magazine berlinale talent campus - Berlinale Talent Campus - Top-ix

HeBBel am ufer 12 – 17 feB 11 

Berlinale TalenT campus 

magazine

350 TalenTs from 

88 counTries 

Welcome to the Berlinale Talent Campus! 

We would like to thank our international network 

for its support

Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin 

Berlinale Talent Campus #9

Page 

04 

05 

02 

Chapter 

Focus 

01 

Chapter 

p.18 Framespotting – 

Filmmakers positioning themselves 

04 

Chapter programme 

p.40 Campus programme – Timetable 

p.46 day 1 – Sat, Feb 12 

p.47 day 2 – Sun, Feb 13 

p.50 day 3 – Mon, Feb 14 

p.55 day 4 – Tue, Feb 15 

p.58 day 5 – Wed, Feb 16 

p.63 day 6 – Thu, Feb 17 

03 

Chapter 

contents 

introduction 

05 

Chapter index 

p.68 Index of events 

p.69 Index of experts 

p.75 Index of participants 

p.77 Note of thanks 

p.78 Team and imprint 

p.79 Partners 

p.07 Editorial Dieter Kosslick 

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum 

p.10 Words of welcome 

p.12 Berlinale Talent Campus website 

p.13 Talent Campus International 

p.14 Campus alumni at the Berlinale 

p.15 Supporting foundations 

Hands-on training 

p.22 Score Competition 

p.23 Interview Michael Nyman 

p.24 Script Station 

p.25 Doc Station 

p.26 Campus Studio 

p.27 Interview Molly Malene Stensgaard 

p.28 Talent Project Market 

p.29 Talent Press 

p.31 Talent Actors Stage 

p.32 Berlin Today Award 

p.35 Meet the Expert

Chapter 

01 

introduction 

p.07 Editorial Dieter Kosslick 

p.09 Editorial Matthijs Wouter Knol, Christine Tröstrum 

p.10 Words of welcome | p.12 Berlinale Talent Campus 

website | p.13 Talent Campus International 

p.14 Campus alumni at the Berlinale 

p.15 Supporting foundations 


Happy 

BirtHday, 

MEdia ! 

to tHE nExt 

20 yEars ! 

Thank you for your ongoing support 

of the Berlinale Talent Campus and the 

Berlinale Co-Production Market.

Editorial 

Find your Frame! 

“a unique opportunity for networking. 

in my professional life, there will definitely 

be a ‘before’ and an ‘after’ the campus.” 

Yves Heck, participant 2010 

Nine years old and going strong: The idea of the Berlinale 

Talent Campus has lost nothing of its freshness and international 

attraction. On the contrary, this year nearly 4,000 filmmakers from as 

many as 141 countries sent in their applications to be part of this 

worldwide film community. 350 of them were chosen to gather at this 

year’s Campus to attend the exemplary series of workshops and 

lectures given by a range of top-notch international film experts. 

Back home these up-and-coming filmmakers will profit from 

the global network the Berlinale Talent Campus is able to provide 

them with. And we definitely know that – because they come back! 

Many Campus alumni send us their work, they apply with their films to 

the Berlinale – that's one of our ways of keeping in touch. 

And so, every year the Official Selection of the Berlin International 

Film Festival is enriched by films made by Campus alumni. In 

this manner, the spirit of the Campus swirls permanently within the 

different sections of the festival. This year is not any different: We are 

proud to present 35 films made with the major involvement of 38 

current or former Talents in the Official Berlinale Selection – among 

them is OUR GRAND DESPAIR by 2005 alumnus Seyfi Teoman in the 

Berlinale Competition. This displays the immense potential of the 

Campus and is the best proof of its growing significance. 

But besides networking and learning from Berlinale guests, 

as well as from other renowned professionals, there is another opportunity 

offered to the participants of the Berlinale Talent Campus: the 

chance to position oneself, the chance for self-orientation within a 

world and an industry full of endless possibilities. As this year’s Campus 

focus “Framespotting – Filmmakers positioning themselves“ stresses: 

Every filmmaker has the chance to find an individual frame in which 

she or he wants to work. Like a camera needs a perspective to shoot a 

scene, a filmmaker needs a vision from which she or he can tell a story. 

Positioning oneself is not an easy task; it might demand courageous 

decisions and a good sense of responsibility. Nevertheless, to develop 

a strong artistic profile, a clear approach and focus are indispensable. 

The Berlinale Talent Campus offers support by way of unique pos si - 

bilities to connect and discuss with people of a similar disposition as 

well as with industry old hands or creative minds of all kinds. 

That the Berlinale Talent Campus was able to position itself 

over the course of the past nine years as a world-spanning community 

of young filmmakers is due to a group of true partners who have 

Berlinale Talent Campus #9 

Page 

06 

07 

tirelessly supported it from the very beginning. First and foremost we 

extend our gratitude to Bernd Neumann, the Federal Government 

Commissioner for Culture and the Media (BKM) as one of our funders. 

Together with a congratulation on its 20th anniversary, we also sin - 

c er ely thank the MEDIA Training Programme of the European Union, 

as well as our founding partner Medienboard Berlin-Brandenburg. 

Another founding partner, UK Film Council / Skillset, has unfortunately 

not been able to join us anymore – nevertheless, thank you for your 

backing in the past years! With out the support of all our partners 

and sponsors we would not be able to create this fascinating frame 

around the world‘s next filmmaking generation. 

i wish everybody an exciting campus week – and we all look 

forward to seeing you again with your films in the next years! 

dieter Kosslick 

Festival Director 

Berlin International Film Festival 

Photo Marc Ohrem-Leclef - marcleclef.com

PROFESSIONAL 

DEVELOPMENT 

& TRAINING 

SOURCES 2 Script Development Workshops 

Three-month process coached by experienced script advisers 

for European screenwriters and teams of writers, producers or directors: 

Seven-day session, coached development period, follow-up session. 

Application date: 1 st March 2011 for the workshop at the FilmCamp/Norway, 

16 th – 24 th June 2011, with the support of FilmCamp AS. 

Requested: Feature film projects and creative documentaries 

Application date: 1 st July 2011 for the workshop in Luleå/Sweden, 

November 2011, with the support of Filmpool Nord. 

Requested: Feature film projects and creative documentaries 

SOURCES 2 at Berlinale Talent Campus 

Consultation – Analysis – Advice for selected projects 

Louise Gough at the Script Station, 

Ulla Simonen at the Doc Station. 

Please visit the SOURCES 2 stand at HAU 1! 

SOURCES 2 • Köthener Straße 44 • D-10963 Berlin 

Tel. + 49(0) 30 - 88 60 211 • info@sources2.de • www.sources2.de

Editorial 

berlin 

maKes a diFFerence 

“i have learned so much, met many people 

i would have never met otherwise, 

and now i feel ready for the next stage 

in my filmmaking career.” 

Kyoko Miyake, participant Berlin Today Award 2011 

Bringing together 350 up-and-coming filmmakers with around 

150 film experts in a Kreuzberg theatre in one of Berlin’s most chilly 

months is something we do every year for a very specific reason. Even 

though most of us today connect more easily with the rest of the 

world than ever before, we strongly believe that offering a real-life 

platform where each attending filmmaker can meet 499 new people 

in a short time, also makes sense more than ever before. 

You’ll see that the Berlinale Talent Campus is a wide-span ning 

event that sets out firstly to talk about the vibrant issues of today’s 

cinema – not purely to philosophise about them, but also to set things 

straight and break the often complex filmmaking reality down to 

human proportions. For us, the film business is a people’s business 

Matthijs Wouter Knol Programme Manager 

Christine Tröstrum Project Manager 

08 

09 

which evolves and depends on human relations. Even with an array of 

different events, the Campus is set up to make people meet people: 

talented young people eager to learn, talented experienced people 

willing to share. 

The mere fact that this is done during the Berlin International 

Film Festival, makes a huge difference to the opportunities the 

Berlinale Talent Campus can effectively offer: the huge amount of 

different curated programmes and events during the Berlinale makes 

it the perfect place to meet film-loving audiences on every level. 

At the end of the day, making films comes down to building 

trust. In order to find the people you want to work with intensively on 

new film projects, people who can support you to find and face your 

audience – meeting them and looking them in the eye is inevitable 

and necessary to ensure that they share your passion. Filmmaking 

requires you to commit yourself, to show who you are, to pay attention 

to details that might seem trivial, but can change people’s attitude 

and open doors for the future. To be able to join you, people need to 

know where you stand. 

That‘s insofar as real life meeting go. Beyond that, the Berlinale 

Talent Campus enables you to stay connected more easily afterwards 

through our online network of almost 4,000 filmmakers around the 

world. All of them have been at the Campus, quite a few of them have, 

in the meantime, found their way into the industry. Having a shared 

experience in Berlin or anywhere in the world makes it easier to reach 

out, to build new friendships and start collaborations. 

And collaboration is what the Campus stands for: we aim to 

enhance knowledge. Not only by enabling contact between filmmakers 

but also by bringing together people from various disciplines 

in order to refresh minds and make sure that you’ll have another 

perspective on routines and procedures you’ve been taught or experienced 

until now. Our global dynamic is reinforced by the colla borations 

we have ourselves with Talent Campus programmes in Central 

and South America, Africa, and Southeastern Europe. 

out of 3,967 filmmakers who applied, you have made it to 

berlin, europe’s creative capital du jour, which hosts the largest 

audience film festival in the world. that‘s no reason to lean back 

and relax, but to make the most of it! 


Page

Page Partners 

10 words oF welcome 

Costas Daskalakis 

Head of the EU MEDIA Programme at the Education, 

Audiovisual and Culture Executive Agency 

Bernd Neumann 

Federal Government Commissioner for Culture and 

the Media, Minister of State to the Federal Chancellor 

Photo Bundesregierung/Chaperon 

“to ensure that creativity of the highest order continues 

to be available in the future, the berlinale talent campus, 

brings the most promising up-and-coming filmmakers 

from all over the world to berlin...“ 

costas daskalakis 

media programme 

Continuous training of professionals and talented individuals 

is essential to reinforce the competitiveness of the European audiovisual 

industry, a core objective of the MEDIA Programme of the European 

Union. That is why ever since its beginnings in 1991 the MEDIA 

Programme has devoted a substantial amount of its budget to cofinance 

training initiatives developed by professionals for pro fessionals. 

More than 1,500 professionals from countries participating in 

the MEDIA Programme are trained every year through more than 60 

MEDIA funded training initiatives where they have the opportunity to 

acquire new skills, learn from others’ mistakes or successes, fine-tune 

their projects thanks to experienced tutors, explore new technologies 

or expand their contact base. 

It has therefore been natural for us to be the main financial 

partner of the Berlinale Talent Campus since the beginning. We strive 

for the same objectives and values: training professionals, fostering 

projects, connecting people in Europe and the world. 

Apart from training activities, there is a lot more that the MEDIA 

programme offers to young filmmakers: project development, international 

distribution, networking and access to key markets and coproduction 

forums in Europe and around the world. This year, the 

MEDIA programme is celebrating its 20th Birthday so we are especially 

proud to look back on how much the European film industry has 

developed over this period, and to stress our continued commitment 

to supporting the EU film industry in the future. I wish you an exciting 

Campus week and rich, vibrant coll a borative filmmaking adventures. 

bernd neumann 

Federal government commissioner 

for culture and the media 

The Berlinale, which will take place for the 61st time in 2011, 

showcases the best of international cinema in Berlin. To ensure that 

creativity of the highest order continues to be available in the future, 

the Berlinale Talent Campus, now in its ninth year, brings the most 

promising up-and-coming filmmakers from all over the world to Berlin 

to engage them in creative exchange with one another as well as with 

big names in cinema. 

Accordingly, this year’s theme “Framespotting – Filmmakers 

positioning themselves” is both a challenge and an encourage ment 

for young filmmakers to find themselves and their place. At the 

Berlinale Talent Campus, they are incited to examine their approach to 

personal subjects, interact with new media and cinematic forms, and 

last but not least, to ask themselves how to create a cinematic future. 

At the same time, looking beyond national borders broad ens the 

horizons of the participating young German filmmakers and thus 

strengthens the German film industry. 

As the Federal Government Commissioner for Culture and the 

Media, I have once again decided to lend financial support to this 

unique initiative that is dedicated to artistic exchange, creative sustainability 

and cinematic diversity. I wish all the Campus par ti ci pants 

and visitors exciting en coun ters full of inspiration, creativity and new 

visions.

Partners Page 

Kirsten niehuus, elmar giglinger 

medienboard berlin-brandenburg 

Dear Talents and mentors from all over the world, chilly win - 

ter time in Berlin… and therefore an extra warm welcome to the 

9th Berlinale Talent Campus on the occasion of this year’s Berlin 

International Film Festival! 

We are delighted to have you here during the most exciting 

period of the year, when up to 19,000 film pro fessionals gather around 

Potsdamer Platz to watch, discuss, adore, trade movies, network and 

reunite. 

Berlin is a hot spot for creative talent and an international 

hub for filmmakers from all continents. Let the city electrify you, 

share and be a part of the capital vibes! Taking part in the Berlinale 

Talent Campus lectures, seminars and workshops will be a number 

one oc ca s ion for learning and improving your skills, for meeting renowned 

film experts and fellow Talents. 

Kirsten Niehuus 

CEO Medienboard Berlin-Brandenburg, 

Managing Director Film Funding 

Elmar Giglinger 

CEO Medienboard Berlin-Brandenburg, 

Managing Director Media Development 

“ dear talents and mentors from all over the world, 

chilly winter time in berlin… and therefore an extra 

warm welcome to the 9th berlinale talent campus...“ 

“ we are delighted to have you here during the most 

exciting period of the year, when up to 19.000 

film pro fessionals gather around potsdamer platz 

to watch, discuss, adore, trade movies, network 

and to reunite.“ 


11 

Plus, this six-day experience may become vital for your film making 

future; and if you would like to stay for a while and work in Berlin, why 

not participate in the Berlin Today Award, our annual short film competition 

open exclusively to Campus participants, past and present. 

This year’s bunch of films created under the motto “Leaving the 

Familiar Sector” will premiere at the opening ceremony of the Berlinale 

Talent Campus on Satur day and the winner will be crowned during 

the Dine & Shine dinner – we wish all films good luck. And now: Lift 

the curtains, let the Campus begin!

Page 

12 

The homepage 

of the Campus website 

The Campus-on-Demand section 

offers videos, transcripts and photos 

Find us at: 

www.berlinale-talentcampus.de 

www.talentpress.org 


berlinale 

talent campus 3.0 

the worldwide campus network is the central feature 

of the berlinale talent campus website – our online community. 

The Berlinale Talent Campus website is not only a great source 

of information about the current edition, the next application deadline 

and ongoing programme elements like the Berlin Today Award, it is 

also continuously updated with news on Campus events around the 

globe and the current status of alumni projects. Moreover, for the 

Campus’ 9th edition, a selection of master classes will be streamed live 

on the Campus website and accessible thereafter on the Campus-on- 

Demand section. 

