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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

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