledge throughout the past week.
Watch out for the Telelectures of Campus #8!
Please remember to check out live videos of Talent Campus panel discussions we will put online during the next days! We start with "The Storytelling Trojka":
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This was Berlinale Talent Campus #8!
On Thrusday evening, February 18, the Talent Campus wrapped up after six instense days of cross-cultural exchange through every discipline of filmmaking. The Campus gives a very special thanks to each and every Talent, from this year and the previous editions, and extends our sincerest gratitude to all the film professionals and experts who contributed their wealth of creative knowledge throughout the past week.
Browse the press photos!
Watch out for the Telelectures of Campus #8!
Please remember to check out live videos of Talent Campus panel discussions we will put online during the next days! We start with "The Storytelling Trojka":
Twitter Facebook
February 18, 2010 22:24
The first prize went to Camilo Sanabria from Colombia, whose score was praised by jury members Klaus-Peter Beyer, Prof. Martin Steyer, Martin Todsharow, Connie Walther and this year’s Score Competition mentor Alexandre Desplat (Fantastic Mr. Fox, The Ghost Writer) as a "imaginative well structured score which shows in a detailed way it’s own personality.”
Camilo Sanabria wins an invitation from Dolby to travel to Los Angeles for a week-long visit to the city's sound studios. The second prize winner, Alexander Komlew (Germany), will be granted an additional session with the German Film Orchestra Babelsberg to record another score. Vladimir Cháb from Prague is invited to visit the German Film Orchestra Babelsberg to sit in on a recording for a big production.
The Talent Campus Team gives a grand congratulations to all three composers!
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WINNER OF THE SCORE COMPETITION ANNOUNCED!
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As tradition, during the Closing Ceremony of the Berlinale Talent Campus, the winner of the Score Competition is announced and awarded. Finalists were asked to create a new score for a film excerpt from David OReilly's Please Say Something (Golden Bear, Berlinale Shorts 2009).The first prize went to Camilo Sanabria from Colombia, whose score was praised by jury members Klaus-Peter Beyer, Prof. Martin Steyer, Martin Todsharow, Connie Walther and this year’s Score Competition mentor Alexandre Desplat (Fantastic Mr. Fox, The Ghost Writer) as a "imaginative well structured score which shows in a detailed way it’s own personality.”
Camilo Sanabria wins an invitation from Dolby to travel to Los Angeles for a week-long visit to the city's sound studios. The second prize winner, Alexander Komlew (Germany), will be granted an additional session with the German Film Orchestra Babelsberg to record another score. Vladimir Cháb from Prague is invited to visit the German Film Orchestra Babelsberg to sit in on a recording for a big production.
The Talent Campus Team gives a grand congratulations to all three composers!
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February 18, 2010 19:29
Christine Tröstrum was proud to announce the successful continuation of Talent Campuses abroad – Guadalajara, Buenos Aires, Durban and Sarajevo, which is open to 13 Baltic countries including Greece and Turkey.
Majorie Bendeck touched on the far-reaching Talent Campus Online Community, comprised of over 4,000 Alumni. Staying current is encouraged within the online network, as Bendeck stressed the importance of updating your profile and posting information about your latest films and screenings. If fellow Talents are able to view info about your current projects and available crew positions, then an online job exchange can be created, which can further international co-productions. Each participant from every Talent Campus across the globe is considered a Talent Alumni who can be contacted on the Talent Campus Online Community
The Talent Press will also remain closely connected to the Campus. Throughout the year, current and former members of the Talent Press will continue to contribute articles to their site talentpress.org. By keeping your profile up-to-date, the Talent Press also has the opportunity to write about and publish your latest endeavours.
Be sure to stay current on other Campus-related programs. Find information about how to apply to the World Cinema Fund here.
ANNOUNCEMENT TO ALL TALENTS: Please remember to complete the online evaluation in your inbox. We value your opinions and impressions!
And please remember to KEEP IN TOUCH!
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THE MOST IMPORTANT THINGS TO TAKE HOME
To cap off the last day of the Talent Campus, Matthijs Wouter Knol, Christine Tröstrum, Talent Administration Manager Majorie Bendeck, and Talent Project Market Manager Kathi Bildhauer offered Talents important reminders about how to stay connected with the Talent Campus after the trip back home.Christine Tröstrum was proud to announce the successful continuation of Talent Campuses abroad – Guadalajara, Buenos Aires, Durban and Sarajevo, which is open to 13 Baltic countries including Greece and Turkey.
Majorie Bendeck touched on the far-reaching Talent Campus Online Community, comprised of over 4,000 Alumni. Staying current is encouraged within the online network, as Bendeck stressed the importance of updating your profile and posting information about your latest films and screenings. If fellow Talents are able to view info about your current projects and available crew positions, then an online job exchange can be created, which can further international co-productions. Each participant from every Talent Campus across the globe is considered a Talent Alumni who can be contacted on the Talent Campus Online Community
The Talent Press will also remain closely connected to the Campus. Throughout the year, current and former members of the Talent Press will continue to contribute articles to their site talentpress.org. By keeping your profile up-to-date, the Talent Press also has the opportunity to write about and publish your latest endeavours.
Be sure to stay current on other Campus-related programs. Find information about how to apply to the World Cinema Fund here.
ANNOUNCEMENT TO ALL TALENTS: Please remember to complete the online evaluation in your inbox. We value your opinions and impressions!
And please remember to KEEP IN TOUCH!
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February 18, 2010 19:20
Get an overview about the fourth day of Talent Campus #8:
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Photos of the fourth Talent Campus day!
Get an overview about the fourth day of Talent Campus #8:
browse the gallery
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February 18, 2010 18:28
Shortly before the presentation of the Score Competition at HAU 3 this evening, the three participants – Vladimír Cháb (Czech Republic), Alexander Komlew (Germany), and Camilo Sanabria (Columbia) – spoke briefly about their experiences in scoring an animated short film and working with mentor, Alexandre Desplat.
When asked about a particular style or approach to scoring, the first word to come from Camilo Sanabria was “silence.” Each composer was hesitant to describe a style particular to their artistry – it depends on the film. One might find a connection that strings his compositions together, thinks Cháb, but there’s no succinct style. Komlew says he “works from the image. I try to get the emotions through music. My approach is by thinking about film as a 2-dimensional medium and music as the element that gives it a third emotional dimension.”
Scoring David O’Reilly’s short animated film was an intriguing task that posed a challenge for each composer. Cháb felt “it was an overkill to attempt to use an orchestra for a piece like this,” while Sanabria thought it unusual to score a film without a director’s input – with a finished film, there’s no discussion about developing music through the production phase. Komlew felt the score had to stick close to the literal action of the animation, as opposed to using a more intuitive method, or even juxtaposition, when scoring a feature film. “There’s a kind a tradition from the first cartoons where the music fits exactly to the action of the cartoon. I think this kind of tradition can be seen even in the newest Pixar films. It’s a tradition that I tried to carry to this film as well, to stay directly on the movements and emotions of the images.”
Both Komlew and Sanabria said Alexandre gave them insight about using less elements, rather than a full orchestra. He also advised them to avoid clichés, understand the meaning of a pause within the score, and how and when to use music intelligently.
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MUSIC IN THE THIRD DIMENSION
Shortly before the presentation of the Score Competition at HAU 3 this evening, the three participants – Vladimír Cháb (Czech Republic), Alexander Komlew (Germany), and Camilo Sanabria (Columbia) – spoke briefly about their experiences in scoring an animated short film and working with mentor, Alexandre Desplat.
When asked about a particular style or approach to scoring, the first word to come from Camilo Sanabria was “silence.” Each composer was hesitant to describe a style particular to their artistry – it depends on the film. One might find a connection that strings his compositions together, thinks Cháb, but there’s no succinct style. Komlew says he “works from the image. I try to get the emotions through music. My approach is by thinking about film as a 2-dimensional medium and music as the element that gives it a third emotional dimension.”
Scoring David O’Reilly’s short animated film was an intriguing task that posed a challenge for each composer. Cháb felt “it was an overkill to attempt to use an orchestra for a piece like this,” while Sanabria thought it unusual to score a film without a director’s input – with a finished film, there’s no discussion about developing music through the production phase. Komlew felt the score had to stick close to the literal action of the animation, as opposed to using a more intuitive method, or even juxtaposition, when scoring a feature film. “There’s a kind a tradition from the first cartoons where the music fits exactly to the action of the cartoon. I think this kind of tradition can be seen even in the newest Pixar films. It’s a tradition that I tried to carry to this film as well, to stay directly on the movements and emotions of the images.”