Campus-on-Demand offers a variety of videos, scripts, programmes 

and photos from preceding Campuses. Panels and dis cussions 

with experts such as Isabel Coixet, Stephen Daldry, Claire Denis, 

Tilda Swinton, Shah Rukh Khan and Wim Wenders can be watched 

online and are a great way to get information on con tem porary topics, 

themes or discussions within the industry. As our international network 

is vital to the Campus experience, we introduce this year’s Talents 

online. Computer stations in HAU 1 and HAU 2 give direct access to this 

network, where you can browse profiles that show samples of work 

and filmographies, as well as the opportunity to contact fellow 

filmmakers directly. The Berlinale Talent Campus community also includes 

profiles of Campus alumni, including alumni of the Campus 

International initiatives and a bulletin board where news on festivals, 

events and calls-for-entry are collected and shared. 

You can stay updated all year round with the Campus newsletter. 

Featuring not only news from Berlin, it also reports on all 

Campus ventures around the world, on the programmes in Guadalajara, 

Durban, Buenos Aires and Sarajevo. The latest newsletter can be 

read online or you can register to receive it via email on the Berlinale 

Talent Campus homepage. Of course you can browse former Campus 

editions too and find information about Campus locations and the 

team. 

With www.talentpress.org, young and up-coming film critics 

have found their platform. Read articles, reportages, interviews and 

features on films, filmmakers and festivals from Talents and Campus 

alumni. Our virtual Campus is there for you to interact, collaborate, 

inform yourself about fellow filmmakers and present yourself actively: 

the place for all daily Campus needs and beyond. 

“i met great collaborators and 

was given a huge leg-up to grander production values; 

from here-on there's no turning back.” 

Bryn Chainey, Berlin Today Award winner 2010

Talent Campus International 

rolling stones 13 

Four international editions of the campus, modelled along 

the lines of the berlin-based archetype, have taken off abroad: 

in guadalajara, buenos aires, durban and sarajevo. 

3rd talent campus guadalajara (march 24-28, 2011) 

ana de la rosa Zamboni and lorena rossette riestra, talent campus guadalajara 

“The Talent Campus Guadalajara has created and consolidated a place where emerging 

filmmakers and worldwide experts can come together: a forum that encourages and reinforces 

future film productions allowing us to reflect our features; a place of creative exchange and 

cinematographic collaboration. A country confesses itself through its filmography: if it does 

not see its culture recreated in the audiovisual media, it loses the possibility of developing and 

transforming its identity. It is important to establish venues that promote the creative exchange 

between different cinematographic narratives, focused on highlighting the values and cultural 

identity of each country, as well as the intercultural relationship among them.“ 

6th talent campus buenos aires (april 6-9, 2011) 

maría marta antin, talent campus buenos aires 

“Bringing together young professionals and experts around the same topic is our main 

goal, with the aim of creating a space for exchange both intellectually and professionally. The 

topic for the Campus 2011, ‘Cinematic forms‘, has been chosen to inspire discussions on how 

the forms of cinema have changed or resisted throughout its history. The Talent Campus 

Buenos Aires has become a main event for South American young filmmakers and professionals, 

providing Talents the opportunity to profit from networking while developing a platform for 

their own projects. For the second year we motivate them to join the hands-on programmes: 

the result is an intense and rich debate around the fact of sharing a continent, South America.“ 

4th talent campus durban (July 22-26, 2011) 

peter rorvik, durban international Film Festival 

“The first three editions facilitated meaningful exchange between African filmmaking 

Talents, generating inspiration and opportunities for participants. A powerful affirmation of 

the contribution of this project in empowering a new generation of filmmakers in Africa is the 

fact that the 31st Durban International Film Festival in 2010 programmed an unprecedented 

13 films from Campus alumni. Problems of access are a big issue in Africa – access to resources, 

infrastructure, funding and networks. Talent Campus Durban provides a highly valued networking 

and skills training opportunity, bringing together about 40 young filmmakers from 

nearly 20 different countries in Africa, in programmes that address these challenges.“ 

5th talent campus sarajevo (July 22-28, 2011) 

mirsad purivatra, talent campus sarajevo 

“Our first five-year plan was directed towards creating a proper community out of the 

new generation of talent in Southeast Europe, introducing the standards it should operate on, 

raising the bar for the achievements they aim for and finally building a brand out of Talent 

Campus Sarajevo that can rightfully represent them. The main achievement of Talent Campus 

Sarajevo must be the annual impact it has on rejuvenating the film industry in our region. An 

annual, targeted injection of a critical mass of emerging talent into the system helps the in dustry 

make its goals and approaches more youth-oriented. The industry now understands this 

and trusts the Talent Campus Sarajevo to highlight the most promising talent.“ 

Talent Campus Guadalajara 

supported by the Goethe-Institut Mexico 

and the University of Guadalajara 

Talent Campus Buenos Aires 

supported by the Goethe-Institut Buenos Aires, 

Buenos Aires International Independent Film Festival 

and the Buenos Aires Lab 


Page 

Talent Campus Durban 

supported by the German Embassy South Africa, 

the Goethe-Institut Johannesburg and the KwaZulu-Natal 

Department of Economic Development 

Talent Campus Sarajevo 

supported by the Robert Bosch Stiftung and partners 

(from above)

Page 

14 

Campus alumni Dates 

returning to Home base 

Films in the Official Programme with alumni participation: 

Rosario García-Montero‘s THE BAD INTENTIONS | Berlinale Generation. 

an impressive number of campus alumni will feature in 

the various sections of the 61st berlin international Film Festival. 

The Berlinale 2011 welcomes back 38 Campus alumni who return 

with major roles in 35 film projects, spanning different sections of 

this year’s Berlinale. The Berlinale Talent Campus celebrates not only 

the return of former participants to Berlin, but also the projects that 

feat ure collaboration between filmmakers forged at the Campus. 

“ a roller coaster for filmmakers.” 

Tal Granit & Sharon Maymon, participant 2010 

Competing for the Golden Bear this year is Seyfi Teoman’s OUR 

GRAND DESPAIR. The Turkish director (Campus 2005) also pre sents his 

new project “Saints“ at the Co-Production Market. Having found a coproducer 

at the Talent Project Market in 2007 and support from the 

World Cinema Fund, Peruvian director and alumna Rosario García- 

Montero’s THE BAD INTENTIONS will celebrate its prem iere in Berlinale 

Generation – and so does Israeli director Guy Nattiv (Campus 2003) 

with his debut feature film THE FLOOD. 

Two editors return to the Berlinale this year – Szilvia Ruszev 

(Campus 2008) with HARvEST and Lee Chatametikool (Campus 2006) 

with HI-SO. Dani Rosenberg and Melissa Dullius, both Campus 2006 

participants, have had films at the Berlinale before. This year 

Rosenberg’s co-directed short film SUSYA and Dullius‘ directed THE 

RESIDENTS will be shown in Berlinale Shorts and Berlinale Forum respectively. 

Twenty-year old Campus alumnus from 2009, Romualdas 

Za ba rauskas is the Lithuanian director and screenwriter of PORNO 

MELO DRAMA, which will be shown in the Berlinale Panorama. 

A Talent‘s comeback in the Berlinale Competition: 

Seyfi Teoman‘s OUR GRAND DESPAIR 

sun 13 | 19:00 

ewerk 

Dine & Shine 

(p.49). 

tue 15 | 17:00 

Hau 2 

Plugging People: 

European Producers 

Positioning Themselves 

(p.57). 

wed 16 | 14:00 

Hau 1 

The Internationals: 

How Small Stories 

Become Big 

(p.60). 

wed 16 | 17:00 

Hau 3, top Floor 

Happy Returns: 

The Future after 

the Campus 

(p.62). 

Two alumni joined forces for the film SILENT RIvER: Romanian 

director Anca Miruna Lăzărescu (Campus 2004) and German producer 

David Lindner (Campus 2010); the film will be shown in the Berlinale 

Shorts this year. The Danish animation film, THE GREAT BEAR was 

directed by Esben Toft Jacobsen (Campus 2008) with a score by Nicklas 

Schmidt (Campus 2010). 

Alumni projects will also be presented at the Berlinale Co- 

Production Market: Javier Fuentes-León’s “The Woman Who Feared the 

Sun“, Kornél Mundruczó’s “The Flying Man“, Orsolya Nagypal’s “Balaton 

Submarine“, Jean des Forêts and Tobias Nölle’s “We Are Dead“. 

other campus alumni at the berlinale in 2011 

Ana Lily Amirpour (HAIRY), Rodrigo Bellott (BLOKES), Nicolás 

Carreras (THE WAYS OF WINE), Carl Clifton (TOAST), Ron Dyens (PLANET Z), 

Kaspars Goba (HOMO@Lv), Oliver Kaempfer (THOMAS), David Lowery 

(SILvER BULLETS), Luna Mijović (BEATS BEING DEAD), Rick Minnich 

(FORGETTING DAD), Orsolya Nagpal (project “Balaton Submarine“ in the 

Berlinale Co-Production Market), Dorothea See ger (UNDER CONTROL), 

David Sieveking, Rouven Rech and Jochen Laube (LIFE ISN‘T A HOME 

GAME), Aylin Tezel (ALMANYA), Pimpaka To wi ra (TERRIBLY HAPPY), 

Sandra Trostel (UTOPIA LTD.), Andi Wecker (LOLLIPOP MONSTER) and 

Ralf Westhoff (THE LAST NICE DAY OF AUTUMN). 

For more information 

on submissions to the Berlin International Film Festival, 

visit www.berlinale.de.

Supporting foundations Page 

Funding matters! 

the robert bosch stiftung and the manfred durniok Foundation have been supporting 

the berlinale talent campus over the past years. their contribution, both financial 

and conceptual, are invaluable to its success. 

the co-production prize of the robert bosch stiftung 

Especially interested in Eastern Europe? The core ambition of 

the Co-Production Prize of the Robert Bosch Stiftung is to encourage 

collaboration and foster mutual development between producers and 

filmmakers in Germany and Eastern Europe. Supporting filmmakers 

and producers has had a profound impact over the past years: films 

have been screened all over the world and won awards or were Oscarnominated. 

Take German producer Stephan Grobe: he joined the 

Talent Campus Sarajevo as a guest in 2009 upon learning about the 

Co-Production Prize. Having applied with Kazakh filmmaker Katya 

Suvorova, their documentary film project SEATOMORROW won the Co- 

Production Prize in 2010, and the film THE HOUSEMAID (directed by 

Anna Hoffmann), which he produced, was screened at the Berlinale 

Perspektive Deutsches Kino in 2010. 

Ideally, film projects supported by the Robert Bosch Stiftung 

are only the first of many projects between up-and-coming filmmakers 

from Eastern Europe and Germany. One example is the collaboration 

between German producer Henning Kamm and Hungarian director 

Lili Horváth, whose film SUNSTROKE won the Co-Production Prize in 

2008 and premiered at the Sarajevo Film Festival; Horváth and Kamm 

have joined forces again for a feature-length film. 

Nominated for the European Film Award was Paul Negoescu’s 

RENOvATION (produced by 2010 alumnus David Lindner), also a winner 

in 2008, which premiered at the Berlinale Shorts in 2009 and was 

shown at numerous festivals in Europe and beyond. 

The Robert Bosch Stiftung’s Co-Production Prize competition 

is open to young filmmakers between 18 and 35 and graduates from 

film and media academies from Germany and East and South East 

Europe. Joint production teams with a producer, director, camera oper 

ator (not for animated films) and a screenwriter in a balanced mix 

from both regions are allowed to submit projects. The categories 

qualifying for three co-production prizes for joint short film pro ductions 

are animated film, documentary and short film, and each winning 

production can receive up to 70 000 euros in funding. 

For more information please contact: 

Robert Bosch Stiftung, Frank W. Albers 

frank.albers@bosch-stiftung.de 

Coordination of the Co-Production Prize, Karin Angela Schyle 

schyle@coproductionprize.com 

Won the Co-Production Prize in 2010: 

Katya Suvorova‘s and Stephan Grobe‘s SEATOMORROW 


15 

manfred durniok Foundation 

German producer, filmmaker, photographer and writer 

Man fred Durniok was always drawn to distant places. Although a 

visi tor of many continents, it was Asia that captured his imagination. 

Con si dered a pioneer who brought Asian cinema to the attention of 

Western audiences, he promoted and encouraged multicultural 

encounters and exchanges through film co-productions. The Manfred 

Durniok Foundation, founded by the late filmmaker’s daughter, 

Ayano Teramoto, is a non-profit organisation established in 2006 to 

support and promote cultural exchanges between Germany and 

Asia, to grant scholarships, award prizes and to give financial support 

to intercultural gatherings. 

It is not only the Berlinale Talent Campus’ decisive inter - 

nat i onal perspective and interest in a dialogue that goes beyond 

poli tical and cultural borders that makes this cooperation a fruitful 

one. Intercultural awareness is a recurrent theme in the films that 

Dur niok made and produced; it is that spirit that the foundation 

hopes to continue. 

The Manfred Durniok Foundation once again supports 

Talents from South East Asia attending the 9th edition of the Berlinale 

Talent Campus by covering the costs of their travel, as they have 

since 2007. Meet fellow East Asian Talents at the Manfred Durniok 

Foundation‘s reception on Feb 13 from 12:30-13:45 in the Kaiser saal 

(by invitation only).

Chapter 

02 

Focus 

p.18 Focus: 

Framespotting – Filmmakers positioning themselves 


Page Focus 

18 

19 

Positioning oneself: 

the balancing act 

between one‘s aims and 

expectations and the 

demands of the industry

Focus 

which world do you 

want to live in? 

the 9th Berlinale talent campus encourages a new generation of filmmakers to 

position themselves and to tackle contemporary issues head-on in films that are 

stamped with their distinctive styles and artistic visions. 

“ the past was neither as good nor as bad as we suppose: it was just different. 

if we tell ourselves nostalgic stories, we shall never engage the problems that face 

us in the present – and the same is true if we fondly suppose that our own world 

is better in every way.“ Tony Judt, “Ill Fares the Land“ 

Every year, the Berlinale Talent Campus centres attention on 

the most promising filmmakers from all over the world. It means 350 

people from different backgrounds with their own reasons to be 

work ing in film, their dreams and the differing options open to them. 

Their passion for film and their willingness to travel and widen their 

experience by learning from others is what unites them. Nevertheless, 

each one of us brings another story to Berlin. Each story shows a new 

undiscovered piece of our world, it tells us something about what the 

world around us means. 

This Campus edition focuses on the awareness of that world 

and one’s active position in it. Which world do you want to live in? A 

world that presents itself to you in a way others have decided it should 

be, a world in which you follow the rules and the regulations and do 

things like they’ve been done for decades? Or a world in which you try 

to change things? A world in which you are allowed to redefine, adjust, 

question or oppose things because you feel the urge to do so. 

These are big questions. We think that for every single filmmaker, 

these are issues that matter, that one should think about and 

be aware of, issues that coincide with the film you work on, that shape 

your personality and influence the circumstances in which you find 

yourself at the moment. 

The Berlinale Talent Campus #9 aims to frame these issues and 

to focus on a new generation that firstly positions itself in modern 

society: speaks out, dares to question things that make you think, that 

make you doubt, that enrage you or that you’re passionate about. In 

2011, the Campus focuses on how emerging filmmakers can poli ti 

cal ly or socially engage themselves and take a stand in today’s world. 

