der des étrange it de va - Berlinale Talent Campus
der des étrange it de va - Berlinale Talent Campus
der des étrange it de va - Berlinale Talent Campus
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52<br />
Natalia Smirnoff‘s PUZZLe is part<br />
of the <strong>Berlinale</strong> Compet<strong>it</strong>ion.<br />
THe HUNTeR by Rafi P<strong>it</strong>ts<br />
features in this year’s <strong>Berlinale</strong> Compet<strong>it</strong>ion.<br />
<strong>Berlinale</strong> <strong>Talent</strong> <strong>Campus</strong> #8<br />
<strong>Campus</strong> programme<br />
MONDAy, FeB 15<br />
Rise and Shine Breakfast<br />
Presented by DW-TV.<br />
9:30 / HAU 2<br />
Ready, set, breakfast! Today’s breakfast is presented by Deutsche<br />
Welle and offers you a tasty start to your day. Meet Deutsche<br />
Welle representatives and catch up w<strong>it</strong>h fellow <strong>Talent</strong>s over hot coffee<br />
and ovenfresh croissants.<br />
I'm Ready for My Close-Up – The Actors<br />
Cut Camera Training Workshop<br />
Andrew Byatt, Gregory Byatt, Tom Fährmann.<br />
In cooperation w<strong>it</strong>h The Actors Cut, Skillset, dffb and ARRI.<br />
9:00 / HAU 3, Top Floor<br />
“Uncover, discover, discard and find the simplic<strong>it</strong>y in acting.”<br />
This statement embodies the most cuttingedge screen acting course<br />
conceptualised by The Actors Cut organised by Scottish Film Actors<br />
and Wr<strong>it</strong>ers Workshop producers Andrew and Gregory Byatt. The<br />
workshop, replicating an actual movie shoot, affords participants an<br />
extraordinary opportun<strong>it</strong>y to experience acting in a realistic en vi ronment<br />
similar to ones they will encounter in the professional world.<br />
The Actors Cut has been <strong><strong>de</strong>s</strong>cribed as “a roadmap for actors enabling<br />
them to navigate in that foreign land known as a feature film set where<br />
people speak in a strange language and etiquette is unintelligible to<br />
outsi<strong><strong>de</strong>r</strong>s”.<br />
This one day practical, intensive, professional <strong>de</strong>velopment<br />
workshop, will enable actors of the <strong>Talent</strong> Actors Stage to rehearse<br />
and perform film scenes that are recor<strong>de</strong>d using the latest High<br />
Defin<strong>it</strong>ion cameras by a professional crew and un<strong><strong>de</strong>r</strong> the guidance of<br />
renowned director of photography Tom Fährmann. The scenes will be<br />
instantly projected, allowing <strong>Talent</strong> actors to ree<strong>va</strong>luate and redo their<br />
performances as per the feedback they receive from Fährmann and<br />
course coordinators Andrew and Gregory Byatt.<br />
Cinema Unlim<strong>it</strong>ed: Intercontinental Connections<br />
Madhusree Dutta, Rafi P<strong>it</strong>ts, Natalia Smirnoff, Jean-Marie Teno.<br />
Mo<strong><strong>de</strong>r</strong>ated by Vincenzo Bugno.<br />
In cooperation w<strong>it</strong>h <strong>Berlinale</strong> Forum expan<strong>de</strong>d and World Cinema Fund.<br />
11:00 / HAU 1<br />
Looking for the right people gets trickier when one isn’t on<br />
home ground. A range of international film professionals discuss and<br />
share their experiences on how they prefer to connect and collaborate<br />
in their region or abroad. They will talk about how they built up<br />
networking platforms and coproductions, especially when there is<br />
no major support from the regional film industry. JeanMarie Teno<br />
(SACReD PLACeS, THe COLONIAL MISUNDeRSTANDING), Cameroonian<br />
filmmaker, has been producing and directing films for over twenty<br />
years. Joining him on the panel is Iranian filmmaker Rafi P<strong>it</strong>ts, whose<br />
<strong>Campus</strong> programme<br />
MONDAy, FeB 15<br />
latest film THe HUNTeR features in this year’s <strong>Berlinale</strong> Compet<strong>it</strong>ion.<br />
The panel inclu<strong><strong>de</strong>s</strong> Madhusree Dutta, Indian filmmaker, curator and<br />
activist, whose interdisciplinary installation project “Cinema C<strong>it</strong>y“,<br />
exploring questions about the relationship between urban space<br />
and cinema, will be presented at the 2010 <strong>Berlinale</strong> Forum expan<strong>de</strong>d.<br />
Last but not least, Argentinian filmmaker Natalia Smirnoff, who took<br />
the step up from assistant to the director’s pos<strong>it</strong>ion w<strong>it</strong>h PUZZLe,<br />
presented in this year’s <strong>Berlinale</strong> Compet<strong>it</strong>ion. Highlighting best<br />
prac tices in collaboration, these experts will reveal what they take<br />
into account when putting together their team and choosing their<br />
protagonists.<br />
StreetDance 3D<br />