Both Komlew and Sanabria said Alexandre gave them insight about using less elements, rather than a full orchestra. He also advised them to avoid clichés, understand the meaning of a pause within the score, and how and when to use music intelligently.
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February 18, 2010 14:51
German director Wolfram Huke participated in almost every Global Speed-Matching session over the course of the Campus. “It’s the most efficient way to meet people,” he says. Huke explains that after some days at the Campus, small groups naturally start to form among the Talents with the tendency to stick together. The Speed-Matching sessions force Talents to break out of these groups and network with new people they may have missed. Huke is primarily looking for a German screenwriter and has already met two or three Talents with whom he's very likely to work with. One Talent is a Kenyan filmmaker from Nairobi who is interested in collaborating on a documentary with Huke. It seems that 3-minute conversations really spark successful encounters that continue outside of the speedy ring! Huke suggests that filmmakers should organize events with a similar tactic to draw local filmmaking communities together. “I’d like to try it in Munich, where I live,” laughs Huke.
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SPEEDING MATCHING REALLY WORKS – TRY IT BACK HOME
German director Wolfram Huke participated in almost every Global Speed-Matching session over the course of the Campus. “It’s the most efficient way to meet people,” he says. Huke explains that after some days at the Campus, small groups naturally start to form among the Talents with the tendency to stick together. The Speed-Matching sessions force Talents to break out of these groups and network with new people they may have missed. Huke is primarily looking for a German screenwriter and has already met two or three Talents with whom he's very likely to work with. One Talent is a Kenyan filmmaker from Nairobi who is interested in collaborating on a documentary with Huke. It seems that 3-minute conversations really spark successful encounters that continue outside of the speedy ring! Huke suggests that filmmakers should organize events with a similar tactic to draw local filmmaking communities together. “I’d like to try it in Munich, where I live,” laughs Huke.Twitter Facebook
February 18, 2010 12:50
Yesterday, the European Film Academy Short Film Award was granted to the young Belgian director and Talent Alumni, Natalie Teirlinck for her film Venus vs Me. This year is the first for a Talent Alumni to be nominated for an Oscar. Polish director, Bartek Konopka, received the Best Short Documentary nomination for his film, Rabbit a la Berlin, which examines the peculiar evolution of hundreds of rabbits that dwelled in-between the Berlin Wall.
So how does the Talent Campus contribute to so many successes and returns? The answer is different for each participant. For many, the Campus is a meeting point for fellow filmmakers to discuss future collaborations and international co-productions. And for others it’s about discovering a new direction and honing one’s focus. Either way, our team is proud of each Talent that passes through the Campus circuit, and we wish you many happy returns to future Berlinales!
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LAST DAY OF THE TALENT CAMPUS…WITH MANY HAPPY RETURNS
The 60th edition of the Berlinale welcomes 45 Talent Alumni contributing to 33 films officially selected for this year’s festival. Among them are Fernando Eimbeck and Amat Escalante for Revolución; editor Sauzan Hande Guneri for Honey; Rene Guerra, Rodrigo Diaz, Monica Palazzo, Joana Galvao and Vinicius Calvitti for Fucking Different São Pau (Panorama); and Georgian filmmakers Rusudan Pirveli, Guram Navrozashvill and George Chalauri for SUSA (Generation). Other Talents include Jochen Laube (The Housemaid), Meike Matens (Day of the Sparrow), Jenna Bass (The Tunnel), Lisa Gornick (The Owls), Yang Rui (Crossing the Mountain), Martin Preiss (Zero), Tim Prebble (Boy), and Feo Aladag and Züli Aladag (When We Leave), among many others.Yesterday, the European Film Academy Short Film Award was granted to the young Belgian director and Talent Alumni, Natalie Teirlinck for her film Venus vs Me. This year is the first for a Talent Alumni to be nominated for an Oscar. Polish director, Bartek Konopka, received the Best Short Documentary nomination for his film, Rabbit a la Berlin, which examines the peculiar evolution of hundreds of rabbits that dwelled in-between the Berlin Wall.
So how does the Talent Campus contribute to so many successes and returns? The answer is different for each participant. For many, the Campus is a meeting point for fellow filmmakers to discuss future collaborations and international co-productions. And for others it’s about discovering a new direction and honing one’s focus. Either way, our team is proud of each Talent that passes through the Campus circuit, and we wish you many happy returns to future Berlinales!
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February 17, 2010 19:35
For composer Alexandre Desplat, it’s the arch of a composition – how it’s tailored to enter and exit the soundscape of a film – that is most important aspect of scoring. Desplat is most known for his brilliant collaborations with directors Stephen Frears, Ang Lee and David Fincher, on such films as The Queen, Lust, Caution and The Curious Case of Benjamin Button, as well as newer successes such as Fanastic Mr. Fox, Julie & Julia, and Roman Polanski’s The Ghost Writer, in this year's Berlinale's competition. Moderator Peter Cowie asked Desplat about his process with working with directors and how he uses scoring to interpret dramatic conflict. “I try to find an intellectual trick that gives me an idea for each sequence,” said Desplat. For Benjamin Button, he composed rhythmic undulations to mirrored a clock that shifted backwards and forwards within the scene. Desplat also switched between major and minor scales to create a leap in mood and tone. “I find a specific element that will determine the tools to use,” he says.
Together with Desplat and Cowie, the audience enjoyed excerpts of The Painted Veil and The Queen, among others. Desplat showed how he scored a reportage sequence about Princess Diana using very ‘corny’ elements of 18th century music, joked Desplat, such as a harpsichord, mandolin and the English horn, to poke fun at British royalty.
It really comes down to choices in the end, which is dependent a great deal on the director’s intentions. For Lust, Caution, Ang Lee asked Desplat to capture a sense of innocence with the music. And of course the next decision to be made is how, exactly – with the swirling dramaturgy of an orchestra, or the soft simplicity of a modest quintet? Desplat says he tries to gain as much input from the director as possible, to best decipher the minds and emotionality of the characters.
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Entering and Exiting: The Arch of Composition
For composer Alexandre Desplat, it’s the arch of a composition – how it’s tailored to enter and exit the soundscape of a film – that is most important aspect of scoring. Desplat is most known for his brilliant collaborations with directors Stephen Frears, Ang Lee and David Fincher, on such films as The Queen, Lust, Caution and The Curious Case of Benjamin Button, as well as newer successes such as Fanastic Mr. Fox, Julie & Julia, and Roman Polanski’s The Ghost Writer, in this year's Berlinale's competition. Moderator Peter Cowie asked Desplat about his process with working with directors and how he uses scoring to interpret dramatic conflict. “I try to find an intellectual trick that gives me an idea for each sequence,” said Desplat. For Benjamin Button, he composed rhythmic undulations to mirrored a clock that shifted backwards and forwards within the scene. Desplat also switched between major and minor scales to create a leap in mood and tone. “I find a specific element that will determine the tools to use,” he says.
Together with Desplat and Cowie, the audience enjoyed excerpts of The Painted Veil and The Queen, among others. Desplat showed how he scored a reportage sequence about Princess Diana using very ‘corny’ elements of 18th century music, joked Desplat, such as a harpsichord, mandolin and the English horn, to poke fun at British royalty.
It really comes down to choices in the end, which is dependent a great deal on the director’s intentions. For Lust, Caution, Ang Lee asked Desplat to capture a sense of innocence with the music. And of course the next decision to be made is how, exactly – with the swirling dramaturgy of an orchestra, or the soft simplicity of a modest quintet? Desplat says he tries to gain as much input from the director as possible, to best decipher the minds and emotionality of the characters.
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February 17, 2010 17:20
Writer and director, Arne Kohlweyer, came to the Talent Project Market with a screenplay he developed in the Script Station during last year’s campus. But this time around, his focus was to develop the financing. And it seems Kohlweyer made all the right connections in the last few days, having met every producer on his wish-list in over twenty-one meetings. As a German filmmaker, Kohlweyer is looking for a German producer for his Swedish-based story. After discussing the project with several international producers, Kohlweyer realized they were more interested in changing the story to take place in their home countries. I suppose this makes sense in terms of an international co-production…but Arne is determined to make Swedish tale, with at least some German funding. So with plenty of coaching from Talent Project Market mentors on how to make the perfect pitch, it’s very likely Arne Kohlweyer will find all the right people to actualize his film.
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Talent Project Market – A DONE DEAL!