Filmmakers like Kerry Fox, John Greyson, Barbara Hammer, Claudia 

Llosa, Sepideh Farsi, Samuel Maoz, Janus Metz, Rafi Pitts, Isabella 

Ros sellini, Abder rah mane Sis sako, Danis Tanović and Christine Vachon 

will address this in a variety of sessions – talking not only about what 

they think it should be, but also about how they engage with contemporary 

society and how they use their work to make a difference. 

Dates 

sun 13 | 11:00 

hau 1 

The Rules of Engagement 

(p.47). 

sun 13 | 14:00 

hau 1 

Filming War 

(p.47). 

sun 13 | 17:00 

hau 3, top Floor 

Your Body Speaks 

(p.47). 

mon 14 | 14:00 

hau 2 

tue 15 | 14:00 


wed 16 | 11:00 


The Indie Filmmakers 

Guide to Cross Media IIII 

(p.52,57,59). 

mon 14 | 18:00 

cuBix 8 

New Horizons in 3D: 

Storytelling and 

Producing Redefined 

(p.54). 

tue 15 | 10:30 


Where I Am and Where 

I Want to Go 

(p.55). 

tue 15 | 11:00 

hau 1 

Too Good to Be True: 

Directing Reality 

(p.55). 

tue 15 | 17:00 

hau 2 

Plugging People: 

European Producers 


(p.57). 

wed 16 | 11:00 

hau 1 

As Queer As It Gets 

(p.59). 

wed 16 | 14:00 

hau 1 


How Small Stories 

Become Big 

(p.60). 

thu 17 | 14:00 

hau 1 

Censored Cinema 

(p.64). 

An increasingly demanding film in du s try often requires clear 

po sitioning in yet an other way. What are the new trends and in which 

direction are technology, financing mo d els and production work 

flows devel op ing? Pioneers and grand masters will un veil their se crets 

and share their insights with a selected group of Campus film makers, 

among them Shekhar Ka pur, Edward Lach man, Alex Mc Do well, 

Mi ch el Reilhac, Philippe Ros, Wim Wenders and Jasmila Žbanić. 

In a world dominated by social net work ing and nonstop 

stimuli, focusing has be come an art in itself. Following your in stincts 

might not be enough – focusing asks for daring and decisiveness, for 

choices and thorough concentration. 

This year’s pro gramme includes an array of workshops by 

experts who help you train yourself to deal with these vital issues: not 

postponing de cis ions, having an aim and becoming aware of what 

you can com mu ni cate nonverbally. It‘ll help you realise that you're 

part of a com mu nity of promis ing film makers and not fighting alone 

against dead lines, industry pressure or disappearing funds. 

We believe that a new generation of filmmakers does care 

about the world they live in – and the Campus challenges you to de 

fine your own way of expressing this in your work. 


10–11/09/2011 

SAVE THE DATE 

WWW.BERLIN-MUSIC-WEEK.DE

Chapter 

03 

Hands-on-training 

p.22 Score Competition | p.23 Interview Michael Nyman 

p.24 Script Station | p.25 Doc Station | p.26 Campus Studio 

p.27 Interview Molly Malene Stensgaard | p.28 Talent 

Project Market | p.29 Talent Press | p.31 Talent Actors Stage 

p.32 Berlin Today Award | p.35 Meet the Expert 


Photo Francesco Guidicini 

Page 

22 

23 

The Campus‘ Score Competition from above to below: 

Last year's three finalists in the studio | Michael Nyman working 

on an orchestration | German Film Orchestra Babelsberg 

Score Competition 

underscoring a film 

three composers get ready to score 

to the moving image. 

If music communicates anything at all, it communicates emotions. 

Think about your favourite film and it’s a good bet that you’ll find 

a powerful score inextricably linked to the experience. Some great 

scores have imprinted key cinematic moments in the minds of the 

audience; sometimes they assist in raising their status to classic film. 

At the nerve centre of theory and practice, the Score Competition 

offers composers and sound designers handson experience in composition 

for film. They have the opportunity to draw on the extensive 

skills of established professionals and experiment with the highend 

equipment of the German Film Orchestra Babelsberg and the Film and 

Television University (HFF) “Konrad Wolf“. 

Composing a new score for selected film material is what it’s all 

about. The three finalists of the Score Competition – Ehud Freedman 

(Israel), Roger Goula (Spain/UK) and Felix Rösch (Germany) – will each 

compose a score for the short film LITTLE REd by Romanian director 

Eva Pervolovici. LITTLE REd is one of the five short films pro duced for 

the Berlin Today Award 2011 (see page 33). 

“ it was amazing to be involved in every 

aspect of the composition and production 

process from the sketches to the final mix.” 

Camilo Sanabria, Score Competition winner 2010 

Priceless insights from their mentor, renowned composer 

Michael Nyman will guide their nineday musical journey in Berlin. The 

unique chance to record their compositions with the German Film 

Orchestra Babelsberg will be followed by the final mixing at the Film 

and Television University (HFF) “Konrad Wolf“ and editing at the postproduction 

company Waveline. All three finalists will receive direct 

individual feedback not just from their mentor Michael Nyman, but 

also from the various experts involved in all stages of postproduction 

– from preparing scores, using studio resources and re cor d ing with an 

orchestra to the final editing and mixing. 

Since 2004, the Score Competition has been training composers 

in the art of film scoring and many of them have gone on to 

score a variety of both short and featurelength films, documentaries, 

commercials, television programmes and other productions that require 

original music composition. The intense and enriching sound 

journey of the three finalists reaches its climax at the Score Competition 

Presentation on Feb 17, where the winning contestant will be awarded 

a trip to Los Angeles with an exclusive guided tour to the best sound 

studios in the city, sponsored by dolby Laboratories.


create your world 

score competition mentor michael nyman about his work 

with Peter greenaway and the specific needs of young film composers. 

you began as a musical theorist – how did that 

influence you as a composer? 

Yes, I started as a wouldbe musicologist in the 1960s. I edited 

early music and was a music critic for ten years. So even before I 

became a composer there was already a career I left behind. I have a 

sort of awareness that comes from all those diverse elements that 

made up my career before I was 25 that stays with me. And I have a 

knowledge of European musical tradition and how to find source 

material which is, I guess, why it sometimes appears in my original 

work. So my whole history moved into the direction of what I do 

now. Although it is sometimes added – maybe confused – by also 

being a photo grapher and a filmmaker… 

Have there been moments in your career where you thought 

you would need to position yourself more clearly? 

The market place for young composers today is very different 

from how it was when I started composing and also from the position 

which I was in when I started composing. At that time, 1976, writing 

music was kind of simultaneously with me writing soundtracks. It’s 

not that I was in the film or soundtrack business as a young composer 

has to be now, but I’ve worked with a very specific director, Peter 

Greenaway who had the most specific ideas and very specific needs 

for a composer. He made films which were not generic films, which 

from an aesthetic point of view, from a structural, conceptional, 

ironic point of view happened to be close to the kind of music I was 

writing anyway. So, the collaboration with Peter Greenaway was, in 

the first place, a way of me exploring my new found creativity as a 

composer. 

this way you were able to develop a certain personal 

style – would you consider this an important qualification 

for a young film composer? 

Well, on the one hand I say: Find your own voice, be an individual. 

Try not to be part of a generalised music direction where 

your music could be mistaken with the music of a hundred others. 

But on the other hand, from the economic point of view that position 

of the soundtrack composer as an original artist is also very 

dangerous because if your particular brand, your particular sound of 

music is not liked by the people who have the power to make de ci sions 

then you never get any work. So you do have to be a generalist 

too, you do have to be able to write for a full orchestra, street music, 

rap music and so on. But I obviously prefer far more to be in the 

position I am. I create my world and that’s my life, to be Michael 

Nyman, to sound like Michael Nyman. 

Michael Nyman 

Film composer 

British film composer, pianist, librettist and musicologist. 

Nyman became widely known as a film score composer 

for his work in many of Peter Greenaway’s films (A ZEd 

& TWO NOUGHTS, THE COOK THE THIEF HIS WIFE & HER 

LOV ER, PROSPERO’S BOOKS), and his scores for WONdER 

LANd and GATTACA. His soundtrack for THE PIANO sold 

more than three million copies. He has written numerous 

orchestral and ensemble pieces and tours as a performing 

pianist with the Michael Nyman Band. His credits as 

filmmaker include the 2010 documentary NYMAN WITH A 

MOVIE CAMERA. 

Selected filmography 

1978 VERTICAL FEATURE REMAKE | Peter Greenaway 

1980 THE FALLS | Peter Greenaway 

1982 THE dRAUGHTSMAN'S CONTRACT 

Peter Greenaway 

1986 A ZEd & TWO NOUGHTS | Peter Greenaway 

1987 LE MIRACULé | JeanPierre Mocky 

1988 dROWNING BY NUMBERS | Peter Greenaway 

1989 MONSIEUR HIRE | Patrice Leconte 

1989 THE COOK THE THIEF HIS WIFE & HER LOVER 

Peter Greenaway 

1990 LE MARI dE LA COIFFEUSE | Patrice Leconte 

1991 PROSPERO'S BOOKS | Peter Greenaway 

1993 THE PIANO | Jane Campion 

1994 MESMER | Roger Spottiswoode 

1995 CARRINGTON | Christopher Hampton 

1996 THE OGRE | Volker Schlöndorff 

1997 GATTACA | Andrew Niccol 

1999 WONdERLANd | Michael Winterbottom 

1999 THE ENd OF THE AFFAIR | Neil Jordan 

2003 THE ACTORS | Conor McPherson 

2003 NATHALIE… | Anne Fontaine 

2004 THE LIBERTINE | Laurence dunmore 

2008 MAN ON WIRE | James Marsh 

2010 TWO GRAVES | Yvonne Mcdevitt 

2010 KROKOdYLE | Stefano Bessoni 

2010 NYMAN WITH A MOVIE CAMERA | Michael Nyman 

Find the longer version of the interview 

with Michael Nyman at 



Dates 

wed 16 | 17:00 

Hau 1 

The Great World of Sound 

(p.62). 

tHu 17 | 17:30 

Hau 1 

Say It with a Score: 


Presentation 

and Award Ceremony 

(p.65). 


Page 

24 

25 

Script Station 

scriPting in Process 

script consultants work with talents for greater depth 

in their storytelling. 

It doesn’t matter how good your idea is if you can’t find a way 

to tell the story. A fantastic narrative and intriguing charac ters can 

convert an idea into a captivating script, but this is no mean feat. 

Helping scriptwriting Talents to find creative solutions to their speci 

fic script problems, develop characters and dialogues to their fullest 

and finetune their script is what’s on hand at the Script Station. It 

connects scriptwriters and leading script consultants from around the 

globe to discuss and develop the yet unpolished scripts. 

The Script Station commences with an intensive Project devel 

opment day that prepares the ground for subsequent coaching 

and feedback sessions with men tors Gyula Gazdag, Louise Gough 

(SOURCES 2), Lucile Hadžihalilović, Marten Rabarts, Franz Rodenkirchen 

and Selina Ukwuoma. This note worthy lineup of mentors will 

work with writers and directors on the indepth development and enhan 

cement of their projects at this very critical phase in the filmmaking 

process. 

The Script Station: working 

on the indepth development 

of the Talents‘ projects 

“stories may belong to individuals but storytelling 

is universal. i look forward to returning with a feature.” 

Faisal Qureshi, participant 2010 

in early december 2010, twelve pro jects 

were selected by an international jury 

for this year’s script station: 

Stasha Bajac Serbia 

Juan Manuel Biain United Kingdom 

Hisham Bizri USA 

Fadi Haddad Jordan | Nadira Ilana Malaysia 

Agnes Ka m ya Uganda 

Mirjam Anne Ku be scha Germany 

Micah Magee USA 

Bikas Ranjan Mishra India 

Monica Stan Romania 

Micaela Tis mi netzky Argentina 

Elena Antigoni Zogka Greece. 

Over the years, the Script Station has 

received considerable support from its partners: 

the Ger man Federal Film Board (FFA) and 

SOURCES 2, the European Script Writers’ Training 

Pro gramme, which lends its support by 

way of experts from its teaching staff. 

Dates 

tue 15 | 14:00 

Hau 3, black stage 

Rehearsed Reading I: 

Actors Reading Scripts 

(p.56). 

wed 16 | 14:00 

Hau 3, wHite stage 

dial F for Fiction: 

Script Station Presentation 

(p.60). 

wed 16 | 14:00 


Rehearsed Reading II: 


(p.56).

Doc Station 

accelerating develoPment 

industry professionals assist documentary directors 

to refine their film projects. 

As creative projects that put real life struggles and aspirations 

into cinematic stories, documentaries provoke thought and reflec 

tion, and sometimes even action. At the Campus doc Station, it is the 

authors of these stories who reflect on their concept and treatments 

and work at developing the quality, range and ambition of their 

projects, as well as their own creative skills. 

This handson training, which owes its existence to the support 

of the German Federal Film Board (FFA), assists twelve determined 

documentary filmmakers at a time when the pressures and challen 

ges of structuring their treatments are mounting. A week of undivid 

ed attention, insights and advice by highprofile industry experts will 

take them a long way in strengthening and improving the narra tive 

structure of their treatments. doc Station mentors include Kathrin 

Brink mann, dick Fontaine, Jakob Kirstein Høgel, Ulla Simonen 

(SOUR CES 2), Fleur Knopperts, and Meike Martens. Mentoring ses s ions 

running parallel over the week will be preceded by an intensive Project 

development day. 

The Doc Station: a week of undivided 

attention, insights and advice by experts 

twelve documentary film projects were 

selected in early december for the 

doc station 2011: 

Neus Ballús Spain | Angela Bravo Sweden 

Lieven Corthouts Belgium, Ethiopia 

Augusto Cesar diaz Guate mala, Belgium 

Alyx duncan Australia, New Zealand 

Alexandra Ger baulet Germany 

Zipporah Nyaruri Kenya | Katia Paradis Belize 

Otilia Portillo Mexico | Julian Reich Germany 

Juan Sarmiento Colombia, Germany 

Zuolong Shan China 

The doc Station has enjoyed tre m end 

ous sup port over the years, by way of mentoring 

and designing of the Project de vel opment 

day, from ZdF/ARTE – a pre dominant 

Ger man television channel, and from SOURCES 

2, the European Script Writers’ Training Programme, 

which lends its support by way of 

ex perts from its teaching staff. 

“the berlinale talent campus shifts you from 

a talent that makes films to a talented filmmaker.” 

Arne Kohlweyer, participant 2009 

Dates 

wed 16 | 14:00 

Hau 3, toP floor 

Welcome to Reality: 

doc Station Presentation 

(p.61). 


Page 

26 

27 

Campus Studio 

tackling tecHnology 

“ the editing studio gave me 

the rare chance to see editing in 

a new light from an experienced 

editor.”Leong Huat Michael Kam, participant 2009 

The bustling Campus Studio: stateoftheart digital workflow 

equipment from editing suites (above) to digital cameras (below) 

the campus studio is a bustling post-production hub 

where aspiring filmmakers give films their final touches 

for the big screen. 

