yearbook 2004/05 - The European Film College
yearbook 2004/05 - The European Film College
yearbook 2004/05 - The European Film College
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never been questioned, because nobody would<br />
have protested.<br />
{ana * thesis }<br />
*ana or ana, stands for from bottom<br />
to top, as in “anatomy”<br />
A producer has to exert judgement all the time<br />
on each project. If you are making a slapstick<br />
comedy, but you don´t find slapstick entertaining,<br />
how will you determine whether your film<br />
is funny or not, whether the scenes and editing<br />
works or not, whether it will have a chance<br />
of reaching its target audience or not? It is my<br />
opinion that a producer can only do films well<br />
that they relate to in one way or the other, and<br />
I guess that is bound to result in some kind of<br />
transversality. It is also a fact that the competition<br />
in this business is harsh, and the only way<br />
to survive is to be very conscious about your<br />
own strengths and weaknesses. If you do not<br />
do what you are best at, but try to do something<br />
that somebody else is much better at, you are in<br />
a very weak position.<br />
Transversality, however, is also a self-increasing<br />
process. <strong>The</strong> projects you have already done<br />
have a major effect on your future slate because<br />
the profile becomes a decisive factor for others<br />
when approaching you instead of another<br />
producer and when choosing which projects<br />
to send and it also becomes easier to finance<br />
projects that are in line with things you have<br />
earlier done, because that is what the financiers<br />
and the networks you have developed expect<br />
from you.<br />
{hypo * thesis }<br />
hypo or upo, stands for beneath,<br />
as in “hyposensitivity”<br />
So a conclusion could be that the crucial steps of<br />
FROM THE TEACHERS<br />
development and production, if you want to<br />
achieve transversality, are a very conscious and<br />
on-going analysis of your own strengths and<br />
weaknesses, of your position and opportunities<br />
in the market, of each of the projects in terms of<br />
what they want to tell, who they want to tell it<br />
to, if the “structure” of the project is the best for<br />
achieving this, if you can improve it, who/what<br />
is needed to help this improvement along, and<br />
how you create the best possible frame for all of<br />
this to happen. You have to try to do your best<br />
at all levels, even if you will not always succeed.<br />
Of course you should never forget the gut-feeling.<br />
That is very important too and should always<br />
come first. <strong>The</strong> head can kick in later.<br />
{syn * thesis }<br />
syn or sun, stands for together,<br />
as in “synopses”<br />
by Litsa Boudalika