Writer and director, Arne Kohlweyer, came to the Talent Project Market with a screenplay he developed in the Script Station during last year’s campus. But this time around, his focus was to develop the financing. And it seems Kohlweyer made all the right connections in the last few days, having met every producer on his wish-list in over twenty-one meetings. As a German filmmaker, Kohlweyer is looking for a German producer for his Swedish-based story. After discussing the project with several international producers, Kohlweyer realized they were more interested in changing the story to take place in their home countries. I suppose this makes sense in terms of an international co-production…but Arne is determined to make Swedish tale, with at least some German funding. So with plenty of coaching from Talent Project Market mentors on how to make the perfect pitch, it’s very likely Arne Kohlweyer will find all the right people to actualize his film.Twitter Facebook
February 17, 2010 16:58
Filmmaker, author and champion of African cinema, Dorothee Wenner, moderated a very poignant panel called Shotgun Stories: African Cinema Attacks, with filmmakers Kunle Afolayan, Oliver Hermanus, Caroline Kamya and Tom Tykwer. The central question of the discussion was ‘What does it mean to be an African filmmaker, making films in Africa?” As each filmmaker comes from different countries within the continent, each was insistent about the differences between their film industries. South African filmmaker, Oliver Hermanus, considers the conditions of filmmaking in his country “a bit spoiled” due to the fact that they have an newly-established industry and a national funding board. “It’s exciting to make films in a country with a short history like South Africa because it allows us to create the rules and styles of our cinema.” Hermanus goes on to explain that making films in South Africa is more of a singular journey and a challenge to find the right crew to make a truly radical film. In the past, Hermanus has been criticized for not making ‘African films.’ It’s a remark that translates to the notion of certain African films not being ‘black’ enough. This open a debate about identity in cinema, which is generally determined by the media. So when asked about an aesthetic African identity in filmmaking, Hermanus is quick to say there’s no such thing. “I can’t compare my films to films made in Morocco - because they’re two different worlds,” he says.
Caroline Kamya from Uganda, whose film Imani screens in this year’s Forum section, agreed by saying, “we have our own stories to tell because Africa is probably the most diverse continent of the planet. So I try not to say I’m an African filmmaker, I usually just say – I made a film.”
Berlin-based filmmaker Tom Tykwer travelled to Nairobi, Kenya, to conduct a filmmaking workshop and consequently make a film about that process. As far as an inherent filmmaking aesthetic in Kenya, Tykwer said there’s hardly any knowledge of it, and if it does exist, it doesn’t travel very far. With his project, Tykwer intended for an original story that represents a culture without over-explainingit, but rather to explore the energy. And that’s as honest as one can hope to be, accepting the “stories that come from inside the people,” says Tykwer.
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African Aesthetics
Filmmaker, author and champion of African cinema, Dorothee Wenner, moderated a very poignant panel called Shotgun Stories: African Cinema Attacks, with filmmakers Kunle Afolayan, Oliver Hermanus, Caroline Kamya and Tom Tykwer. The central question of the discussion was ‘What does it mean to be an African filmmaker, making films in Africa?” As each filmmaker comes from different countries within the continent, each was insistent about the differences between their film industries. South African filmmaker, Oliver Hermanus, considers the conditions of filmmaking in his country “a bit spoiled” due to the fact that they have an newly-established industry and a national funding board. “It’s exciting to make films in a country with a short history like South Africa because it allows us to create the rules and styles of our cinema.” Hermanus goes on to explain that making films in South Africa is more of a singular journey and a challenge to find the right crew to make a truly radical film. In the past, Hermanus has been criticized for not making ‘African films.’ It’s a remark that translates to the notion of certain African films not being ‘black’ enough. This open a debate about identity in cinema, which is generally determined by the media. So when asked about an aesthetic African identity in filmmaking, Hermanus is quick to say there’s no such thing. “I can’t compare my films to films made in Morocco - because they’re two different worlds,” he says.
Caroline Kamya from Uganda, whose film Imani screens in this year’s Forum section, agreed by saying, “we have our own stories to tell because Africa is probably the most diverse continent of the planet. So I try not to say I’m an African filmmaker, I usually just say – I made a film.”
Berlin-based filmmaker Tom Tykwer travelled to Nairobi, Kenya, to conduct a filmmaking workshop and consequently make a film about that process. As far as an inherent filmmaking aesthetic in Kenya, Tykwer said there’s hardly any knowledge of it, and if it does exist, it doesn’t travel very far. With his project, Tykwer intended for an original story that represents a culture without over-explainingit, but rather to explore the energy. And that’s as honest as one can hope to be, accepting the “stories that come from inside the people,” says Tykwer.
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February 17, 2010 13:47
Doc-Talents came on stage in pairs while two Actor-Talents, Rungano Nyoni and O. Moses Leo, read portions of the project proposals. Möller moderated the presentation, while Hans-Robert Einsenhauer of ZDF/ARTE, posed questions about possible story hurtles the filmmakers might encounter along the road of development.
Projects included Faithless by Fadi Hindash, which explores the concept and acceptance of being an atheist Muslim; Kaizer Matsumunyane’s The Smiling Pirate attempts to uncover the root cause of Somalian piracy; and Elizabeth Rocha Salgado's documentary examines the irony of one Dutch word – Gezellig – when used to describe common life in the Netherlands. Salgado uses stereotypical Dutch characters to define the Gezellig concept (meaning sociable, nice and cozy)and prove whether it's simply a placebo. Australian filmmaker, Adrian Francis has been living in Japan for 5 years and decided to make a documentary from the viewpoints of several citizens of Tokyo. As a society, Tokyo has a difficult relationship with history, observes Francis, and it doesn’t courage reflection. Francis is curious to explore a side of Japan he has not yet discovered – an aspect of culture he is unable to penetrate because he is a foreigner. Einsenhauer suggested the filmmaker stick close to a personal story and not overload the film with history, but the filmmaker might have a different approach. “I think it’ll work,” Francis told Eisenhauer in jest, “just trust me!”
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READING REALITY: Doc Station Presented
Each Campus year, the presentation of the Doc Station is a sold-out event which used to surprise Doc & Script Station manager, Sirkka Möller. These days, she says, it’s what’s expected. All the documentaries workshopped at the Doc Station are engaging projects, so it’s quite natural that experts and fellow Talents are curious to see the progress this group of Talents has made behind closed doors.Doc-Talents came on stage in pairs while two Actor-Talents, Rungano Nyoni and O. Moses Leo, read portions of the project proposals. Möller moderated the presentation, while Hans-Robert Einsenhauer of ZDF/ARTE, posed questions about possible story hurtles the filmmakers might encounter along the road of development.
Projects included Faithless by Fadi Hindash, which explores the concept and acceptance of being an atheist Muslim; Kaizer Matsumunyane’s The Smiling Pirate attempts to uncover the root cause of Somalian piracy; and Elizabeth Rocha Salgado's documentary examines the irony of one Dutch word – Gezellig – when used to describe common life in the Netherlands. Salgado uses stereotypical Dutch characters to define the Gezellig concept (meaning sociable, nice and cozy)and prove whether it's simply a placebo. Australian filmmaker, Adrian Francis has been living in Japan for 5 years and decided to make a documentary from the viewpoints of several citizens of Tokyo. As a society, Tokyo has a difficult relationship with history, observes Francis, and it doesn’t courage reflection. Francis is curious to explore a side of Japan he has not yet discovered – an aspect of culture he is unable to penetrate because he is a foreigner. Einsenhauer suggested the filmmaker stick close to a personal story and not overload the film with history, but the filmmaker might have a different approach. “I think it’ll work,” Francis told Eisenhauer in jest, “just trust me!”
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February 17, 2010 12:30
Indie filmmaker Lance Weiler returned again to the Campus to provide Talents with stellar tips about DIY financing for films, projects and online platforms. During the Indie Filmmakers Guide to Cross Media II, Weiler promoted a concept called ‘Crowd Funding’ which focuses on giving rewards to target communities, who in return give donations to the film or project that you want to produce. Two great websites for finding out more about Crowd Funding are indiegogo.com and kickstarter.com
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FINANCING IN CROSS MEDIA
Indie filmmaker Lance Weiler returned again to the Campus to provide Talents with stellar tips about DIY financing for films, projects and online platforms. During the Indie Filmmakers Guide to Cross Media II, Weiler promoted a concept called ‘Crowd Funding’ which focuses on giving rewards to target communities, who in return give donations to the film or project that you want to produce. Two great websites for finding out more about Crowd Funding are indiegogo.com and kickstarter.comTwitter Facebook
February 16, 2010 20:24
It was a simple premise: What does revolution mean to you today? Now make a contemporary film, 10 minutes in length.
This year marks the 100th anniversary of the Mexican Revolution, which inspired film producer Pablo Cruz to assemble a line-up of ten quintessential Mexican directors to interpret and reshape the modern concept of Revolution. The result is a visually and conceptually textured film called Revolución. For the first time in Talent Campus history, 11 panellists formed a semi-circle of coloured opinions and reflections on the process of making both a culturally and politically conscious film. The directors present included: Pablo Cruz, Gael García Bernal, Mariana Chenillo, Fernando Eimbcke, Rodgrio Garcia, Diego Luna, Gerardo Naranjo, Rodrigo Plá, Carlos Reygadas, Patricia Riggen, with moderation by Mike Goodridge.