Good films – those that tell a compelling story and effectively 

deliver the filmmaker’s vision – are the result of a magical blend of 

ideas, aesthetics and the mechanics of filmmaking. A good understanding 

of filmmaking tools and techniques is a prerequisite to 

translating these ideas into cinematic language. designed to assist 

Talents in finding the right artistic expression for their films, the Post 

Production Studio is an intensive handson educational experience 

that gives them a thorough understanding of the integral steps in the 

postprocess and focuses on improving films in the final stages of 

production. Professionalising work processes is the keyword which 

Talents learn by way of technological knowhow and the expertise 

pro vided to them: The latest technology for ingest and transfer, 

editing, grading and mastering digital material are made available to 

Talents in the PostProduction Studio. The Editing Studio, for its part, 

allows selected Talents to fine tune their roughcuts and strengthen 

the narrative structure of their stories on the advice and expert 

guidance of worldclass editors. The Campus Studio has been made 

possible through the support and cooperation of Camelot Broadcast 

Services and the German Film and Television Academy Berlin (dffb). 

Post-Production studio 

The PostProduction Studio places the reputed cine matographer 

and postproduction expert Philippe Ros and postproduction 

supervisor Ugur Yildrim at the disposal of Talents, who direct them on 

using stateoftheart digital workflow equipment and offer a comprehensive 

survey of the practical filmmaking techniques – from 

shooting with digital cameras like Sony F3 and ARRI Alexa to digital 

postproduction processes including editing, grading, mast ering and 

data management. 

editing studio 

Editing can be an exacting process. And yet, often after weeks 

of being closeted in the editing studio, you’ve made little progress. 

Noted editors Andrew Bird, Katja dringenberg, Susan Korda, Gesa 

Marten and Molly Malene Stensgaard work with around nine Talents 

in the editing room, giving them valuable insight and tips to improve 

and strengthen the narrative structure of their projects. Talent editors 

and directors will have an entire day with a renowned editor to polish 

the roughcuts of their fiction or documentary short films or excerpts 

of their featurelength film. As Astrid Rondero, participant in 2010, explains, 

“I had been working on the editing process for a year afraid of 

loosing the important part of my short film. The Editing Studio was a 

great journey of rediscovery, everything finally found its place”.


tHe editor as transformer 

campus editing studio expert, the danish film editor molly malene stensgaard on 

her collaborative work with lars von trier, useful skills and the nature of editing. 

film editing is referred to as the “invisible art form“: 

the less you notice the editing the better it is. do you agree? 

Well, I think it’s somehow right that editing is an invisible art 

form. But I don’t think in general that it is not good when you notice 

it. Editing is very often an art form that is blended into the film, it’s 

built in and that is quite beautiful. So if people experience the film 

well, then I feel happy because then I know I have done my job well. 

so then, should the material influence the style of editing? 

Yes, the material and the vision for the film. I don’t believe in 

editors having their own way of editing or having a personal style 

and applying it to any film. That doesn’t make sense to me. 

How do you put the first cut together – do you follow 

the script exactly or do you just try to read the film 

by watching the material? 

A kind of mixture, I think. In the beginning I use the script as 

a reference, as guidance to orientate myself in the story. For the first 

cut, I don’t take out many lines out of respect for the efforts that 

went into the script. I think, at this early stage, it is too soon for me 

to be that “wise“ on the story. So normally, I do the first cut pretty 

much according to the script. But after that it is very much the 

editor’s task to work at the transformation from written language to 

film language. And that also means taking a distance from the script 

and cutting out dialogue, if reasonable. Being exactly at the point of 

this transformation: That’s one of the beauties of the editor‘s work. 

what is your way then of finding the ideal rhythm for a film? 

Oh, that’s actually the easy part. It results very much from 

working with the material. I think, basically, that is the talent you 

need as an editor from the beginning: You can learn a lot about story 

telling, structure and stuff like that, but a sense for rhythm, music and 

movements you have or you don’t have. 

you just finished your 7th film with lars von trier – what is 

it you both share that you can work together so well? 

Humour is a very important part of being together for such a 

long time in the editing room. Then, we use very little energy on 

power struggle issues, which is whose territory and so on. The important 

thing is to create a room of trust and respect for each other. 

Our working relationship is also based on the fact that I am always 

allowed and expected to do experiments. Lars von Trier and I never 

say to each other: “What a bad idea!”, and then discuss it for ten 

minutes. We just try it out. 

Molly Malene Stensgaard 

Film editor 

danish film editor who has edited most of Lars von 

Trier’s films including THE KINGdOM, THE IdIOTS, dANCER 

IN THE dARK, dOGVILLE, MANdERLAY, THE BOSS OF IT ALL 

and the forthcoming MELANCHOLIA. From 2006 –2010, 

she was com missioning editor for feature films at the 

danish Film Institute. She is a lecturer at the Binger Filmlab 

in Amsterdam, and in 2007, she was a member of the 

Berlinale Jury. 

Selected filmography 

1994 RIGET, THE KINGdOM, TVseries | Lars von Trier 

1996 BELLA, MIN BELLA | Astrid HenningJensen 

1998 THE IdIOTS | Lars von Trier 

1999 FALKEHJERTE | Lars Hesselholdt 

2000 dANCER IN THE dARK | Lars von Trier 

2001 PORTRAIT OF GOd | Jon BangCarlsen 

2002 I AM dINA | Ole Bornedal 

2002 KALd MIG BARE AKSEL | Pia Bovin 

2003 dOGVILLE | Lars von Trier 

2004 IN YOUR HANdS | Annette K. Olesen 

2005 MANdERLAY | Lars von Trier 

2005 dOMMEREN | Gert Fredholm 

2006 1:1 | Annette K. Olesen 

2006 THE BOSS OF IT ALL | Lars von Trier 

2007 HVORdAN VI SLIPPER AF MEd dE ANdRE 

Anders Rønnow Klarlund 

2011 MELANCHOLIA | Lars von Trier 

Dates 

sun 13 | 14:00 

Hau 2 

Kill Your darlings 

(p.47). 

tHu 17 | 14:00 

cinemaxx 17 

Cutting on the Edge: 

Campus Editing 

Studio Presentation 

(p.65). 

tHu 17 | 14:00 


Where Things Come 

Together: 

Campus PostProduction 

Studio Presentation 

(p.65). 

“Have you ever been on a scholar- 

ship programme, where every 

sample of work from a fellow 

participant you see makes you 

go: ‘wow!‘?” 

Philipp Alfons Heitmann, participant 2010 


Page 

28 

29 

Talent Project Market 

talent Project market assists fresh ideas 

and exciting stories to reach the screen. 

talent-sPotting in 

a global market 

Dates 

tHu 17 | 12:15 


On Track with 

Market Trends: 

Berlinale CoProduction 

Market and 


(p.64). 

“ it was an incredible, invaluable experience, 

which really boosted my project specifically 

and my professional skills in general.” 

Basile Doganis, participant 2010 

The more experimental part of the Berlinale CoProduction 

Market and a prac tical training programme of the Campus, the Talent 

Project Market “invites directors and pro ducers with fresh ideas, 

exciting and orig inal stories”, explains its coordinator Kathi Bildhauer. 

Selected by an international jury, twelve young producers and 

directors have the chance to present their film projects to ex perienc 

ed coproducers and financiers atten ding the Berlinale CoProduction 

Market in prearranged oneonone meetings. 

Chosen from over 270 projects, the eleven projects mapping 

the wide world of cinema will find their place in the CoPro duction 

Market’s catalogue: 

CHALLATT OF TUNIS | produced by Habib Attia Tunisia 

PRESERVATION | directed by Nicole Brending USA 

THE BABAdOOK | produced by Kristina Ceyton Australia, Germany 

YOUTH | produced by Gal Greenspan Israel 

BRIAN | directed by Angela How USA, Singapore 

THE FINd | produced by dimitri Klepatski Russian Federation 

GREICEKELLY | directed by Rafael Lessa Brazil 

THE SOUTH IS NOTHING | directed by Fabio Mollo Italy 

WOMAN OF THE FATHER | produced by Aletéia Selonk Brazil 

BAd STOCK | directed by Rachel Tillotson UK 

THE HERE AFTER | produced by Mariusz Wlodarski Poland 

and directed by Magnus von Horn Sweden 

The Talent Project Market: the unique opportunity 

to present projects to potential coproducers 

and financiers 

Projects selected for the Talent Project Market compete for 

four prizes: three preselected projects will be pitched publicly to 

producers and potential financiers of the CoProduction Market and 

receive the three VFF Highlight Pitch Awards of Euros 3,000 each. One 

project, to be selected on the spot, will receive the International 

Relations ARTE Prize of Euros 2,500. The “Talent Project Highlights“ 

event is sponsored by VFF (German Collecting Society for Inhouse and 

Commissioned Production of Film and TV Programmes). 

Not only do Talent directors and producers have the unique 

opportunity to present their projects to coproducers and fin an ciers, 

the fourday programme of the Talent Project Market also allows them 

to prepare for their meetings and learn about the international business 

and market. In du stry experts and experien ced pitching trainers 

offer valuable insights and guide participating directors and producers 

on presenting and marketing their projects and the technicalities of 

international copro duc tion, financing and markets. These initial 

training elements serve to prepare Talents for their oncoming oneonone 

meetings with potential partners in ter estedin getting on board 

projects while they are yet in an early stage of development. 

Over and above, Talents can avail of a multitude of informal 

networking possibilities including fruitful exchanges and sharing of 

projects with coparticipants.

Talent Press 

notHing if not 

critical 

Passionate and informed criticism is the buzzword 

as upcoming film critics and journalists plunge 

into the world of cinema. 

Writing about films just before they open in cinema halls, the 

“job“ part of being a film critic for a daily or weekly publication, is often 

far more challenging and stressful than writing film essays for a 

monthly magazine or film blog. Talent Press, a collaborative venture 

of the Berlinale Talent Campus, the GoetheInstitut and FIPRESCI, has 

participating press Talents experience the pressures of working in an 

editorial room situation with its very tight deadlines, preparing them 

for the real life challenges of the “job“. 

In its eighth edition, eight film critics and journalists at different 

stages in their careers and from different corners of the world come 

together in Berlin: Josefina Maria Garcia Pullés (Argentina), Francis 

Joseph Cruz (Philippines), Conall Cash (Australia), diego Faraone 

(Uruguay), Eren Odabasi (Turkey), Nicholas deigman (UK), Bethsheba 

Achitsa (Kenya) and Pamela Pianezza (France). 

For many of them, Talent Press facilitates their very first ex 

po sure to an international film festival, where they gain the opportunity 

to explore the inner working of the Berlin International Film 

Festival and sharpen their knowledge and views on independent and 

experimental, as well as mainstream cinema. Exchanging views and 

receiving feedback and guidance from prominent film critics as they 

review films, write about Campus events and conduct highprofile 

interviews makes it an invaluable experience. Talent Press, as an 

estab lished forum for eclectic film criticism, also provides a space 

Dates 

“ Participating in talent Press was not 

only a great experience as a young 

film critic and as a film lover, but 

also a unique occasion to dive into 

a thrilling universe.” Loïc Valceschini, Talent Press 2010 

for participants to exchange ideas and learn from one another as well 

as build networks for the development of their writing careers. Mentor 

Chris Fujiwara stated in an interview: “At Talent Press, you have the 

chance to talk and work with people who are motivated by the same 

thing as you: the desire to see and understand cinema.” Joining him as 

mentors of Talent Press 2011 are dana Linssen, derek Malcolm and 

Stephanie Zacharek. Their articles will be published daily from Feb 13 

17, 2011 on www.talentpress.org, the website of Talent Press – which 

features articles of press Talents and alumni throughout the year – and 

on those of the GoetheInstitut and FIPRESCI “Best of Talent Press”, a 

print publication comprising a selection of articles written during the 

Campus week, will be released on the last Campus day. 

Talent Press begins with an “Introduction day“; mentors and 

press Talents come together and get to know one another before they 

commence their fervent writing and reviewing of films and events. 

They also gain a more indepth understanding of the Campus and its 

vast range of events and activities, as well as an overview of the current 

state of film criticism worldwide. 

the first talent Press international took place in march 2010 

at the talent campus guadalajara. 

For further information on the Talent Press website 

see page 12 or visit www.talentpress.org. 

tHu 17 | 14:00 

Hau 2 

Covering Cinema: 

Critics Meet Filmmakers 

(p.64). 

The participants of Talent Press 2010: 

Established forum for eclectic film criticism 


BOROS 

57. 

internationale 

kurzfilmtage oberhausen 

5. — 10. mai 2011 

www.kurzfilmtage.de

Talent Actors Stage 

develoPing tHe actor 

in you 

in its second year, the talent actors stage assists actors 

to enhance their technique and develop their craft. 

It’s rigorous, but exhilarating! The Talent Actors Stage offers a challenging opportunity 

to explore acting techniques, dialogue delivery, casting, improvisation and more. In its second 

year and going full throttle, this handson training programme is not just for actors, but focuses 

on interdisciplinary collaboration with directors, producers, scriptwriters and cinematographers 

to foster exchange, dialogue and effective cooperation among practitioners of the different 

fields of filmmaking. As such, the Talent Actors Stage facilitates the improvement of actors’ 

per formances by bringing them together with professionals from other film disciplines. In addi 

t ion to networking possibilities with other film practitioners and coTalents, the Talent Actors 

Stage endeavours to give more prominence to acting Talents within the Campus. 

the talent actors stage offers actors five special events: 

directing actors 

Prominent actress and filmmaker Kerry Fox, 

who was awarded the Silver Bear in 2001 for 

her outstanding performance in INTIMACY, 

will draw on her vast experience as an actress 

and share her perspective as a director to explain 

how she prefers to work with actors to 

assist them in delivering compelling per formances. 

on the Path with Jasmila Žbanić 

For GRBAVICA, Jasmila Žbanić won the 2006 

Golden Bear; her subsequent film ON THE PATH 

feat ured in the 2010 Berlinale Competition. 

Using these two films as a starting point, but 

also working with new scenes and through improvisations, 

actors participating in this work 

shop will audi tion for Jasmila Žbanić and re 

cei ve valuable feedback on their per for mances. 

embodying the character 

This intensive, interactive acting workshop,led 

by renowned acting coach, movement spe c ia 

list and choreographer JeanLouis Ro dri gue, 

focuses on recognising the power of mo vement 

and physicality in creating a cha rac ter in 

film. 

rehearsed reading 

dramaturge Alby James will work with actors 

and screenwriters on building characters and 

bringing scripts to life through smooth and 

effective delivery of dialogue, as they read 

vi tal scenes from a selection of Script Station 

projects. 

meet the expert 

Two established casting directors, Ulrike Mül 

ler and Beatrice Kruger, meet actors in two 

se p a rate “Meet the Expert“ sessions. 

Ulrike Mül ler, who casts predominan 

tly Germanspeaking films, will talk about 

possibilities for foreign actors to work in Germany. 

Beatrice Kruger, on the other hand, also 

does casting for major Hollywood pro duc tions 

and will give insight into casting for international 

film productions. 

Dates 

sun 13 | 14:00 


directing Actors 

(p.48). 

mon 14 | 11:00 

tue 15 | 11:00 


On the Path with 

Jasmila Žbanić 

(p.50). 

mon 14 | 14:00 


Embodying the Character 

(p.52). 

tue 15 | 14:00 

wed 16 | 14:00 


Rehearsed Reading: 


(p.56). 