Julian Pinn, Max H. Penner, Michael Reuter, Jim Spencer.<br />
Mo<strong><strong>de</strong>r</strong>ated by Jennifer Hoffmann.<br />
In cooperation w<strong>it</strong>h The Post Republic and Dolby.<br />
11:00 / Cubix 7<br />
Accred<strong>it</strong>ed <strong>Berlinale</strong> guests are inv<strong>it</strong>ed to learn more about<br />
what <strong>it</strong> means for film professionals working w<strong>it</strong>h 3D. Produced by<br />
Vertigo Films in 2009, STReeTDANCe 3D is europe’s first liveaction<br />
3D feature film. The making of this film brought together leading<br />
3D production company Paradise FX (MY BLOODY VALeNTINe and<br />
THe HOLe – winner of the top prize at the Venice 3D Film Festi<strong>va</strong>l)<br />
and The Post Republic who have <strong>de</strong>veloped Germany’s first 3D postproduction<br />
solution. This session will offer a preview of clips from<br />
STReeTDANCe 3D at Cubix 7 w<strong>it</strong>h Dolby dig<strong>it</strong>al 3D and surround<br />
sound, and a discussion on the production of the film. Giving an<br />
overview of what needs to be consi<strong><strong>de</strong>r</strong>ed when embarking on a 3D<br />
production, <strong>it</strong> will look at the ground breaking dig<strong>it</strong>al technology and<br />
workflow employed in STReeTDANCe 3D, as well as focusing on the<br />
techniques involved in 3D postproduction and surround sound and<br />
the opportun<strong>it</strong>ies they offer filmmakers embracing 3D.<br />
excursion to the Costume House Theaterkunst<br />
In cooperation w<strong>it</strong>h Theaterkunst.<br />
13:15 / Meeting point: 13:00 at the entrance of HAU 1<br />
Foun<strong>de</strong>d in 1907, Theaterkunst specialized from the very start<br />
in creating and renting out costumes to theaters, revues and operas.<br />
In the 1920s, the company ma<strong>de</strong> costumes for big productions such<br />
as Fr<strong>it</strong>z Lang’s MeTROPOLIS or Fred Niblo’s BeN HUR. In recent times,<br />
<strong>it</strong> has f<strong>it</strong>ted the cast of numerous cr<strong>it</strong>ically acclaimed films including<br />
THe LIVeS OF OTHeRS, THe ReADeR and INGLOURIOUS BASTeRDS.<br />
Theaterkunst’s stock is arranged by historical epochs and genres, and<br />
not by when a film originated. It not only rents costumes but also<br />
<strong><strong>de</strong>s</strong>igns a very personal and individual collection for each and every<br />
client according to their specifications, taking factors like age, gen<strong><strong>de</strong>r</strong>,<br />
milieu, profession and status, as well as historical and social context<br />
An<strong>it</strong>a Killi‘s short film ANGRY MAN<br />
features in this year‘s <strong>Berlinale</strong> Generation.<br />
into account. Today, after over 100 years of <strong>it</strong>s existence, the company<br />
has more than ten million <strong>it</strong>ems in stock, stored at <strong>it</strong>s three branches<br />
and <strong>it</strong>s headquarters in Berlin.<br />
This general tour is open to ten <strong>Talent</strong>s.<br />
Pencils, Puppets and Pixels<br />
Merlin Crossingham, An<strong>it</strong>a Killi, Ma<strong>it</strong> Laas.<br />
Mo<strong><strong>de</strong>r</strong>ated by Ben Gibson.<br />
In cooperation w<strong>it</strong>h Robert Bosch Stiftung and <strong>Berlinale</strong> Generation.<br />
14:00 / HAU 1<br />
The abil<strong>it</strong>y to show us practically anything, to <strong>de</strong>lve into any<br />
world, to give voices to the voiceless, emotions to the emotionless,<br />
to go beyond the restrictions of liveaction filmmaking – this is the<br />
world of animation filmmaking. A marvel of trad<strong>it</strong>ional craftsmanship,<br />
the animation industry is all the rage w<strong>it</strong>h young and old alike. On<br />
this panel, we have three pathbreaking professionals: Ma<strong>it</strong> Laas,<br />
author, animator and documentary filmmaker, has created an array of<br />
astonishing stopover animations at the Nukufilm Studios in estonia;<br />
An<strong>it</strong>a Killi, animator and foun<strong><strong>de</strong>r</strong> of the animation studio Trollfilm AS,<br />
has directed the awardwinning ANGRY MAN; and creative director of<br />
WALLACe AND GROMIT at Aardman Animations, Merlin Crossingham<br />
is the key character animator in the feature film <strong>de</strong>partment and has<br />
worked on films such as CHICKeN RUN. These experts will reflect on<br />
the current popular<strong>it</strong>y and the visibil<strong>it</strong>y of animation films. Presenting<br />
a range of excerpts from their respective film portfolios, they will<br />
provi<strong>de</strong> an overview of the current state of animation making and<br />
discuss the mixing of craftsmanship and technology.