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der des étrange it de va - Berlinale Talent Campus

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Page<br />

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.

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