Page Berlin Today Award 2012 

32 

33 

every steP you take 

five directing talents will have the special opportunity to make a short film based on the theme 

“every step you take” in collaboration with a production company from berlin / brandenburg. 

the berlin today award, the annual short film competition of the berlinale talent campus, is within reach. 

“ i met great collaborators and was given a 

huge leg-up to grander production values; 

from here-on there's no turning back.” 

Bryn Chainey, Berlin Today Award winner 2010 

The short film competition of the Berlinale Talent Campus 

invited directors from all over the world to submit ideas inspired by 

the motto “Every Step You Take”. does the flap of a butterfly's wings in 

Thailand set off a tornado in Texas? Small decisions we take in everyday 

life intrinsically influence our near future. What is a harmless accessory 

in one part of the world might be a major statement in another that 

leads to a chain of reactions. Whether political or private, it is these 

moments of taking a step and being aware of it, that are at the core of 

the Berlin Today Award 2012. 

Fifteen Talents selected prior to the Campus will be able to 

present their film ideas to selected producers during the Producers’ 

Meeting at the Berlinale Talent Campus 2011. The top five projects will 

be produced by five production companies from Berlin and Bran denburg 

– with funding from the Medienboard BerlinBran den burg and 

inkind contributions from the film industry. 

The short films will celebrate their world premiere at the 

Opening of the Berlinale Talent Campus 2012 as part of the 62nd 

Berlin International Film Festival. 

current and former participants of the berlinale talent campus 

are invited to apply for the annual berlin today award. 

For detailed information 

on the competition please visit: 

www.berlinale-talentcampus.de/berlin-today-award 

The Berlin Today Award has been funded 

by the Medienboard Berlin-Brandenburg since 2003. 

The Berlin Today Award 2010 (from above to below) 

director Bryn Chainey won the Berlin Today Award 2010 for JONAH ANd THE VICARIOUS 

NATURE OF HOMESICKNESS | Berlin Today Award 2010 jury members Stephen daldry (left) 

and actress Heike Makatsch (2nd from right) with the managing director of the 

Medienboard BerlinBrandenburg, Kirsten Niehuus, the Federal Government 

Commissioner for Culture and the Media Bernd Neumann (right) and Berlinale festival 

director dieter Kosslick

Berlin Today Award 2011 

five sHorts are 

“leaving tHe familiar sector” 

sharing the limelight, the five short films competing for 

the berlin today award 2011 celebrate their world premiere 

at the opening ceremony of the berlinale talent campus. 

Since its invention, cinema has helped us to imagine what our 

lives could be like and how the world could look. Film offers an extraordinary 

glimpse into a world you've never seen, never dreamt of or 

dared to enter. How do you imagine a world beyond what you've 

known, and what do you see when you leave the place you know 

best? The motto of this year’s competition encouraged film makers 

to envision a world beyond the familiar. 

A jury comprising actress dorka Gryllus, director Hannes Stöhr 

and producer Peter Rommel selects the winner of the Berlin Today 

Award 2011 from: 

Hackney lullabies 

by kyoko miyake | Japan 

Listen to the gentle lullabies sung by the mothers of Hackney, 

transforming London into a different place for each child. 

Produced by Filmkantine. 

little red 

by eva Pervolovici | romania 

Little Red, don’t dawdle along the way. The woods are dark 

and dangerous. Produced by Beleza Film. 

mummy’s little HelPer 

by michael lavelle | ireland 

A mother discovers an illegal way to lose weight, with 

frightening consequences … especially for her daughter. 

Produced by Macchiato Pictures Filmproduktion. 

sPoilt brotH 

by toby roberts | uk 

A naïve, desperate man’s attempt to rob a post office sets him 

on a collision course with a tough, armed and ruthless criminal. 

Produced by heimatmedien. 

tHe day we danced on tHe moon 

by tristan daws | uk 

We might all have our day on the moon, but sooner or later 

we will all come crashing down to earth… 

Produced by Kloos & Co. Medien. 

the berlin today award 2011 is supported by the medienboard 

berlin-brandenburg and the film industry. 

Dates 

sat 12 | 17:00 

Hau 1 

Opening Ceremony 

& World Premiere 

of the Berlin Today Award 

Films 2011 

by invitation only 

(p.46). 

sun 13 | 19:30 

ewerk 

dine & Shine – Talents 

Rendezvous and Award 

Ceremony of the Berlin 

Today Award 2011 

by invitation only 

(p.49). 

wed 16 | 20:00 

cinestar 5 

Screening at the European 

Film Market 

see Berlinale programme 

sun 20 | 17:30 

colosseum 

Public screening 

at the Berlinale Kinotag 

see Berlinale programme 

The Berlin Today Award 

2011 

HACKNEY LULLABIES 

Kyoko Miyake 

LITTLE REd 

Eva Pervolovici 

MUMMY‘S LITTLE HELPER 

Michael Lavelle 

SPOILT BROTH 

Toby Roberts 

THE dAY WE dANCEd 

ON THE MOON 

Tristan daws 


IDFAcademy 

Summer School 

June 2011 

IDFAcademy is an international training 

program for young up-and-coming talent 

eager to learn about the documentary 

industry and develop documentary projects. 

Would you like to meet and work with highly 

esteemed filmmakers and film professionals? 

Would you like to strengthen the narrative structure 

of your documentary project (script or editing), over 

a period of one week? 

Would you like to be part of individual coaching with 

group sessions and an inspiring cultural program? 

All in a relaxed atmosphere in the historical heart of Amsterdam. 

Then come to the IDFAcademy Summer School. 

We look forward to meeting you! 

IDFAcademy Summer School 

Submissions accompanied by a 

project are now being accepted, 

until the deadline of April 1, 2011. 

More information on www.idfa.nl. 

InternatIonal Documentary 

FIlm FestIval amsterDam 

IDFAcademy Summer School • IDFAcademy Summer School • IDFAcademy Summer School • IDFAcademy Summer School • IDFAcademy Sum

Meet the Expert 

exPerts at your 

bidding 

Join different experts for focused discussions 

at Hau 1 and Hau 3. 

sunday, feb 13 

bettina allamoda 

Hau 1, fox bar | 12:30-13:30 

A Berlinbased artist focusing on the concealed politics of visibility 

inscribed in history, documentation, fashion, art and architecture, 

Bettina Allamoda will introduce you to the visual art projects within 

the Forum Expanded programme and beyond. She will also discuss 

practices, spaces and production in the city and everything happening 

around this year’s Berlinale related to visual arts. 

christian goldbeck 

Hau 3, black stage | 12:30-13:30 

German production designer and art director, he has worked 

on films such as THE REAdER, KRABAT, REqUIEM and GO FOR ZUCKER!, 

receiving German Film Award nominations for the latter three films. 

He is also production designer of this year‘s Competition film IF NOT 

US, WHO?. Goldbeck will talk about the job of production de signers – 

to match their visual decisions perfectly with the themes and tone of 

each film they work on. 

mathias schwerbrock & Joachim knaf 

lineProducer – the art of budgeting 

Hau 3, top floor | 12:45-13:30 

In cooperation with the Film and Television University (HFF) 

“Konrad Wolf“ and Erich Pommer Institut. 

dr. Joachim Knaf, tutor at the Film and Television University 

(HFF) “Konrad Wolf“, and Mathias Schwerbrock, German producer, will 

focus on three essential questions: How do you get hold of new 

financial sources for your project? What is the best way to compute an 

international coproduction? And how can you increase your profit 

from a production? They will demonstrate answers to these questions 

through “LineProducer“, a software designed to link the sectors of 

bud geting, financing and cash flow. It incorporates factors such as 

currency, countrystocks and coproductions, enabling you to effi ci 

e n tly plan your film production. 

sydney levine 


Sydney Levine, founder of FilmFinders with over 25 years experience 

in the entertainment industry will talk about how you can 

enter the market as a producer, and how to find the right market for 

your film project. 

monday, feb 14 


Page 

34 

35 

michel reilhac 

Hau 1, fox bar | 11:00-12:00 

Michel Reilhac, executive director of ARTE France Cinema and 

director of Film Acquisitions for ARTE France, will throw light on develop 

ing film concepts for broadcasters, be they analogue or cross 

media pro jects. 

isabel arrate fernández 

Hau 1, fox bar | 12:30-13:30 

Running the Jan Vrijman Fund of the International docu 

men tary Film Festival Amsterdam. The fund aims to generate 

more attention for documentaries and filmmakers from developing 

coun tries. Her session will focus on the work and possibilities for 

funding offered by the Jan Vrijman Fund with special attention on 

preparing an application and project proposal. 

Peter belsito 


Peter Belsito, USAmerican producer, cinematographer, publisher 

and executive vice president of FilmFinders, will talk about the 

inter national independent marketplace and world festival circuit. He 

will explain the dynamics of bigger and smaller markets at different 

festi vals, how they function, the mandates of the festivals and markets, 

and how to navigate and operate at these markets. 

sandra beerends 

Hau 1, fox bar | 16:00-16:50 

Script editor Sandra Beerends has worked with an array of 

screenwriters and directors strengthening the narrative structure of 

their scripts. She will join you to discuss the creative and strategic 

choices you have to make during the writing process, the shooting 

and the editing of the film. 

ulrich kodjo wendt 


German composer for film and theatre, Wendt has composed 

music for feature films such as Fatih Akin’s IN JULY, as well as documentaries 

like Jens Huckeriede’s SCORING BLUE and AB NACH RIO. He 

will focus on score, sound and silence: The correlation of music and 

silence in a film and how to use original sound in a score.

N 

I 

P 

K 

O 

W 

P 

R 

O 

G 

R 

A 

M 

M 

Scholarships for European 

Audiovisual Media 

Further studies for qualified applicants in the fields of 

� Film, television and video financing, production, marketing 

and distribution 

� New technologies (multimedia, interactivity) 

� TV computer design and computer graphics 

WITH THE SUPPORT OF 

Professionals in Berlin 

Contact 

Kurfürstendamm 225 

D - 10719 Berlin 

phone: +49 30 614 28 38 

fax: +49 30 614 28 26 

e-mail: nipkow-programm@t-online.de 

visit: www.nipkow.de


tuesday, feb 15 

erwin m. schmidt 

Hau 1, fox bar | 12:30-13:30 

German producer, who has worked on a number of art house 

films such as YOU THE LIVING, dERNEL and ORLY. A 3d producer for 

Neue Road Movies, he coproduced Wim Wender‘s 3d film PINA which 

premieres in this year’s Berlinale. 3d goes indie with 3 independent 

films in the Official Selection of this year's Berlinale. Schmidt will 

divulge the secret to achieving the added value of 3d without coll apsing 

under increased costs, technical difficulties and sleepless nights. 

beatrice kruger 

Hau 1, attic room | 12:30-13:30 

A casting director based in Rome, Beatrice Kruger has always 

been involved in the discovery and promotion of new acting talent 

and recently developed the idea and concept for an interactive web 

portal (www.etalenta.eu). She was responsible for the European and / 

or Italian casting of films such as SILK, THE INTERNATIONAL, CASINO 

ROYALE, OCEAN’S TWELVE and many more. She will give acting Talents 

insight into casting for international film productions. 

iwana chronis 


Manager of the Hubert Bals Fund of the International Film 

Festival Rotterdam, she will inform you about the work of the fund and 

the funding schemes for filmmakers coming from Africa, Asia, Latin 

America, the Middle East and parts of Eastern Europe. 

Hanne skjødt 

Hau 1, fox bar | 16:00-16:50 

This is the opportunity for you to ask questions and learn more 

about Hanne Skjødt’s work as a network manager at the European 

documentary Network (EdN) in Copenhagen, which supports 

documentary filmmakers. Since 2000, she has been with the danish 

Film Institute as a distribution and promotion consultant and head of 

unit, and in charge of the promotion and distribution of shorts and 

documentaries. 

Jean-louis rodrigue 


JeanLouis Rodrigue, acting coach and movement director, 

will talk to you about his acting coaching and movement training as 

well as on how to present your film project. He will explain the fundamental 

tools needed to improve your levels of performance in film 

and to present your script to potential producers and studios. 

wednesday, feb 16 


Page 

37 

wendy bernfeld 

Hau 1, fox bar | 12:30-13:30 

Wendy Bernfeld, founder and M.d. of Rights Stuff, is a pas sionate 

film buff specialising in hard core film acquisition and distribution, 

licensing negotiations, and related strategy and rights advice, for 

both traditional media and digital new media platforms. She assists 

pro ducers / distributors with their international digital strategy to 

maximise revenues across multiple windows and platforms. 

Peter rorvik 


Peter Rorvik will talk about the durban International Film Fest ival‘s 

activities for African filmmakers and the existing network that has 

been built and supported over the past years. 

kanako Hayashi 


Kanako Hayashi, festival director of the TOKYO FILMeX Inter 

national Film Festival, which showcases the best contemporary 

independent cinema from Asia, will talk about the Japanese film 

industry at present times. 

frédérique westhoff 

Hau 1, fox bar | 16:15-17:00 

Head of team at ACPFILMS, with the overall objective to con 

tri bute to the development and structuring of the cinema and 

audiovisual industries in the African, Caribbean, Pacific states so that 

they can create and disseminate their own works more effectively. 

Frédérique Westhoff will talk about their projects, programmes and 

corresponding new guidelines. In cooperation with ACPFILMS. 

tHursday, feb 17 

ulrike müller 

Hau 1, fox bar | 12:30-13:30 

Berlinbased German casting director, Ulrike Müller will talk 

about how to establish international connections between casting 

directors and actors, and how they can get more freedom to ac co mmodate 

actors and actresses of different nationalities in one film. 

nikolaj nikitin 


The Berlinale delegate for EasternEurope and cofounder 

of the film magazine “Schnitt“, curates film festivals across Europe, and 

heads the European festival dedicated to editing, “Film+“ in Cologne.

www.pardo.ch

Chapter 

04 

Programme 

p.40 Timetable | p.46 Day 1 – Sat, Feb 12 

p.47 Day 2 – Sun, Feb 13 | p.50 Day 3 – Mon, Feb 14 

p.55 Day 4 – Tue, Feb 15 | p.58 Day 5 – Wed, Feb 16 

p.63 Day 6 – Thu, Feb 17 


Page Campus programme 

40 

9:00 

11:00 

13:00 

15:00 

17:00 

9:00 

11:00 

12:30 

14:00 

15:00 

17:00 

19:30 

HAU 1 

12:45 

Doc Station Welcome 

At Attic Room. 

In cooperation with FFA and SOURCES 2 (p.25). 

Opening Ceremony & World Premiere 

of the Berlin Today Award Films 2011 

Dieter Kosslick, Kirsten Niehuus. 

Moderated by Matthijs Wouter Knol 

and Christine Tröstrum. 

Supported by Medienboard Berlin-Brandenburg 

(p.46). 

The Rules of Engagement 

Kerry Fox, Henning Mankell and José Padilha. 

Moderated by Matthijs Wouter Knol. 

In cooperation with Berlinale Panorama (p.47). 

Lunch Break 

Filming War 

Samuel Maoz, Janus Metz, Danis Tanović. 

Moderated by Ben Gibson. 

In cooperation with Robert Bosch Stiftung (p.47). 

In the Limelight: Isabella Rossellini 

Moderated by Peter Cowie (p.49). 