The styles and approaches are as diverse as any filmmaker from another place and time, but what holds the films together is a dedication to their homeland – even considering that many of these filmmakers have made homes abroad due to their work as filmmakers. Director Rodgrio Garcia said Revolución was a good opportunity to do something truly Mexican. It was “a we give you the money, you give us the film situation,” laughed Garcia at the sheer freedom of the project. On the flipside, Patricia Riggen was far wearier of such few restraints, while attempting to encapsulate a theme as heavy as the Mexican Revolution in just ten minutes. Her film touches on the tragic idea that many Mexicans have to immigrate in order to survive; a fact that is particularly close to her heart, as she makes her home in Los Angeles, which is a city with the second largest population of Mexicans in the world. But after a lifetime across the border, reflects Riggen, the Mexican people always want to be buried in their homeland.
Gael García Bernal took a different turn, swithing roles as a versatile actor in front of the camera, to directing children in his own film. “Working with children is a direct, elementary approach. Acting is a game to kids, but they take it very seriously and they grasped the concept quickly.” Gael’s film explores religious themes, playing also with the role of iconic figures that emerged from the Revolution. “The church played an integral part of the battles of the Revolution, before it started to capitalize on it.” he says, “Then there was a serious mark between church and state.”
Director Carlos Reygadas took an even more unconventional approach by filming a group of locals, along with their foreign friends, to join in the celebration of their country in a remote landscape . Reygadas literally told the locals to make a party and simply enjoy themselves on film. The result is fiery chaos in song and dance. “We rarely talk about what things are. We don’t talk about what Mexico is and what constitutes it. Who the Mexican people are and who will survive the Revolution? So my camera is a funnel for what is really there, what is really on this land.” With the riotous nature of film, Reygadas is confident in not letting narrative interfere with the spontaneity in cinematic life, stating that narrative can actually be a consequence of cinema. “Sometimes freedom is being able to kick over the chair in front of you,” he laughs, “I was eating and drinking and the film was being made.”
Actor and director Diego Luna admitted that he had a late start on his film. With a deadline by the end of November, he had given it little thought by the start of the month. In the end he approached the revolution concept from a very personal perspective that involved becoming a parent. “It was the first time I felt close to a revolution. It was actually the revolution in me.” As an actor who has already made the transition to director, with two previous films behind him, Luna confessed he’s a little afraid to go back to acting, explaining that as a director, you understand more of what is really going on within the story.
The Revolución experience was new for everyone one board – to make a film, singularly in concept and vision, but collectively as Mexican artists. Says Gael García Bernal, “There is a sense of fraternity among each other’s work. The support of professionals, whether they are friends or not, is essential to our own filmmaking.”
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REVOLUTION TODAY: 10 Mexican Directors 100 YEARS LATER
It was a simple premise: What does revolution mean to you today? Now make a contemporary film, 10 minutes in length.
This year marks the 100th anniversary of the Mexican Revolution, which inspired film producer Pablo Cruz to assemble a line-up of ten quintessential Mexican directors to interpret and reshape the modern concept of Revolution. The result is a visually and conceptually textured film called Revolución. For the first time in Talent Campus history, 11 panellists formed a semi-circle of coloured opinions and reflections on the process of making both a culturally and politically conscious film. The directors present included: Pablo Cruz, Gael García Bernal, Mariana Chenillo, Fernando Eimbcke, Rodgrio Garcia, Diego Luna, Gerardo Naranjo, Rodrigo Plá, Carlos Reygadas, Patricia Riggen, with moderation by Mike Goodridge.
The styles and approaches are as diverse as any filmmaker from another place and time, but what holds the films together is a dedication to their homeland – even considering that many of these filmmakers have made homes abroad due to their work as filmmakers. Director Rodgrio Garcia said Revolución was a good opportunity to do something truly Mexican. It was “a we give you the money, you give us the film situation,” laughed Garcia at the sheer freedom of the project. On the flipside, Patricia Riggen was far wearier of such few restraints, while attempting to encapsulate a theme as heavy as the Mexican Revolution in just ten minutes. Her film touches on the tragic idea that many Mexicans have to immigrate in order to survive; a fact that is particularly close to her heart, as she makes her home in Los Angeles, which is a city with the second largest population of Mexicans in the world. But after a lifetime across the border, reflects Riggen, the Mexican people always want to be buried in their homeland.
Gael García Bernal took a different turn, swithing roles as a versatile actor in front of the camera, to directing children in his own film. “Working with children is a direct, elementary approach. Acting is a game to kids, but they take it very seriously and they grasped the concept quickly.” Gael’s film explores religious themes, playing also with the role of iconic figures that emerged from the Revolution. “The church played an integral part of the battles of the Revolution, before it started to capitalize on it.” he says, “Then there was a serious mark between church and state.”
Director Carlos Reygadas took an even more unconventional approach by filming a group of locals, along with their foreign friends, to join in the celebration of their country in a remote landscape . Reygadas literally told the locals to make a party and simply enjoy themselves on film. The result is fiery chaos in song and dance. “We rarely talk about what things are. We don’t talk about what Mexico is and what constitutes it. Who the Mexican people are and who will survive the Revolution? So my camera is a funnel for what is really there, what is really on this land.” With the riotous nature of film, Reygadas is confident in not letting narrative interfere with the spontaneity in cinematic life, stating that narrative can actually be a consequence of cinema. “Sometimes freedom is being able to kick over the chair in front of you,” he laughs, “I was eating and drinking and the film was being made.”
Actor and director Diego Luna admitted that he had a late start on his film. With a deadline by the end of November, he had given it little thought by the start of the month. In the end he approached the revolution concept from a very personal perspective that involved becoming a parent. “It was the first time I felt close to a revolution. It was actually the revolution in me.” As an actor who has already made the transition to director, with two previous films behind him, Luna confessed he’s a little afraid to go back to acting, explaining that as a director, you understand more of what is really going on within the story.
The Revolución experience was new for everyone one board – to make a film, singularly in concept and vision, but collectively as Mexican artists. Says Gael García Bernal, “There is a sense of fraternity among each other’s work. The support of professionals, whether they are friends or not, is essential to our own filmmaking.”
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February 16, 2010 18:09
Get an overview about the third day of Talent Campus #8:
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Photos of the third Talent Campus day!
Get an overview about the third day of Talent Campus #8:
browse the gallery!
Browse the gallery
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February 16, 2010 16:45
“I think the most important quality of a director is that he knows what he wants and is able to express it,” said renowned cinematographer Christian Berger this afternoon in his conversation with moderator Peter Cowie. Berger talked graciously about his experiences working with long-time collaborator, director Michael Haneke, on such films as The Piano Teacher and The White Ribbon. “No one can replace the vision of the director,” he continued, so it’s very important that he has one! “I don’t like working with directors who don’t know at all what they want…often it makes the photography look like an accident.”
Luckily for Berger, Haneke is an ambitious filmmaker who is very acquainted with his visions. Haneke goes as far as drawing pictures and diagrams of the camera angles and lenses in the margins of the shooting script. For Haneke, shooting the film is not his favourite part of the process, as things don’t always go as planned. Thus, a director has to sacrifice the reality in his head for the reality that is captured by the camera. The White Ribbon was a 14-week shoot with a consistent flow of child actors on set. Berger mentioned the challenge of keeping the children focused on the scene, as opposed to being distracted by the lights and camera. “It was a very irregular shoot,” says Berger “but with a lot of great moments.”
Berger commented on the critics’ tendency to regard The White Ribbon as ‘cold and distant’ in its look and feel, but he thinks differently, considering the warmth in the emotionality of the film that bleeds through the tone. Nevertheless, conveying emotions through a lens is something he barely takes credit for. To Berger, that’s a job for the writer and director. He tries to explain it like this – “I produce more than reproduction. What’s the difference between skin and soul?” It’s difficult to explain. “And it’s different with every director,” he says. “I like the people in front of my camera,” Berger continues, “so I can do more to support the emotions with light.” He admits he only uses two or three lenses per shoot. But in doing so, says Berger, he is able to “hold the very organic perception of space and the human interaction within the space.”
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SUPPORTING EMOTIONS WITH LIGHT
“I think the most important quality of a director is that he knows what he wants and is able to express it,” said renowned cinematographer Christian Berger this afternoon in his conversation with moderator Peter Cowie. Berger talked graciously about his experiences working with long-time collaborator, director Michael Haneke, on such films as The Piano Teacher and The White Ribbon. “No one can replace the vision of the director,” he continued, so it’s very important that he has one! “I don’t like working with directors who don’t know at all what they want…often it makes the photography look like an accident.”
