der des étrange it de va - Berlinale Talent Campus

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excursion to the HFF “Konrad Wolf“ where re­recording mixer
Martin Steyer will hold a master class.
Rise and Shine Breakfast
9:30 / HAU 2
Today’s Rise and Shine Breakfast offers you a tasty start to a
pro m ising new Campus day. Meet Campus representatives and catch
up with fellow Talents over hot coffee and a delicious breakfast spread.
Berlin Today Award 2011 Producers‘ Meeting
Supported by Medienboard Berlin-Brandenburg.
10:00 / HAU 3, Front House
Five films are in the production line­up of the Berlin Today
Award 2011, the Campus’ Talent Short Film Competition. The films,
Berlinale Talent Campus #8
Campus programme
WeDNeSDAy, FeB 17
Yôji Yamada‘s OTOUTO will be screened
as the Official Closing Film of this year‘s Berlinale.
based on the theme “You Are Leaving The Familiar Sector”, will
cele brate their world premiere at the opening of the 9th Berlinale
Talent Campus in 2011. The Producers’ Meeting is a marriage market of
shorts, where 15 pre­selected Talents meet producers interested in
producing one of the Berlin Today Award shorts. Starting with brief
introductions and a round of project presentations, Talents will be
able to present their projects in one­on­one meetings with producers.
An entire day of discussions, pitching and profiling will end with
Talents and producers voting for their choice partners. In spring 2010,
the Berlinale Talent Campus will select the final five projects and their
producers from the wish list compiled at this Producers’ Meeting.
Campus programme
WeDNeSDAy, FeB 17
excursion to the German
Film Orchestra Babelsberg
Martin Steyer.
In cooperation with Insight Out, German Film Orchestra Babelsberg
and the Film and Television Academy (HFF) "Konrad Wolf".
10:00 / Meeting point in front of HAU 1
The German Film Orchestra Babelsberg, the only professional
orchestra for film music in Germany, opens its doors to sound
designers and composers attending the Campus. Located on the
premises of Studio Babelsberg where cinematic images have been
brought to life for a long time and films such as THe BLUe ANGeL,
MURDeReRS AMONG US, THe LIFe OF OTHeRS and THe GHOST WRITeR
were produced. The excursion will be followed by a sound editing and
re­recording mixing master class (see below).
Absolute Hearing
Master class sound editing & re-recording mixing
with Martin Steyer.
In cooperation with Insight Out.
Prof. Martin Steyer, vice president of the Film and Television
Academy (HFF) “Konrad Wolf” and re­recording mixer of the Academy
Award winning film THe LAST KING OF SCOTLAND, will conduct a
master class on the film‘s soundtrack, which has an original score by
composer Alex Heffes. Martin Steyer will explicate, both technically
and strategically, how the score was woven into the fabric of the film
from the very start to immerse the audience in the music of Uganda,
adding a contrasting large scale orchestral score to the film. But not
only the score, he will also give details from his perspective on film
sound as an audio event with a quasi musical structure. The sound
crew of the film including former HFF students Christian Conrad
(supervising sound editor) and Dominik Schleyer (dialogue editor)
were nominated for The Golden Reel Award (Best Sound editing) of
MPSe (Motion Picture Sound editors) in 2007.
In the Limelight: yôji yamada
Tsutomu Abe, yôji yamada, Ichirô yamamoto.
Moderated by Masayo Kajimura.
In cooperation with Berlinale Forum.
11:00 / HAU 1
Yôji Yamada is one of Japan’s preeminent directors with a
lengthy career of over 80 films starting in 1968 and including the
critically acclaimed DOWNTOWN HeROeS, THe TWILIGHT SAMURAI,
and KAABee – all of which competed for the Golden Bear in previous
years. Yamada is also very well­known for making the longest ever
theatrical film series OTOKO WA TSURAI YO (better known as TORA-
SAN), spanning a period of about 25 years and comprising 48 films. A
combination of road movie, romance, comedy and nostalgia, it was a
box­office success every single time. This prolific filmmaker returns to
the Berlinale with two films in this year’s programme: OTOUTO and
KYOTO STORY; the latter a collaborative project with Japanese students.
Together with producer Ichirô Yamamoto and Tsutomu Abe, codirector
on KYOTO STORY, he talks about the twists and turns in his
long cinematic journey and his collaboration with a new generation of
Japanese filmmakers.
Reality Bites: Doc Station Presentation
Hans-Robert eisenhauer.
Moderated by Sirkka Möller.
In cooperation with German Federal Film Board (FFA).
11:00 / HAU 3, Top Floor
They say that truth is stranger than fiction. In the hands of
talented documentary filmmakers, it can also be funnier or more
dramatic, more captivating or more poignant – and infinitely more
inspiring. The Doc Station presents a unique insight into the devel opment
of documentary films by up­and­coming docu men tarians from
around the world. Like the filmmakers themselves, also their stories
reflect a world of global communication and cross­national identities,
be it a political docu thriller from Peru or the gripping conflict of a
female boxer in Zambia. At different stages of development, these
stories by Doc Station Talents will be presented for the first time before
a pro fes sional audience.
Shotgun Stories: African Cinema Attacks
Kunle Afolayan, Oliver Hermanus, Caroline Kamya,
Tom Tykwer. Moderated by Dorothee Wenner.
In cooperation with Heinrich Böll Foundation,
Berlinale Forum and Berlinale Generation.
14:00 / HAU 1
There’s a whole new generation of African filmmakers ready to
shoot films which might blow our minds away: as they don’t match
the image of African cinema that we are used to. Many young direc ­
tors choose urban Africa as a location to tell stories of love and hate;
they prefer hip hop to traditional drums in their scores and are eager
to portray lifestyles yet to be discovered beyond Kampala, Johan nesburg,
Nairobi or Lagos. Although filmmaking in most African countries
is more difficult than in other parts of the world, this new generation
refuses to be silenced by those who try to control their work by means
of funding, tough political oppression or simply due to lack of interest.
The headwinds from home blow just as strongly as they do from
countries in the North, but they aren‘t strong enough to stop this
movement. This panel offers a platform to exchange ideas for the
future of African cinema based on personal experiences, new strat egies
and individual films. It’s time for action: moving images can be
used as sharp weaponry in a warfare against ignorance.