TimeTAble 

HAU 1 

Fox Bar 


Bettina Alamoda (p.35). 

HAU 2 HAU 3 

White Stage 

8:30 

Ticketing and Talent Registration (p.46). 

9:30 

Rise and Shine Breakfast 

Presented by Berlinale Talent Campus (p.46). 

11:30 – 12:30 

Taking Off 

Essential briefing on services, 

programme and hands-on-trainings (p.46). 

Fast Forward Germany 

Christine Berg, Mariette Rissenbeek, 

Daniel Saltzwedel. Moderated by Roman Paul. 

In cooperation with Medienboard 

Berlin-Brandenburg, FFA and German Films (p.46). 

Global Speed Matching 

Meet and greet session. 

Moderated by Matthijs Wouter Knol (p.46). 

8:30 Ticketing 

9:30 Rise and Shine Breakfast 

Presented by Deutsche Welle DW-TV (p.47). 

Speed Matching 

Directors meet writers and cinematographers 

(p.46). 

Kill Your Darlings 

Master class with Susan Korda (p.47). 

Two Producers Sharing Their Secrets 

Carole Scotta and Paul Trijbits (p.49). 

9:30 

Script Station: 

Project Development Day 

In cooperation with FFA 

and SOURCES 2 (p.24). 

9:30 

Doc & Script Station 


and SOURCES 2 (p.24-25).

More information: Colour code Page 


HAU 3 

Black Stage 

9:15 

Berlin Today Award 2012 

Coaching. 

Supported by Medienboard 

Berlin-Brandenburg (p.32). 

sat, FEB 12 


Christian Goldbeck (p.35). 

16:00 


Sydney Levine (p.35). 

HAU 3 

Top Floor 

9:00 

Campus Editing Studio: Introduction Day 

Andrew Bird, Katja Dringenberg, Susan Korda, 

Gesa Marten, Molly Malene Stensgaard. 

In cooperation with German Film and Television 

Academy Berlin (dffb) (p.26). 

Diving Into Post-Production 

Philippe Ros. In cooperation with Camelot Broadcast 

Services (p.47). 

12:45 Meet the Expert Joachim Knaf, Mathias 

Schwerbrock. In cooperation with HFF “Konrad Wolf“ 

and Erich Pommer Institut (p.35). 

Directing Actors 

Master class with Kerry Fox. 

Moderated by Marten Rabarts (p.48). 

Your Body Speaks: 

The Art of Presenting Your Film 

Jean-Louis Rodrigue (p.49). 

Other Venues 

9:30 Campus Post-Production Studio 

In cooperation with Camelot Broadcast Services (p.26). 

10:00 Score Competition 

Editing at Wave-line / 

Feedback session with Michael Nyman (p.22). 

Talent Project Market (p.28). 

15:00 


Editorial meeting. In cooperation with 

Goethe-Institut and FIPRESCI (p.29). 

10:00 

Campus Editing Studio In cooperation with dffb (p.26). 

Score Competition Editing at Wave-line (p.22). 

10:30 

Talent Project Market (p.28). 

Events open to the public 

Hands-on training events 

Workshops 

12:30 Reception Manfred Durniok Foundation 

for East Asian Talents. 

Supported by Manfred Durniok Foundation (p.15). 

13:00 

Campus Post-Production Studio 

In cooperation with Camelot Broadcast Services 

(p.26). 

15:00 Talent Press 

Editorial meeting. 

In cooperation with Goethe-Institut and FIPRESCI (p.29). 

Dine & Shine – Talents Rendezvous with Berlinale Guests 

and Award Ceremony of the Berlin Today Award 2011 

Dr. Ingeborg Berggreen-Merkel, Dorka Gryllus, Dieter Kosslick, 

Kirsten Niehuus, Peter Rommel, Aviva Silver and Hannes Stöhr. 

Moderated by Adrian Kennedy. Supported by Medienboard 

Berlin-Brandenburg and Robert Bosch Stiftung (p.49). 

sun, FEB 13 Berlinale Talent Campus #9 

41


42 

9:00 

11:00 

12:30 

14:00 

16:00 

17:00 

18:00 

9:00 

11:00 

12:30 

14:00 

16:00 

17:00 

HAU 1 

Lunch Break 

In the Limelight: Harry Belafonte 

Moderated by Rajendra Roy. 

In cooperation with Berlinale Special (p.51). 

20:00 Short and Scary 

Short film screenings. Evert de Beijer, 

Peter Larsson, Hugo Lilja, Jerome Sable, 

Yang Hyo-joo. Moderated by Juliette Veber. 

In cooperation with Berlinale Shorts and 

Berlinale Generation (p.54). 

Too Good to Be True: Directing Reality 

Heddy Honigmann and Andres Veiel. 


Lunch Break 


at Attic Room: Beatrice Kruger (p.37). 

Cinematography: 

The Establishing Shot 

Master class with Edward Lachman. 

Moderated by Ben Gibson (p.55). 

TimeTAble 

In the Limelight: 

István Szabó and Ralph Fiennes 

Moderated by Mike Goodridge. 

In cooperation with FERA and Robert Bosch 

Stiftung (p.57). 

HAU 1 

Fox Bar 


Michel Reilhac (p.35). 


Isabel Arrate Fernández (p.35). 


Sandra Beerends (p.35). 


Erwin M. Schmidt (p.37). 


Hanne Skjødt (p.37). 

HAU 2 HAU 3 

White Stage 



Presented by Robert Bosch Stiftung 

and Sarajevo Film Festival (p.50). 


Directors meet sound designers and editors 

(p.46). 

The Indie Filmmakers Guide to Cross Media I 

Martin Ericsson, Bruno Felix, Michel Reilhac. 

Moderated by Liz Rosenthal (p.52). 

The Shortest Track to Cinema 

Catherine Colas, Alexander Stein, 

Rudolf Worschech. 

Moderated by Maike Mia Höhne. 

In cooperation with Berlinale Shorts (p.53). 

Followed by: 

Short Encounters | 18:30-19:30 

Talents meet short film industry. 

In cooperation with Berlinale Shorts (p.53). 



Presented by Berlinale Talent Campus (p.55). 


Directors meet producers (p.46). 

Play as Process: 

Worldbuilding and New Ways to Imagine 

Shekhar Kapur, Tali Krakowsky, Saku Lehtinen, 

Alex McDowell and Andrew Shoben. 

In cooperation with 5D Conference, L.A. (p.56). 

Plugging People: European Producers 


Jean des Forêts, Nicole Gerhards, 

Peter de Maegd, Soon-Mi Peten. 

Moderated by Fleur Knopperts. 

In cooperation with MEDIA (p.57). 

9:30 Doc & Script Station 


and SOURCES 2 (p.24-25). 

9:30 Doc & Script Station 


and SOURCES 2 (p.24-25).



HAU 3 

Black Stage 

On the Path with Jasmila Žbanić 

In cooperation with Robert Bosch 


12:45 Meet the Expert 

Peter Belsito (p.35). 


Ulrich Kodjo Wendt (p.35). 

Mon, FEB 14 


In cooperation with Robert Bosch 



Iwana Chronis (p.37). 

Rehearsed Reading I: 


Alby James (p.56). 



Tue, FeB 15 

HAU 3 


Let's Make It Legal 

Mareile Büscher, Michael C. Donaldson. 

In cooperation with Raue LLP (p.51). 

Embodying the Character 


The Legal Sound of Music 

Mareile Büscher, Milena Fessmann. 

In cooperation with Raue LLP (p.53). 

10:30 

Where I Am and Where I Want to Go 

Thomas Biniasz (p.55). 

The Indie Filmmakers Guide to Cross Media II 

Wendy Bernfeld, Ben Grass, Inga von Staden. 


Building Digital Worlds for the Screen 

Shekhar Kapur, Alex McDowell (p.57). 

Other Venues 

10:00 Campus Editing Studio In cooperation with dffb (p.26). 

10:00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22). 

10:30 Talent Project Market (p.28). 



Workshops 

13:00 Camera Workshop at Camelot 




13:15 Excursion to the Costume House Theaterkunst 

In cooperation with Theaterkunst (p.51). 




Excursion to “Meet the Docs“ at European Film Market 

Sydney Levine. In cooperation with European Film Market (p.53). 


Storytelling and Producing Redefined 

at Cubix 8. Alain Derobe, Gian-Piero Ringel, 

Erwin M. Schmidt, Wim Wenders. 

Moderated by Patrick Palmer, joined by Julian Pinn. 

In cooperation with Dolby Laboratories (p.54). 



10:00 Campus Editing Studio In cooperation with dffb (p.26). 

10:00 Score Competition Final mixing at the HFF “Konrad Wolf“ (p.22). 

10:00 Excursion to European Film Market 

Sydney Levine. 

In cooperation with European Film Market (p.53). 

10:00 Camera Workshop at Camelot 





43 



44 

9:00 

11:00 

12:30 

14:00 

16:00 

17:00 

20:30 

9:00 

11:00 

12:30 

14:00 

17:00 

21:00 

HAU 1 

As Queer As It Gets 

John Greyson, Thunska Pansittivorakul, 

Wieland Speck, Monika Treut, Christine Vachon. 


In cooperation with Berlinale Panorama, 

Berlinale Forum and TEDDY AWARD (p.59). 

Lunch Break 


How Small Stories Become Big Claudia Llosa, 

Kornél Mundruczó, Abderrahmane Sissako. 

Moderated by Dorothee Wenner. In cooperation 

with ACPFILMS and Robert Bosch Stiftung (p.60). 

The Great World of Sound 

Master class with Michael Nyman. 

Moderated by Peter Cowie (p.62). 

Christoph Schlingensief: Five Favorites 

Anselm Franke, Carl Hegemann, Francis Kéré, 

Matthias Lilienthal, Georg Seeßlen. Moderated 

by Dorothee Wenner. In cooperation with 

Theater Hebbel am Ufer (HAU), Berlinale Forum 

Expanded, Goethe-Institut South Africa (p.62). 

The Schrader Way to Start a Film 

Paul Schrader. Moderated by Peter Cowie. 

In cooperation with Berlinale Special (p.64). 

Lunch Break 

TimeTAble 


Sepideh Farsi, Mehrangiz Kar, Rafi Pitts, 

Ali Sa ma di Ahadi. 

Moderated by Vincenzo Bugno. 

In cooperation with World Cinema Fund (p.64). 

17:30 Say It with a Score: Score Competition 

Presentation and Award Ceremony 

Ehud Freedman, Roger Goula, Hubert Henle, 

Michael Nyman, Felix Rösch. 

Moderated by Milena Fessmann. 

In cooperation with Dolby Laboratories (p.65). 

HAU 1 

Fox Bar 


Wendy Bernfeld (p.37). 


Frédérique Westhoff. 

In cooper ation with ACPFILMS 

(p.37). 

10:30 


Wrap-up session (p.31). 


Ulrike Müller (p.37). 

HAU 2 HAU 3 

White Stage 



Presented by ACPFILMS (p.58). 


Directors meet actors (p.46). 

Barbara Hammer: 

Making Movies Out of Sex and Life 

Barbara Hammer. Moderated by Stefanie Schulte 

Strathaus. In cooperation with Berlinale Forum 

Expanded (p.60). 

Why Poverty? 

Hans Robert Eisenhauer and Don Edkins (p.62). 



Presented by Institut français (p.63). 


Last call for everyone (p.47). 

Covering Cinema: Critics Meet Filmmakers 

Alma Har'el, Gerhard Midding, Jay Weissberg, 

Przemyslaw Wojcieszek. Moderated by 

Dana Linssen. In cooperation with Robert Bosch 

Stiftung, Berlinale Forum and Panorama (p.64). 

16:00 

Things to Take Home 

Marjorie Bendeck, Kathi Bildhauer, 

Christine Tröstrum. 


Closing Party (p.65) 

Dial F for Fiction: 

Script Station Presentation 

Moderated by Merle Kröger. 

In cooperation with FFA and 

SOURCES 2 (p.60). 


Wrap-up session (p.28). 

9:30 


In cooperation with FFA and 

SOURCES 2 (p.24-25).



HAU 3 

Black Stage 


Peter Rorvik (p.37). 

Rehearsed Reading II: 


Alby James (p.56). 


Kanako Hayashi (p.37). 


Nikolaj Nikitin (p.37). 

HAU 3 


wed, FeB 16 

Thu, FEB 17 

The Indie Filmmakers Guide to Cross-Media III 

Martin Ericsson, Ben Grass, Lena Thiele. 


Welcome to Reality: Doc Station Presentation 

Heino Deckert. Moderated by Sirkka Möller. 

In cooperation with FFA and SOURCES 2 (p.61). 

17:00 

Happy Returns: The Future After the Campus 

Rosario García-Montero, Kaspars Goba, Javier Fuentes- 

León. Moderated by Matthijs Wouter Knol. 

In cooperation with Berlinale Generation / Panorama / 

Co-Production Market, World Cinema Fund (p.62). 

10:30 Disclosing the World Cinema Fund 

Vincenzo Bugno, Sonja Heinen. 

In cooperation with World Cinema Fund (p.63). 

12:15 On Track with Market Trends: Berlinale 

Co-Production Market and Talent Project Market 

Kathi Bildhauer, Martina Bleis, Sonja Heinen. 

In cooperation with Berlinale Co-Production Market (p.64). 

Where Things Come Together: 

Campus Post-Production Studio Presentation 

Philippe Ros. 

Moderated by Christine Tröstrum. 


Other Venues 



Workshops 

10:00 Berlin Today Award 2012 Producers' Meeting 

Supported by Medienboard Berlin-Brandenburg (p.59). 

10:00 Excursion to the European Film Market 


10:00-15:30 

Absolute Hearing I-IV 

For composers and sound designers only. 

In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film Orchestra 

Babelsberg and the Film and Television University (HFF) “Konrad Wolf“ (p.58-59). 

Excursion to the European Film Market 


13:00 Screening the Future: Excursion to the Heinrich Hertz Institut 

In cooperation with Fraunhofer/Heinrich Hertz Institut (p.60). 


Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.29). 

10:00 Dress to Impress – Master Class 

at Costume House Theaterkunst 

In cooperation with Theaterkunst (p.63). 




Cutting on the Edge: Campus Editing Studio Presentation 

at CinemaxX 17. 

Susan Korda, Paz Lázaro and Florian Weghorn. 

Moderated by Kevin Murphy. 

In cooperation with dffb (p.65). 

45 



46 

ticketing and talent registration 

8:30 | Hau 2 

Find out what matters most! Stop by the Talent counter to 

pick up your accreditation, and learn about the multitude of events 

and activities offered at the Campus and in the Berlinale film programme. 

Our staff members will be happy to answer all your questions 

related to logistical issues, ticketing and travel reimbursement. 

Besides, here’s where you can meet up with fellow Talents. 

rise and Shine breakfast 

Presented by Berlinale Talent Campus. 

9:30 | Hau 2 

Variety is the spice of life. And not just on the breakfast menu. 