Luckily for Berger, Haneke is an ambitious filmmaker who is very acquainted with his visions. Haneke goes as far as drawing pictures and diagrams of the camera angles and lenses in the margins of the shooting script. For Haneke, shooting the film is not his favourite part of the process, as things don’t always go as planned. Thus, a director has to sacrifice the reality in his head for the reality that is captured by the camera. The White Ribbon was a 14-week shoot with a consistent flow of child actors on set. Berger mentioned the challenge of keeping the children focused on the scene, as opposed to being distracted by the lights and camera. “It was a very irregular shoot,” says Berger “but with a lot of great moments.”
Berger commented on the critics’ tendency to regard The White Ribbon as ‘cold and distant’ in its look and feel, but he thinks differently, considering the warmth in the emotionality of the film that bleeds through the tone. Nevertheless, conveying emotions through a lens is something he barely takes credit for. To Berger, that’s a job for the writer and director. He tries to explain it like this – “I produce more than reproduction. What’s the difference between skin and soul?” It’s difficult to explain. “And it’s different with every director,” he says. “I like the people in front of my camera,” Berger continues, “so I can do more to support the emotions with light.” He admits he only uses two or three lenses per shoot. But in doing so, says Berger, he is able to “hold the very organic perception of space and the human interaction within the space.”
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February 16, 2010 14:11
When watching the opening scene of Tom Tykwer’s Perfume: The Story of a Murderer, one might feel just as nauseated by the sound effects as the grotesque visuals of eighteenth century Paris. For a film about a very sensitive nose, the sonic elements most definitely add to the cinematic synergy of a stench-ridden world. Even with eyes closed, the sounds of cutting, squishing, scraping, vomiting and hollering are so life-like one might feel he is time-travelling to a past where life was not so sweet. This displacement of senses is thanks to sound designer Stefan Busch’s incredible abilities to sonically convey a film’s aura. Of his experience working on Perfume, Busch said he was really grateful to collaborate with the director because, “Tom Tykwer really cares for sound. It’s not very often that you find directors who are really keen on sound.”
British director Peter Strickland joined Busch and moderator Peter Cowie on stage to discuss their intricate processes of recording, layering and mixing, as well as those soundscapes that inspired them. Among the favorites were Apocalypse Now, Elephant (Gus Van Sant), Alien, the films of David Lynch and Nicholas Rogue. Shout-outs were also given to Stanley Kubrick and Bela Tarr, by both Busch and Strickland, for being devoted to the mono soundtrack.
The experts also offered advice to novice sound designers about trying to find the authenticity in creating sound effects. Strickland reminisced about the first time he was punched in the face and, instead of focusing on the pain, immediately thought – ‘it doesn’t sound like that in the movies!’ Likewise, Busche also advised the crowd to stay away from that one generic dog bark that makes an appearance in hundreds of films! Other helpful tips included: stay away from layout music, record more wild sounds than you think you need, and never be afraid of silence. Yet the most important lesson that reached the ears of the audience was to treat the sound design intuitively, even if it means increasing the tracks or refraining from sound completely. Just remember to bring the audience into the space – whether a room, a forest, or a squalor from two hundreds ago.
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Seeing with Your Ears
When watching the opening scene of Tom Tykwer’s Perfume: The Story of a Murderer, one might feel just as nauseated by the sound effects as the grotesque visuals of eighteenth century Paris. For a film about a very sensitive nose, the sonic elements most definitely add to the cinematic synergy of a stench-ridden world. Even with eyes closed, the sounds of cutting, squishing, scraping, vomiting and hollering are so life-like one might feel he is time-travelling to a past where life was not so sweet. This displacement of senses is thanks to sound designer Stefan Busch’s incredible abilities to sonically convey a film’s aura. Of his experience working on Perfume, Busch said he was really grateful to collaborate with the director because, “Tom Tykwer really cares for sound. It’s not very often that you find directors who are really keen on sound.”
British director Peter Strickland joined Busch and moderator Peter Cowie on stage to discuss their intricate processes of recording, layering and mixing, as well as those soundscapes that inspired them. Among the favorites were Apocalypse Now, Elephant (Gus Van Sant), Alien, the films of David Lynch and Nicholas Rogue. Shout-outs were also given to Stanley Kubrick and Bela Tarr, by both Busch and Strickland, for being devoted to the mono soundtrack.
The experts also offered advice to novice sound designers about trying to find the authenticity in creating sound effects. Strickland reminisced about the first time he was punched in the face and, instead of focusing on the pain, immediately thought – ‘it doesn’t sound like that in the movies!’ Likewise, Busche also advised the crowd to stay away from that one generic dog bark that makes an appearance in hundreds of films! Other helpful tips included: stay away from layout music, record more wild sounds than you think you need, and never be afraid of silence. Yet the most important lesson that reached the ears of the audience was to treat the sound design intuitively, even if it means increasing the tracks or refraining from sound completely. Just remember to bring the audience into the space – whether a room, a forest, or a squalor from two hundreds ago.
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February 16, 2010 10:39
Talents and experts had the opportunity in the evening to mingle over wine and pretzels with the intent to seek the perfect place for short films. Guests included the wide gamut of short film professionals from all aspects of the industry – from producing, buying, distributing and programming. Director David Smith and producer Edward McDonald were two Talents who met last night during the networking reception, which immediately followed the panel, Shorts Have More to Say, with filmmakers Paul Negoescu and Paul Wright, and moderated by Berlinale Shorts programmer Maike Mia Höhne. McDonald was very motivated by the inventive work of both short film masters, saying that it walked way with the feeling of – if they can do it, so can I! Smith agreed, seeing the work of these accomplished short filmmakers as nothing but a win-win situation for young filmmakers whose genre of choice is likely the short film, considering the logistics of time and budget. ”You either see something that motivates your own work or something different to aspire too,” he says.
The panel touched on how new digital technologies and online platforms shape the aesthetic form and exhibitory prospects of short films. But when asked for his opinion, Christian Gesell, Head of Sales and Distribution at Interfilm Berlin, had the reverse thought. “I see it more like short films are changing technology. Shorts are where a lot of technologies are tested. Animation techniques are first tested in short films, for example, and so that’s what makes them so interesting. And many of these techniques end up in big films – even Martin Scorsese’s! So it’s nice to know that these bigger filmmakers are watching the shorts, even if they’re stealing from them,” laughs Gesell.
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Mini-Marketplace for Mini-Films
Talents and experts had the opportunity in the evening to mingle over wine and pretzels with the intent to seek the perfect place for short films. Guests included the wide gamut of short film professionals from all aspects of the industry – from producing, buying, distributing and programming. Director David Smith and producer Edward McDonald were two Talents who met last night during the networking reception, which immediately followed the panel, Shorts Have More to Say, with filmmakers Paul Negoescu and Paul Wright, and moderated by Berlinale Shorts programmer Maike Mia Höhne. McDonald was very motivated by the inventive work of both short film masters, saying that it walked way with the feeling of – if they can do it, so can I! Smith agreed, seeing the work of these accomplished short filmmakers as nothing but a win-win situation for young filmmakers whose genre of choice is likely the short film, considering the logistics of time and budget. ”You either see something that motivates your own work or something different to aspire too,” he says.
The panel touched on how new digital technologies and online platforms shape the aesthetic form and exhibitory prospects of short films. But when asked for his opinion, Christian Gesell, Head of Sales and Distribution at Interfilm Berlin, had the reverse thought. “I see it more like short films are changing technology. Shorts are where a lot of technologies are tested. Animation techniques are first tested in short films, for example, and so that’s what makes them so interesting. And many of these techniques end up in big films – even Martin Scorsese’s! So it’s nice to know that these bigger filmmakers are watching the shorts, even if they’re stealing from them,” laughs Gesell.
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February 15, 2010 21:20
Get an overview about the second day of Talent Campus #8:
browse the gallery!
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Photos of the second Talent Campus day!
Get an overview about the second day of Talent Campus #8:
browse the gallery!
Browse the gallery
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February 15, 2010 18:16
Bryn Chainey is a 23-year-old Australian filmmaker who, to his sheer astonishment, walked away with the Berlin Today Award last night. Although Chainey is pleased to have won the prestigious Talent Short Film Competition, he knows it’ll take time before he sees how it might affect his career as a filmmaker. For now, he’s simply grateful that his experience introduced him to a whole new world of creative collaborators.
What was the background story of Jonah and the Vicarious Nature of Homesickness? Where did you get the idea for the film?
I don’t know…If people knew where ideas come from than that person would become very rich. I sit down to start to write and something comes out. I’ve just been listening to the soundtrack to a German TV series from the 70’s, which is a trashy sci-fi thing, like pre-Star Trek. It’s a beautiful kitsch sci-fi world with wonderfully grand exotic music. Exotica music is my favorite music – very epic lounge stuff. So I guess I’ve been listening to a lot of music that was exotic-spaced themed, I think it influenced the kind of story that came out.
How long have you been making films?
Since High School. I took a film class in Grade 11, I guess that was in 2002, so about 8 years ago. I’ve probably made 70 short films. They’re not very good, but I’ve made a lot of them. I went to university and made films there and I worked through university as a teacher for children, doing acting classes and I also directing them. So every couple of weeks I’d make a film with them or run workshops where 60 kids would come and over a couple of days we’d make a bunch of films. They were really terrible, low-budget stories. But this Berlin Today Award is easily the biggest project I’ve done in terms of budget, production length and working with people who really know what they’re doing.
What did you learn during the Berlin Today Award process?
I learned a lot! The process was amazing. I got to work with people who actually knew what they were doing. I was probably the least experienced person on the crew, in terms of that level of production. I got to know what it was really like to pre-produce a film, create schedules that are really tight, work with the camera team who know what they’re doing. I could talk with the DOP about the feeling I wanted for a certain shot, or if there was something not right. He would talk to his team and they knew exactly how to make what I was trying to express. I got to work with green screens, which I’d never done before. I also got to work with stop motion, which I really wanted to do more of. I got to learn how animators work, as well as compositing. I got to work with a great composer. The whole way it was all the stuff I really wanted to explore and have fun with.
Do you have any new project in mind?
I’m writing a couple of stories I’d like to turn into films. I’d love to do another short film. My producer and I would love to work together again, with pretty much the same team actually. The DOP wants in, the production designer wants in, the composer wants in, we all want it on the next one.
Was there any element of this process that you would have changed?
Well, there are always bumps along the way. I found the time limit a bit arbitrary and painful. It was my fault, though. I wrote a film that was way too long and when it played out…I mean, a film changes. Sometimes you shoot too much and that’s the way it is. We really had to shave this down to fit within the time limit. And that really hurt the film. I think it could have been a lot better if it was longer. So that was the thing I would have changed. But I think we had really great support from Christiane (Steiner, BoxFish Events) and Maria (Casa, Berlin Today Award Assistant). Everyone throughout the whole year were so nice to us, Medienboard was great too. Of course we had production difficulties, like funding and finding the right team. But in the end we had a fucking great year.
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Overcoming Homesickness: Q&A with Berlin Today Award Winner
Bryn Chainey is a 23-year-old Australian filmmaker who, to his sheer astonishment, walked away with the Berlin Today Award last night. Although Chainey is pleased to have won the prestigious Talent Short Film Competition, he knows it’ll take time before he sees how it might affect his career as a filmmaker. For now, he’s simply grateful that his experience introduced him to a whole new world of creative collaborators.
What was the background story of Jonah and the Vicarious Nature of Homesickness? Where did you get the idea for the film?
I don’t know…If people knew where ideas come from than that person would become very rich. I sit down to start to write and something comes out. I’ve just been listening to the soundtrack to a German TV series from the 70’s, which is a trashy sci-fi thing, like pre-Star Trek. It’s a beautiful kitsch sci-fi world with wonderfully grand exotic music. Exotica music is my favorite music – very epic lounge stuff. So I guess I’ve been listening to a lot of music that was exotic-spaced themed, I think it influenced the kind of story that came out.
How long have you been making films?
Since High School. I took a film class in Grade 11, I guess that was in 2002, so about 8 years ago. I’ve probably made 70 short films. They’re not very good, but I’ve made a lot of them. I went to university and made films there and I worked through university as a teacher for children, doing acting classes and I also directing them. So every couple of weeks I’d make a film with them or run workshops where 60 kids would come and over a couple of days we’d make a bunch of films. They were really terrible, low-budget stories. But this Berlin Today Award is easily the biggest project I’ve done in terms of budget, production length and working with people who really know what they’re doing.
What did you learn during the Berlin Today Award process?
I learned a lot! The process was amazing. I got to work with people who actually knew what they were doing. I was probably the least experienced person on the crew, in terms of that level of production. I got to know what it was really like to pre-produce a film, create schedules that are really tight, work with the camera team who know what they’re doing. I could talk with the DOP about the feeling I wanted for a certain shot, or if there was something not right. He would talk to his team and they knew exactly how to make what I was trying to express. I got to work with green screens, which I’d never done before. I also got to work with stop motion, which I really wanted to do more of. I got to learn how animators work, as well as compositing. I got to work with a great composer. The whole way it was all the stuff I really wanted to explore and have fun with.
Do you have any new project in mind?
I’m writing a couple of stories I’d like to turn into films. I’d love to do another short film. My producer and I would love to work together again, with pretty much the same team actually. The DOP wants in, the production designer wants in, the composer wants in, we all want it on the next one.
Was there any element of this process that you would have changed?
Well, there are always bumps along the way. I found the time limit a bit arbitrary and painful. It was my fault, though. I wrote a film that was way too long and when it played out…I mean, a film changes. Sometimes you shoot too much and that’s the way it is. We really had to shave this down to fit within the time limit. And that really hurt the film. I think it could have been a lot better if it was longer. So that was the thing I would have changed. But I think we had really great support from Christiane (Steiner, BoxFish Events) and Maria (Casa, Berlin Today Award Assistant). Everyone throughout the whole year were so nice to us, Medienboard was great too. Of course we had production difficulties, like funding and finding the right team. But in the end we had a fucking great year.
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February 15, 2010 15:33
It seems there’s a secret dialogue between our brains and eyes that allows us to engage in the magic of 3D cinema. Of course when experts at today’s StreetDance 3D panel tried to explain exactly how and why 3D films are so delicately produced, projected and beamed through those funny glasses and into our heads…well, it’s safe to say the audience may have gotten a little lost. Nevertheless, panelists Jim Spencer of Vertigo Films and director of StreetDance, 3D production pro Max H. Penner of Paradise FX, Michael Reute of Post Republic, developer of Germany’s first 3D post-production solution, and Julian Pinn of Dolby, showed Talents and Berlinale guests the trails and tribulations of undergoing a 3D project. Jim Spence had never approached a 3D project before, but when he asked Max H. Penner in Los Angeles for the help, Penner was immediately onboard.
After screening a 20-minute clip of StreetDance, Europe’s first live-action 3D feature film, each panellist took time to explain their part of the process – from the director’s choices, to production, post-production and finally the advancements of digital cinema to better enhance the craft and performance of 3D filmmaking. A great deal of jargon was flying between the panellists – words like convergent photography, stereography, dimensionalizing, grading, sweetening, VFX for small and large objects, etc. But by the end of the discussion, it was quite apparent the 3D process is becoming a standard in cinema, hand-in-hand with digital cinema. And due to its costly and time-consuming nature, StreetDance proves to be a grand accomplishment for a team of both rookies and wizards of 3D filmmaking.
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Lessons in 3D Filmmaking
It seems there’s a secret dialogue between our brains and eyes that allows us to engage in the magic of 3D cinema. Of course when experts at today’s StreetDance 3D panel tried to explain exactly how and why 3D films are so delicately produced, projected and beamed through those funny glasses and into our heads…well, it’s safe to say the audience may have gotten a little lost. Nevertheless, panelists Jim Spencer of Vertigo Films and director of StreetDance, 3D production pro Max H. Penner of Paradise FX, Michael Reute of Post Republic, developer of Germany’s first 3D post-production solution, and Julian Pinn of Dolby, showed Talents and Berlinale guests the trails and tribulations of undergoing a 3D project. Jim Spence had never approached a 3D project before, but when he asked Max H. Penner in Los Angeles for the help, Penner was immediately onboard.
After screening a 20-minute clip of StreetDance, Europe’s first live-action 3D feature film, each panellist took time to explain their part of the process – from the director’s choices, to production, post-production and finally the advancements of digital cinema to better enhance the craft and performance of 3D filmmaking. A great deal of jargon was flying between the panellists – words like convergent photography, stereography, dimensionalizing, grading, sweetening, VFX for small and large objects, etc. But by the end of the discussion, it was quite apparent the 3D process is becoming a standard in cinema, hand-in-hand with digital cinema. And due to its costly and time-consuming nature, StreetDance proves to be a grand accomplishment for a team of both rookies and wizards of 3D filmmaking.