A host of filmmakers from around the world are just as eager for 

conversation as you. A têteàtête with fellow Talents or members of 

the Campus team over hot coffee and croissants is the right start for 

you. This breakfast is presented by the Berlinale Talent Campus. 

taking Off 

11:30 | Hau 2 

This very first and essential briefing will provide allimpor 

tant information about the coming Campus week. Meaning that you 

will be introduced not just to Campus team members, but also 

provided information about internet usage and accessing the Campus 

database. Moreover, the overall Campus programme and its wide 

palette of events will be presented alongside an overview of the 

Berlinale film screenings. Last but not least, you will get an idea of 

what the various handson trainings of the Campus offer. They are the 

Score Competition, Campus Studio, Doc and Script Station, Talent 

Press, Talent Project Market, the Talent Actors and the Berlin Today 

Award. 

fast forward Germany 

Christine berg, Mariette rissenbeek and daniel Saltzwedel. 

Moderated by roman Paul. 

In cooperation with Medienboard Berlin-Brandenburg, 

FFA and German Films. 

13:00 | Hau 2 

Interested in making films with German partners? Film funding 

organisations from Germany present their respective initiatives and 

objectives in promoting German cinema and the prerequisites for 

funding. This event invites both German and nonGerman Talents to 

acquaint themselves with what these organisations have to offer. 

Representatives of Medienboard BerlinBrandenburg, German Federal 

Film Board (FFA) and German Films will interact with Talents providing 

them relevant details. 

Saturday, feb 12 

Global Speed Matching 

Meet and greet session. 


15:00 | Hau 2 

Think on your feet! Think fun! Speed matching provides a 

stimulating way to connect and network with peers and perhaps find 

the perfect match for your film team from this global filmmakers‘ 

village. The Berlinale Talent Campus, which serves as a networking 

platform, invites all Talents for a rapid, efficient and interactive round 

to meet future partners and possibly kickstart projects. A good icebreaker 

for effective networking in the days to come, this is where you 

will meet fellow Talents – actors, directors, screenwriters, directors of 

photography, producers, editors, music composers – you name it. We 

promise you a personally and professionally enriching worldwide tour. 

Focused speed matching sessions for directors to meet producers or 

editors or writers, etc. will take place daily at 12:30. 

this year’s speed matching sessions are as follows: 

feb 13 – directors meet writers and cinematographers 

feb 14 – directors meet sound designers and editors 

feb 15 – directors meet producers 

feb 16 – directors meet actors 

feb 17 – last call for everyone 

Opening Ceremony and World Premiere 

of the berlin today award films 2011 

dieter Kosslick, Kirsten Niehuus. 

Moderated by Matthijs Wouter Knol 

and Christine tröstrum. 

Supported by Medienboard Berlin-Brandenburg. 

17:00 | Hau 1 

We welcome all Talents, mentors and experts to the inaugural 

ceremony of the Berlinale Talent Campus 2011! The masters of ceremo 

ny, Matthijs Wouter Knol and Christine Tröstrum, will greet Talents 

and invited guests and present the focus of this year’s Cam pus. Dieter 

Kosslick, Berlinale festival director, will step into the limelight to 

address the audience and officially declare open the #9 Berlinale 

Talent Campus. The screening of the five Berlin Today Award films, 

which celebrate their world premiere, will bring the event to a close. 

For details on the Berlin Today Award see p.32-33.

Campus programme 

SuNday, feb 13 47 


Presented by Deutsche Welle DW-TV. 

9:30 | Hau 2 

The Deutsche Welle DW-TV, whose crew members are busy 

cap turing the highspirited action at the Campus, present this mor ning’s 

breakfast. Start your day with a good, healthy breakfast as you 

get to know the Deutsche Welle representatives and catch up with 

fellow Talents. 

the rules of engagement 

Kerry fox, Henning Mankell and José Padilha. 


In cooperation with Berlinale Panorama. 

11:00 | Hau 1 

Whether mainstream blockbuster or lowbudget documen tary, 

films are capable of engaging the realm of politics, society and 

culture. But tackling contemporary issues or working within a very 

specific niche is by no means easy. How could a new generation of 

filmmakers position themselves in such a climate? Brazilian director 

José Padilha won the 2009 Golden Bear for ELITE SquAD, and his latest 

ELITE SquAD 2 – THE EnEMy WITHIn features in this year’s Berlinale 

Panorama. Padilha explores in his films the problems of crime in Rio, 

particularly in relation to police corruption and middleclass in difference. 

Joining him on stage is new Zealand actress and director 

Kerry Fox who won the 2001 Silver Bear for Best Actress for her role in 

InTIMACy, and Swedish author, screenwriter, dramatist and activist 

Henning Mankell, who is best known for the “Kurt Wallander Mysteries”. 

Mankell was on the “Ship to Gaza“ in 2010, which tried to break the 

Israeli embargo of the Gaza strip. The three panellists will talk about 

how it all began for them – the initial impetus that led them down 

their individual paths, how it impacted their lives, shaped subsequent 

projects, and how this engagement further developed taking on a life 

of its own. 

diving into Post-Production 

Case Study with Philippe ros. 

In cooperation with Camelot Broadcast Services. 

11:00 | Hau 3, top floor 

Reputed director of photography and digital imaging supervisor 

from France, Philippe Ros will conduct a case study on OCEAnS, a 

film directed by Jacques Perrin and Jacques Cluzaud, which was in 

production for over six years. As digital imaging director, technical 

supervisor of the image and one of 17 DOPs on OCEAnS, Ros will 

divulge “secrets“ to dealing with the challenges that arise when 

matching film and digital formats, in particular when numerous shots 

are taken under totally different conditions, at differing depths and 

with varied lighting, as was the case for OCEAnS. He will explain how 


Page 

the combination of old lighting tricks, new contrast curves and colourist 

skills allowed him to achieve his goals quite successfully. 

Plac ing emphasis on the relationship between the chief digital imaging 

technician and the colourist, Ros will show how the directors of 

OCEAnS succeeded in creating a strong team and involving the DoPs 

in extensive research at various levels. 

filming War 

Janus Metz, Samuel Maoz and danis tanović. 

Moderated by ben Gibson. 

In cooperation with Robert Bosch Stiftung. 

14:00 | Hau 1 

Portraying high pressure and liferisking situations is inherent 

to film making processes that depict war and crisis situations, whether 

fiction or documentary. The very notion of crisis implies that filmmakers 

have to deal with specific issues: decide what to show and how 

to deal with the (fictitious) reality of war and extremity. Reflecting on 

such issues are three reputed filmmakers – Danis Tanović bagged an 

Oscar in 2001 for nO MAn’S LAnD, Janus Metz won the 2010 Grand 

Prize at the International Critics' Week of the Cannes Film Festival for 

his documentary ARMADILLO, and Samuel Maoz won the 2009 Golden 

Lion at the Venice International Film Festival and two European Film 

Awards for LEBAnOn. All three critically acclaimed films depict war and 

portray people under tremendous pressure. Janus Metz and his cinema 

to grapher had to expose themselves to the same risks as the 

soldiers. They filmed with two cameras the entire time and even had 

some soldiers wear helmet cameras. The absence of dialogue in Maoz’ 

film script for LEBAnOn meant that rehearsing seemed pointless: “I 

took each of the actors and, separately, locked them in a very small, 

dark and hot container. After about two hours, when I knew their 

bodies would have shut down, as if hypnotised, I knocked on the iron 

walls with a bar, something that sounded very like an attach on a tank 

[…] When they came out and I looked in their eyes, I could see that I 

didn’t have to explain anything else.” In nO MAn’S LAnD, Tanović relies 

heavily on humour to defuse the tension and highlight the ironies 

of the situation. The three filmmakers will discuss their distinctive 

approaches to depicting tense, lifethreatening situations, as well as 

the creative and political decisions they took while making their films. 

Kill your darlings 

Master class with Susan Korda. 

14:00 | Hau 2 

The editing process which sounds simple enough – you select 

shots and you arrange and modify them to clarify and refine their form 

and content – is actually a rather complex and dynamic process. It is a 

question of technique and art. Film editing isn’t just about how the 

stories you choose to tell in your films can be enhanced, it sometimes


48 

comes down to rescuing an entire film project. Films often find their 

true form in the editing room. This master class by Susan Korda will 

take you on an inspiring and educational journey that lays bare the 

lessons learnt by previous film teams and editors. you will learn how to 

craft a film’s structure and perfect its look such that it grabs an 

audience and keeps it there. 

Susan Korda, editor, director, writer and lecturer at Columbia 

university, and longtime Campus expert, will provide an insider view 

of the dynamics of the craft of editing showing clips from a selection 

of films such as BOnnIE AnD CLyDE to draw attention to a multitude of 

details from the sound and edit to the background of a film. She will 

discuss different approaches to the work of an editor and elaborate on 

the importance of experimentation, for example, by illustrating how a 

film can function quite well despite flaws in the wardrobe or the angle 

of the camera. She will guide you on how to “kill your darlings“ in the 

editing process without losing your collaborators in the montage 

stage of filmmaking, and explain how an editor can work with an 

overwhelming amount of excess footage, and yet succeed in extracting 

the best material which is carefully woven into the film, every 

decision shaping the tone and pace of the film. 

SuNday, feb 13 

Isabella Rossellini with William Hurt in the Berlinale 

Special‘s film LATE BLOOMERS. (insert) 

TOAST by SJ Clarkson and produced by Paul Trijbits runs 

in the Berlinale Special and at the Culinary Cinema. (left) 

directing actors 

Master class with Kerry fox. Moderated by Marten rabarts. 


Acting is first and foremost a craft. And although honing one’s 

acting skills is crucial, it doesn’t come with certified roles or with the 

experience of dealing with the demands of each role. Prominent ac tress 

and filmmaker, winner of the 2001 Silver Bear for Best Actress for 

her outstanding performance in InTIMACy, Kerry Fox will reflect on 

what it means to dive head and heart into a role and how directors can 

assist actors in delivering compelling performances. Drawing on her 

vast and versatile acting career and sharing her per spective as a 

director, she will give insight into her own style of working with actors 

and her personal experiences with the various directors in whose 

films she has starred. Kerry Fox stepped into the limelight with her role 

in Jane Campion’s An AnGEL AT My TABLE and went on to establish 

herself in ter nationally, working in independent films and television. 

Amongst numerous others, she has starred in Gillian Armstrong’s THE 

LAST DAyS OF CHEZ nOuS, Danny Boyle’s SHALLOW GRAVE, Thom Fitzgerald’s 

THE HAnGInG GARDEn, Michael Winterbottom’s WELCOME TO 

SARAJEVO and HansChristian Schmid’s STORM.


SuNday, feb 13 49 

In the Limelight: Isabella rossellini 

With Isabella rossellini. 

Moderated by Peter Cowie. 

17:00 | Hau 1 

As the daughter of Ingrid Bergman and Roberto Rossellini, 

Isabella Rossellini has been in the limelight her entire life. An actress, 

writer and director, it was her gutwrenching performance in David 

Lynch’s BLuE VELVET which shot her to fame, and subsequently her 

prominent roles, among others, in DEATH BECOMES HER, IMMORTAL 

BELOVED and WyATT EARP. She also delivered an unforgettable per formance 

in Canadian avantgarde filmmaker Guy Maddin’s THE SADDEST 

MuSIC In THE WORLD and narrated his film BRAnD uPOn THE BRAIn! at 

the 2007 Berlinale. The famed actress then turned her hand to writing 

– collaborating with Maddin on My DAD IS 100 yEARS OLD, a film about 

her father – and directing. She wrote, directed and starred in the 

delightfully surreal short film series GREEn PORnO about animal sex. 

Isabella Rossellini, Jury President of the 61st Berlin International Film 

Festival, will talk about the various transitions in her professional life, 

her recent foray into writing and directing and her spirited engagement 

in human rights advocacy. The session will commence with the screening 

of My WILD LIFE, a documentary film that portrays her life and 

work by German director Gero von Boehm. 

two Producers Sharing their Secrets 

Carole Scotta and Paul trijbits. 

17:00 | Hau 2 

Many jobs in the film industry are welldefined, for example, 

that of the director, scriptwriter or director of photography. Any 

de fi nition of the role of the film producer is imprecise at best! Film 

pro duction requires someone who has the expertise and vision to 

take decisions through all four stages of filmmaking. uSAmerican film 

producer Richard Zanuck once said: “The producer is like the con 

duc tor of an orchestra. Maybe he can't play every in stru ment, but he 

knows what every instrument should sound like.” Pro duction neces 

si t ates a command of hundreds of details while keeping the broad 

objective of the film firmly in view. This simultaneously implies providing 

in sights and feedback on the creative aspects of filmmaking. 

Two veteran film producers, Carole Scotta (THE CLASS and BLACK 

HEAVEn) and Paul Trijbits (TAMARA DREWE and TOAST – which features 

in this year’s Berlinale), who between them have been involved in the 

production of up to a hundred films and received numerous awards 

and nomi nations, go behind the scenes to explain not just their role 

visàvis finance, marketing and distribution, but also the creative 

elements to being a producer. Giving examples of some of their past 

projects, they will focus on the role of producers as sparring partners, 

working closely with directors right from the start, connecting content 

with the harsh but creative reality of producing films. 


Page 

your body Speaks: the art of Presenting your film 

Jean-Louis rodrigue. 


How the director and producer present their project to 

potential studio executives and investors often determines if the film 

will be made. Effective presentation requires clarity of expression, 

confident body language, accessing the imagination and engaging 

the audience’s attention by connecting to their emotions. This involves 

under standing how to use “watcher identification“ and empathy as a 

way to connect and “seduce” your audience, using mind mapping to 

plan a presentation that communicates effectively, developing physical 

and mental coordination in order to act out the story dynamically 

in time and space, using heroism as a way of making your presentation 

un for gettable, and connecting to your senses to create the “dream 

world” of your story so they “hear and see it”. This is an interactive, 

handson workshop led by acting coach, movement trainer, choreographer 

and senior teacher of the Alexander Technique JeanLouis 

Rodrigue. Some Talents will have the opportunity to present their 

projects to Rodrigue in front of an audience as practical application. 

This workshop is open primarily to directors, writers, and producers. 

dine & Shine – talents rendezvous with berlinale Guests 

and award Ceremony of the berlin today award 2011 

dr. Ingeborg berggreen-Merkel, dorka Gryllus, dieter Kosslick, 

Kirsten Niehuus, Peter rommel, aviva Silver and Hannes Stöhr. 

Moderated by adrian Kennedy. 

Supported by Medienboard Berlin-Brandenburg 

and Robert Bosch Stiftung. 

19:30 | ewerk 

A dinner event where you might find yourself seated beside a 

renowned film personality as you feast on mouthwatering delicacies 

– that is “Dine & Shine – Talents Rendezvous“. you never know who 

you might get seated next to; with every course you switch tables so 

that you can converse with different Campus experts. Delicious food, 

delectable company and, if you’re lucky, some much needed advice for 

your current or next film project. Dine & Shine is traditionally also the 

celebration for the winner of the Berlin Today Award; jury members 

will announce the contestant who takes home the 2011 award.


50 


Presented by Robert Bosch Stiftung and Sarajevo Film Festival. 

9:30 | Hau 2 

Hosting this morning’s breakfast of sweet and savoury delights 

are the Robert Bosch Stiftung and the Sarajevo Film Festival. Meet 

re pre sentatives of both institutions and learn more about the CoProduction 

Prize (see p.15) and the Sarajevo City of Film initiative. 


actors Workshop with Jasmila Žbanić. 