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February 14, 2010 18:59
Among the dazzling dining hall of the Dine & Shine Dinner, brimming with nerves and networking from hundreds of Talents, Experts and film professionals, five finalists for the Berlin Today Award listened anxiously to the announcement of the long-awaited winner.
And the recipient is…. Bryn Chainey for Jonah and the Vicarious Nature of Homesickness.
The jury says they were most touched by Chainey’s film because it “creates an old-fashioned world of answering machine cassette tapes, whose contents only need to be erased to be left behind - it makes you realise that you can't escape the bond you have with people you love.”
Congratulations Bryn!
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Winner of the Berlin Today Award
Among the dazzling dining hall of the Dine & Shine Dinner, brimming with nerves and networking from hundreds of Talents, Experts and film professionals, five finalists for the Berlin Today Award listened anxiously to the announcement of the long-awaited winner.
And the recipient is…. Bryn Chainey for Jonah and the Vicarious Nature of Homesickness.
The jury says they were most touched by Chainey’s film because it “creates an old-fashioned world of answering machine cassette tapes, whose contents only need to be erased to be left behind - it makes you realise that you can't escape the bond you have with people you love.”
Congratulations Bryn!
download picture in high resolution
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February 14, 2010 18:32
Script Editor Sandra Beerends spoke today with Talents from all streams about the essence of story editing and how to provoke the strongest script out of a writer. Beerends works within Dutch public broadcasting and as a freelance script editor, developing international projects in various genres, from both emerging and established professionals. In the intimate round-table style of Meet the Experts session, Beerends revealed the realities of her creative position and opened the discussion up for questions. The following tips can help screenwriters improve their stories, while bettering the relationship between writers and their collaborators throughout the process of filmmaking.
1. The story is the foundation of any film!
2. Never forget to ask yourself: What is the story? Why are you making the story? How are you going to make the story?
3. Feel passionate about your script – it should come from your body and soul.
4. Think about who you are making the story for – who is the audience?
5. Think about why your story needs to be told – it should speak to its audience, say something about the world, or make a contribution.
6. Look at the steps of your story and include only those that are important to telling it. You don’t have to show everything to convey a plot and/or a character.
7. Trust the people you work with, especially the director – make an agreement about the story you want to tell.
8. Isolate the story moments that you really want to fight for and be sure they make their way into the final draft.
9. Make notes on the feedback and discuss it face-to-face, so as not to misinterpret the advice.
10. Remember, script editors are your first audience: Perceive their insight as a gift, as they have taken the time to react to your work.
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Expert Sandra Beerends Shares Tips for Screenwriters
Script Editor Sandra Beerends spoke today with Talents from all streams about the essence of story editing and how to provoke the strongest script out of a writer. Beerends works within Dutch public broadcasting and as a freelance script editor, developing international projects in various genres, from both emerging and established professionals. In the intimate round-table style of Meet the Experts session, Beerends revealed the realities of her creative position and opened the discussion up for questions. The following tips can help screenwriters improve their stories, while bettering the relationship between writers and their collaborators throughout the process of filmmaking.
1. The story is the foundation of any film!
2. Never forget to ask yourself: What is the story? Why are you making the story? How are you going to make the story?
3. Feel passionate about your script – it should come from your body and soul.
4. Think about who you are making the story for – who is the audience?
5. Think about why your story needs to be told – it should speak to its audience, say something about the world, or make a contribution.
6. Look at the steps of your story and include only those that are important to telling it. You don’t have to show everything to convey a plot and/or a character.
7. Trust the people you work with, especially the director – make an agreement about the story you want to tell.
8. Isolate the story moments that you really want to fight for and be sure they make their way into the final draft.
9. Make notes on the feedback and discuss it face-to-face, so as not to misinterpret the advice.
10. Remember, script editors are your first audience: Perceive their insight as a gift, as they have taken the time to react to your work.
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February 14, 2010 14:25
British film and theatre director, Stephen Daldry, put it most simply when he said that with each project, “I try to surround myself with people who have more experience than me.” Indeed, these might be the right people to work with – those ones who can bring something fresh to the film project. This was the general direction of Matthijs Wouter Knol’s discussion during the morning’s first official panel focused on this year’s Campus theme, Cinema Needs Talent - Looking for the Right People. The line-up of experts included Daldry, Spanish filmmaker Isabel Coixet and American producer Mike Medavoy, whose latest film, Martin Scorsese’s Shutter Island, premiered last night at the Berlinale.
As a man who was born in China, grew up in Chile, and studied history at university, Medavoy admitted that being a Hollywood producer was the most unlikely turn of events in his life, though he always had a knack for finding talented people. When asked what constituted a ‘talented’ person, Medavoy suggested those people whose work brings a context to the environment around them. And Medavoy is no stranger to cultural commentators. His career began in the 1960’s during the Vietnam War, so naturally what drew him to such movers and shakers was the idea of changing the world together. Medavoy was looking for people who probed the general consensus and asked questions – where are we going and how can we affect change with out being a revolutionary? Having worked for 47 years on over 300 films, Medavoy has collaborated and been acquainted with some true legends who shaped cinema – Scorsese, Coppola, François Truffaut, Milos Foreman, George Lucas and Steve Spielberg among them.
Likewise, Stephen Daldry has nurtured a creative cooperative with tycoons such as screenwriter David Hare, on The Hours and The Reader. Daldry has also collaborated with composer Philip Glass, whose soundtrack for The Hours he referred to as “another character that moves against the action of film, creating a super-character instead of just supporting the scenes.”
As a director who doubles as the camera operator on her films, Isabel Coixet also works closely with the same cinematographer and sound designer, saying she “loves the way they develop my stories in their minds.” Perhaps putting in most simply, Medavoy believes that, “filmmaking is something to do together,” criticizing the press for building the illusion of filmmaking as the creation of a single person, or demi-god. To Medavoy, filmmaking is about “being generous and accepting the dignity of other people."
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Opening Panel Talks to the Right People
British film and theatre director, Stephen Daldry, put it most simply when he said that with each project, “I try to surround myself with people who have more experience than me.” Indeed, these might be the right people to work with – those ones who can bring something fresh to the film project. This was the general direction of Matthijs Wouter Knol’s discussion during the morning’s first official panel focused on this year’s Campus theme, Cinema Needs Talent - Looking for the Right People. The line-up of experts included Daldry, Spanish filmmaker Isabel Coixet and American producer Mike Medavoy, whose latest film, Martin Scorsese’s Shutter Island, premiered last night at the Berlinale.
As a man who was born in China, grew up in Chile, and studied history at university, Medavoy admitted that being a Hollywood producer was the most unlikely turn of events in his life, though he always had a knack for finding talented people. When asked what constituted a ‘talented’ person, Medavoy suggested those people whose work brings a context to the environment around them. And Medavoy is no stranger to cultural commentators. His career began in the 1960’s during the Vietnam War, so naturally what drew him to such movers and shakers was the idea of changing the world together. Medavoy was looking for people who probed the general consensus and asked questions – where are we going and how can we affect change with out being a revolutionary? Having worked for 47 years on over 300 films, Medavoy has collaborated and been acquainted with some true legends who shaped cinema – Scorsese, Coppola, François Truffaut, Milos Foreman, George Lucas and Steve Spielberg among them.
Likewise, Stephen Daldry has nurtured a creative cooperative with tycoons such as screenwriter David Hare, on The Hours and The Reader. Daldry has also collaborated with composer Philip Glass, whose soundtrack for The Hours he referred to as “another character that moves against the action of film, creating a super-character instead of just supporting the scenes.”
As a director who doubles as the camera operator on her films, Isabel Coixet also works closely with the same cinematographer and sound designer, saying she “loves the way they develop my stories in their minds.” Perhaps putting in most simply, Medavoy believes that, “filmmaking is something to do together,” criticizing the press for building the illusion of filmmaking as the creation of a single person, or demi-god. To Medavoy, filmmaking is about “being generous and accepting the dignity of other people."
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February 14, 2010 12:43
Talent Press articles are now online! Please be sure to visit http://www.talentpress.org where articles and reviews from Talent Press participants will be posted daily.
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Talent Press Online Now
Talent Press articles are now online! Please be sure to visit http://www.talentpress.org where articles and reviews from Talent Press participants will be posted daily.Twitter Facebook
February 14, 2010 00:39
Get an overview about the opening day of Talent Campus #8:
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Photos of the first Talent Campus day!
Get an overview about the opening day of Talent Campus #8:
browse the gallery
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February 13, 2010 18:57
The Berlinale Talent Campus Opening Ceremony and World Premiere of the Berlin Today Award took place this evening to a packed audience at HAU Eins. Matthijs Wouter Knol and Christine Tröstrum introduced Berlinale Festival Director, Dieter Kosslick who, when asked what the 60th anniversary of the Berlinale meant to the 8th edition of the Talent Campus, jokingly answered, “It means that the Campus has not been around for 52 years!” Mr. Kosslick gave his grand congratulations to several Talent Alumni whose films have screened at the Berlinale, then warmly welcomed two of them whose films screen in this year’s festival – Brazilian director Monica Palazzo for Fucking Different São Paulo and Spanish director Amat Escalante for Revolución. Also introduced on stage was Score Competition mentor Alexandre Desplat, a Silver Bear recipient, two-time Oscar-nominated and Golden Globe Award-winning French film composer, along with filmmaker Isabel Coixet. As a director with Berlinale premieres on her filmography, as well as a former member of the jury, Coixet said “Every time I’m involved with the Berlinale, I learn something new. This is a festival where you really feel the feedback.”
Kirsten Niehuus, the head of Medienboard Berlin-Brandenburg, introduced the Berlin Today Award along with her colleague Daniel Saltzwedel. Both explained the spirit behind the Talent Short Film Competition before unveiling the five finalist films. Based on the motto, Straight to Cinema, the contending films are: Hum by Rebecca Daly, Jonah and the Vicarious Nature of Homesickness by Bryn Chainey, Reflection by Giorgi Mrevlishvili, By Night by Juan DiazB, and the Astronaut on the Roof by Sergi Portabella. The winner will be announced tomorrow evening during the Dine & Shine Dinner!
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Berlin Today Award 2010 Premiere
The Berlinale Talent Campus Opening Ceremony and World Premiere of the Berlin Today Award took place this evening to a packed audience at HAU Eins. Matthijs Wouter Knol and Christine Tröstrum introduced Berlinale Festival Director, Dieter Kosslick who, when asked what the 60th anniversary of the Berlinale meant to the 8th edition of the Talent Campus, jokingly answered, “It means that the Campus has not been around for 52 years!” Mr. Kosslick gave his grand congratulations to several Talent Alumni whose films have screened at the Berlinale, then warmly welcomed two of them whose films screen in this year’s festival – Brazilian director Monica Palazzo for Fucking Different São Paulo and Spanish director Amat Escalante for Revolución. Also introduced on stage was Score Competition mentor Alexandre Desplat, a Silver Bear recipient, two-time Oscar-nominated and Golden Globe Award-winning French film composer, along with filmmaker Isabel Coixet. As a director with Berlinale premieres on her filmography, as well as a former member of the jury, Coixet said “Every time I’m involved with the Berlinale, I learn something new. This is a festival where you really feel the feedback.”
Kirsten Niehuus, the head of Medienboard Berlin-Brandenburg, introduced the Berlin Today Award along with her colleague Daniel Saltzwedel. Both explained the spirit behind the Talent Short Film Competition before unveiling the five finalist films. Based on the motto, Straight to Cinema, the contending films are: Hum by Rebecca Daly, Jonah and the Vicarious Nature of Homesickness by Bryn Chainey, Reflection by Giorgi Mrevlishvili, By Night by Juan DiazB, and the Astronaut on the Roof by Sergi Portabella. The winner will be announced tomorrow evening during the Dine & Shine Dinner!
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February 13, 2010 18:19
This afternoon’s Global Speed Matching might have been the most busy and buzzin’ of networking sessions to date! Talents were even standing around the parameters of the speed-matching spiral of cardboard boxes - unable to grab a seat - but chatting, telling stories and making connections nevertheless. After three minutes of one-to-one introductions among Talents, Campus Programme Manager, Matthijs Wouter Knol, would sound the horn and, with the help of Talent organizers, shuffle the participants to the next seat to continue the chain of meet and greet.
Talent Shai Tagner from Israel spoke with 10 people in one hour and found himself in a much deeper than expected conversation in just two minutes. As a writer and director, Shai is currently in development with a feature film that follows the lives of an Israeli-Italian couple who travel to Lebanon during its war with Israel. During the Speed Matching, Shai met a Lebanese filmmaker with whom he shared a parallel experience during wartimes. At first perceived as an overwhelming rally of rapid speed, Shai said he was really pleased to make positive connections with as many interesting people as possible, without keeping a specific agenda. “I want to let is happen naturally,’ he says, which turns networking into a carefree process.
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First Global Speed Match
This afternoon’s Global Speed Matching might have been the most busy and buzzin’ of networking sessions to date! Talents were even standing around the parameters of the speed-matching spiral of cardboard boxes - unable to grab a seat - but chatting, telling stories and making connections nevertheless. After three minutes of one-to-one introductions among Talents, Campus Programme Manager, Matthijs Wouter Knol, would sound the horn and, with the help of Talent organizers, shuffle the participants to the next seat to continue the chain of meet and greet.
Talent Shai Tagner from Israel spoke with 10 people in one hour and found himself in a much deeper than expected conversation in just two minutes. As a writer and director, Shai is currently in development with a feature film that follows the lives of an Israeli-Italian couple who travel to Lebanon during its war with Israel. During the Speed Matching, Shai met a Lebanese filmmaker with whom he shared a parallel experience during wartimes. At first perceived as an overwhelming rally of rapid speed, Shai said he was really pleased to make positive connections with as many interesting people as possible, without keeping a specific agenda. “I want to let is happen naturally,’ he says, which turns networking into a carefree process.
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February 13, 2010 15:12
Fifteen Talents were selected to workshop and pitch their projects as contenders for the 2011 Berlin Today Award short film competition. Throughout the day, these selected filmmakers are meeting with coaches and mentors to develop their stories and prepare their pitches, which fall under the theme, ‘You Are Leaving the Familiar Sector.’ On Wednesday, February 17, each project will meet with a select number of producers from the eleven German productions companies chosen to participate in the training, including Kloos & Co and Molly Aida.
Belgium filmmaker, Koen Dejaegher, who was a participant in the 2008 Talent Campus, is one of the fifteen filmmakers selected for the BTA workshop. His project, The Scientist, explores the idea of a society looking for meaning in rudimentary tasks. The central character is Jonas, who is hired to observe the behaviour of patients only to realize that the job of the patients is to observe him in return. Dejaegher jokes that his film is more about playing with the ‘familiar sector’ rather than the ‘leaving’, as the world within his film invents jobs that have no real productive use. It’s a cycle that endures because of the fear of doing nothing with one’s life, and so one merely accepts the system, explains Dejaegher. His mentor for the workshop session is Urs Bühler, a professional coach for developing and pitching who, through a process of question and answers, is helping Dejaegher convey a psychologically elusive story that is very much open for interpretation.
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You Are Leaving The Familiar Sector – Berlin Today Award Coaching
Fifteen Talents were selected to workshop and pitch their projects as contenders for the 2011 Berlin Today Award short film competition. Throughout the day, these selected filmmakers are meeting with coaches and mentors to develop their stories and prepare their pitches, which fall under the theme, ‘You Are Leaving the Familiar Sector.’ On Wednesday, February 17, each project will meet with a select number of producers from the eleven German productions companies chosen to participate in the training, including Kloos & Co and Molly Aida.
Belgium filmmaker, Koen Dejaegher, who was a participant in the 2008 Talent Campus, is one of the fifteen filmmakers selected for the BTA workshop. His project, The Scientist, explores the idea of a society looking for meaning in rudimentary tasks. The central character is Jonas, who is hired to observe the behaviour of patients only to realize that the job of the patients is to observe him in return. Dejaegher jokes that his film is more about playing with the ‘familiar sector’ rather than the ‘leaving’, as the world within his film invents jobs that have no real productive use. It’s a cycle that endures because of the fear of doing nothing with one’s life, and so one merely accepts the system, explains Dejaegher. His mentor for the workshop session is Urs Bühler, a professional coach for developing and pitching who, through a process of question and answers, is helping Dejaegher convey a psychologically elusive story that is very much open for interpretation.
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February 13, 2010 09:11
This morning kicks off to an early start for Talent ticketing and registration. Arriving participants have until 16:00 to pick up their accreditation and tickets.
Talents are invited to energize their bodies and minds at the Rise and Shine Breakfast, where Campus Programme Manager, Matthijs Wouter Knol, and Project Manager, Christine Tröstrum, welcome participants and introduce the exciting program of the coming week.
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Welcome to DAY 1 of the Berlinale Talent Campus
This morning kicks off to an early start for Talent ticketing and registration. Arriving participants have until 16:00 to pick up their accreditation and tickets.
Talents are invited to energize their bodies and minds at the Rise and Shine Breakfast, where Campus Programme Manager, Matthijs Wouter Knol, and Project Manager, Christine Tröstrum, welcome participants and introduce the exciting program of the coming week.
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