In cooperation with Robert Bosch Stiftung. 

feb 14 + 15 | 11:00 | Hau 3, black Stage 

Auditioning for a role is very different from actually acting in a 

film. For many, this is a daunting prospect. Practice and experience is 

the only way to overcome the fear and to show your talent in the most 

convincing way. This intensive casting workshop is led by director 

Jasmila Žbanić, who won the 2006 Golden Bear for GRBAVICA. Her 

subsequent film On THE PATH featured in the 2010 Berlinale Com petition. 

using these two films as a starting point, but also working with 

new scenes and through improvisations, actors will have the benefit 

of Jasmila Žbanić‘s insight as director and will experience her style of 

casting. The workshop will allow actors to try and test their form and 

MONday, feb 14 

Sing your Song: Susanne Rostock‘s portrait of Harry Belafonte 

on the Path with Jasmila Žbanić: critical feedback for actors 

rise & Shine Breakfast: make your first contacts in the morning


MONday, feb 14 51 

style which will prepare them for their auditioning ex per i ences in the 

professional world. Scenes enacted by acting Talents will be recorded 

on camera, which will allow them to reflect on and discuss their own 

performances as well as those of others based on the critical feedback 

they receive from Žbanić. 

Let’s Make It Legal 

Mareile büscher and Michael C. donaldson. 

In cooperation with Raue LLP. 


One of the major worries of a filmmaker is the threat of a lawsuit, 

and consequently the fear of the completed film languishing in 

legal limbo for an indefinite period of time. Indeed, filmmaking is and 

should be a creative endeavour, but in order that this creativity is recognised 

and appreciated, it is vital to invest attention and resources 

to the legal aspects of filmmaking. In fact, taking care of these rather 

unglamorous issues in a timely manner can be just as important to the 

ultimate success of the film as having a great script, an outstanding 

cast, spectacular cinematography or stunning special effects. 

This session focuses on the legal issues likely to be encountered 

during film production. Michael C. Donaldson has represented 

writ ers, directors, producers and artists for over 30 years; his book 

“Clear ance and Copyright: Everything the Independent Filmmaker 

needs to Know” is used as a textbook in over 40 colleges and uni versities. 

Join ing him onstage is Mareile Büscher, legal counsel at Raue 

LLP, who specialises in intellectual property matters, media and entertainment 

law and copyright litigation and negotiation; she is also a 

lecturer on art and copyright law at various institutions. The two legal 

counsels will advise, using examples from the productions they have 

dealt with – Donaldson in north American and Büscher in Europe – on 

what to beware of when making films. 

Camera Workshop at Camelot 


feb 14, 13:00 | Shuttle leaves at 12:30 from Hau 2 

feb 15, 10:00 | Shuttle leaves at 9:30 from Hau 2 

Camelot‘s camera workshop during the Campus offers participants 

the possibility to see firsthand and ask questions about a 

variety of cameras. They will be demonstrated and guided through 

the cameras’ many functions and possibilities. Of particular interest 

will be Sony‘s F35, the Arri Alexa, the Red One with MX sensor, the 

PMW F3, the Pro35 adaptor and the Canon 7D with PL mount. Par ticipants 

will be able to learn about the cameras‘ many different properties 

and recording possibilities, and will also be warned of potential 

pitfalls in addition to receiving tips on the best ways to avoid them. 

This will place them in a better position to shoot material in a way that 

best suits whatever production or postproduction work flow they 

might find themselves in, in the future. Moreover, this practical workshop 

allows participants to gain real handson experience with the 

cameras in question and to try them out for themselves. This way, they 

can perform their own tests, whether shoulderheld or tripodbased. 

excursion to the Costume House theaterkunst 

In cooperation with Theaterkunst. 

13:15 | Meeting point 13:00 

at the entrance to Hau 1 

Whether it is a dark thriller, a heartwarming comedy, an opulent 

period drama or a racy science fiction film – they are all fitted 

with costumes and accessories at the Costume House Theaterkunst. 

The largest and oldest costume house for film, television, theatre and 

advertising in Germany, the institution celebrated its hundredth 

anniversary in 2007. With branches in Hamburg, Munich and Cologne, 

and headquarters in Berlin, the costume house offers about 10 million 

pieces from all styles, epochs and trends, making it possible to trace 

the past decades of film history and costume equipment. They have 

fitted such films as VARIETé, BEn HuR, METROPOLIS, and more recently, 

the likes of InGLOuRIOuS BASTERDS, THE READER and THE WHITE RIB- 

BOn. Innumerable rows of clothes and accessories, the latter in clu des 

scarves, gloves, glasses, jewellery, hats and umbrellas, from every era 

imaginable adorn the racks of the Theaterkunst, making one wonder 

about the extent of creative expression and extreme attention to contextual 

and historical accuracy that go into putting together each 

costume and film. This general tour is open to ten Talents. 

In the Limelight: Harry belafonte 

Harry belafonte. 

Moderated by rajendra roy. 

In cooperation with Berlinale Special. 

14:00 | Hau 1 

Legendary singer actor and human rights activist, Harry 

Belafonte is one of the most successful uSAmerican musicians known 

worldwide for bringing the Jamaican calypso beat to mainstream 

audiences. As an actor, he made his debut in 1953 with BRIGHT STAR 

and went on to work on such great cinematic works as Otto Preminger's 

hit musical CARMEn JOnES (1954), Robert Wise’s 1959 film noir ODDS 

AGAInST TOMORROW and Robert Altman’s jazz age drama KAnSAS CITy 

(1996). Alongside his recording and cinematic work, he has hosted 

and ap pea red as guest on innumerable TV shows, remaining at the 

same time, steadfastly committed to humanitarian issues. A close confidant 

of Dr. Martin Luther King, he was appointed unICEF Goodwill 

Am bassador in 1987 and has garnered numerous awards and honours 

from the Peace Corps and unICEF. In conversation with chief curator of 

film at MOMA Rajendra Roy, Belafonte will talk about his life, his longspanning 

and versatile career and his active involvement in human 


Photo Donata Wenders © nEuE ROAD MOVIES GmbH 


52 

rights advocacy. Encouraging a younger generation of filmmakers, he 

will explain how he went about using his popularity to reach out to 

people in his fight against racial and social inequality. 

the Indie filmmakers Guide to Cross-Media I 

extending the Story: an Introduction to Cross-Media Storytelling 

Martin ericsson, bruno felix and Michel reilhac. 

Moderated by Liz rosenthal. 

14:00 | Hau 2 

Before the Internet, the way that stories were told, delivered 

and shared were restricted by running times, distribution formats and 

platforms. The impact of new technologies coupled with an audience 

that has way more control over their media than ever before is impact 

ing on the art and craft of storytelling. Just as sound changed the 

lands cape of filmmaking, technology is changing audience be haviour 

your Body Speaks: movement trainer JeanLouis Rodrigue 

working with actors (insert) | Dancing in 3D: Wim Wenders‘ PInA 

premieres in the Berlinale 2011 


and expectations – they want immersion and interaction. As audiences 

move from one platform to another, how does one develop stories 

and characters that can travel across screens and devices? 

In the first of a series of three sessions on crossmedia storytelling, 

experts and pioneers will describe how to build story worlds 

that can span across multiple platforms and engage audiences in 

power ful new ways. 

embodying the Character: 

acting on Screen with your body 

acting workshop with Jean-Louis rodrigue. 


If you did not have words, could you still tell the story? This 

workshop focuses on recognising the power of movement and 

phy sicality in creating a character in film. JeanLouis Rodrigue, a renown 

ed movement and acting coach and a senior teacher of the 

Alexander Technique as applied to performance in film, helps actors 

and actresses find the fluidity of ease, power, precision and passion 

in their performance. The Alexander Technique is a meth od that 

explores the basic impulses of human movement – how we interfere


MONday, feb 14 53 

with our own coordination and how we can change it. Rodrigue’s 

teachings emphasise the awareness of the body and the physicality of 

performance. 

Every gesture has enormous implications in telling the story 

and revealing the character. The workshop will explore the elements 

that make an actor charismatic, emotionally authentic and clearly expres 

sive by developing kinesthetic awareness of your body, ex plo r ing 

the basic principles of the Alexander Technique, connecting to breath 

coordination and voice to text, being in space and entering the world 

of the story, understanding how to bring ritual, myth and primal ances 

tors into your performance, and using animal movement as a way 

to find the spine of the character and connecting to your em otions. 

Participants are required to have a monologue ready for this intensive 

handson workshop and interactive experience. 

excursion to the european film Market 

With Sydney Levine. 

In cooperation with European Film Market. 

Meeting point | entrance to Hau 1 

always 15 minutes prior to the start. 

“Meet the docs” 

Mon 14, 16:00 | tue 15, 10:00 

Wed 16, 10:00 + 12:30 

The European Film Market (EFM), a film trade fair, is a major 

industry meeting for the international film circuit. For nine days during 

the Berlinale, film professionals have the opportunity to find out about 

the latest productions and developments in the global film scene. The 

annual EFM acts as a vital barometer for the upcoming film year, attracting 

distributors, film buyers, producers, financiers and coproduction 

agents, as it assists their positioning in the market and offers op portunities 

to develop and cultivate business contacts. This year, over 400 

exhibitors from 54 countries and over 650 films will be presented to 

industry visitors. The historical location of the EFM, which is housed in 

the renaissancestyle exhibition hall of the MartinGropiusBau, lends 

the vibrantly active event lasting nine days, a certain gla mour and 

charm. 

Excursions guided by Sydney Levine, who will also conduct a 

“Meet the Expert“ session (see page 35), will enable Talents to acquaint 

themselves with the structure and workings of the EFM. Talents spe cialising 

in documentary filmmaking can also join the special tour to 

“Meet the Docs”, a joint initiative with the European Documentary 

network (EDn) and specifically dedicated to the documentary industry. 

“Meet the Docs” aims to promote networking and exchange 

among buyers, sellers, directors, producers as well as distributors of 

docu mentaries. 

the Shortest track to Cinema 

Catherine Colas, alexander Stein and rudolf Worschech. 

Moderated by Maike Mia Höhne. 

In cooperation with Berlinale Shorts. 

17:00 | Hau 2 

Short films that find their way into regular cinema programmes 

remain few and far between. And although some dismiss short films 

as a medium for filmmakers just starting out, this underappreciated 

genre is thriving, innovative and extremely active. What chances do 

short films have these days to be screened in regular cinemas? new 

strategies are being developed by proponents of the short film; one 

such example is an initiative launched in Germany, which will be 

presented by Catherine Colas (ZDF/ARTE). Berlinale Shorts curator 

Maike Mia Höhne will discuss, the various ways, means and actions 

undertaken to ensure that shorts get to the big screen, with Catherline 

Colas, Alexander Stein, Interfilm Festival producer, and Rudolf Worschech, 

chief editor of the German film magazine EPD Film. Addit 

i onally, some of the shorts which have managed to reach cine mas and 

audiences will be screened during this session. 

Short encounters 

In cooperation with Berlinale Shorts. 

18:30 | Hau 2 

A singular opportunity for Talents and experts of the short film 

genre to network and explore possibilities of producing, distributing 

and showcasing short films follows the panel. This mini “marketplace“ 

will comprise short film industry professionals from within Germany 

and abroad – broadcasters, distributors, sales agents, producers, festi 

val programmers and short film marketing institutions. The infor mal 

event is meant to assist Talents in making contacts for screening and 

distributing their short films, enquiring about oppor tunities, potential 

partners and funders, and familiarising themselves with the market of 

alternative venues. 

the Legal Sound of Music 

Mareile büscher and Milena fessmann. 

In cooperation with Raue LLP. 


The legal ramifications inherent to the filmmaking process 

influence not just the creative but also the practical aspects of making 

films and film music. Simply contemplating the myriad copyrights 

and clear ances one needs is a scary prospect. But protecting your film 

from lawsuits makes these legal issues integral to filmmaking itself. 

Milena Fessmann and Mareile Büscher will elaborate on the im portance 

of obtaining music rights and the ins and outs of the process. 

Milena Fessmann is a music supervisor and the founder of Cinesong; 

the company offers a range of services related to music and films. One 



54 

of their latest film projects is Wim Wender’s 3D film PInA which premieres 

at this year’s Berlinale. Mareile Büscher is a legal counsel for Raue 

LLP on press, media and copyright law. The two ex perts discuss various 

aspects related to rights to music in film: how and when you should go 

about obtaining these rights, the process involved in clearing rights to 

sound and music and what a proper request for licensing music should 

look like. 

New Horizons in 3d: Storytelling and Producing redefined 

alain derobe, Gian-Piero ringel, erwin M. Schmidt, Wim Wenders. 

Moderated by Patrick Palmer, joined by Julian Pinn. 

In cooperation with Dolby Laboratories. 

18:00 | Cubix 8 

a shuttle bus starts at 17:30 from meeting point in Hau 1 

Films using 3D technologies have gained immense populari 

ty with audiences and filmmakers in recent years. The 3D experience 

provides audiences with a new immersive experience while it gives 

film makers the opportunity to narrate stories in ways that are more 

ela bo rate, more lifelike than ever before and to push the boundaries 

of filmmaking to the limits of their imagination. 

Internationally renowned filmmaker Wim Wenders, who has 

made masterpieces such as WInGS OF DESIRE, the Cuban music 

documentary BuEnA VISTA SOCIAL CLuB and PARIS, TEXAS, presents 

his latest documentary PInA, a 3D dance film that is a tribute to the late 

German contemporary dancer and choreographer Pina Bausch, at this 

year’s Berlinale. As Wenders explains, “The twodimensional cinema 

screen is just not capable of capturing Pina Bausch’s work, either 

emotionally or aesthetically. When I watched her dance for the first 

time twentyfive years ago, I was captivated and deeply moved. I was 

able to understand human movement, gestures and feelings in a 

whole new way. And this magic is what I would like to translate to the 

screen […] 3D gives us the possibility of taking the audience directly 

onto the stage, into the middle of the event”. 


Short and Scary: BROKEn nIGHT by yang Hyojoo (above) 

GET REAL! by Evert de Beijer (bottom left) 

Showing excerpts from the film, Wenders, together with 

stereo grapher Alain Derobe and producers GianPiero Ringel and 

Erwin M. Schmidt, presents a case study on PInA and discusses the 

cre a tive possibilities that 3D technologies open up for filmmakers, and 

the role of the producer in developing such highly artistic films that 

create a truly immersive experience for audiences. 

Short and Scary 

Short film screenings. evert de beijer, Peter Larsson, Hugo Lilja, 

Jerome Sable and yang Hyo-joo. Moderated by Juliette Veber. 

In cooperation with Berlinale Shorts and Berlinale Generation. 

20:00 | Hau 1 

you would think that you’ve seen it all already, the chills and 

thrills that delight twisted minds. What we offer those in the mood for 

a little spinechilling fear is an exceptional selection of five short scary 

films from this year’s programmes of the Berlinale Shorts and Berlinale 

Generation. We take you through dark worlds and the many faces of 

horror with a couple who struggle with catching and taming zombies, 

bloody lobotomy experiments and a relationship on the verge of 

falling apart in Hugo Lijla’s THE unLIVInG, with the atmospheric photography 

of yang Hyojoo’s BROKEn nIGHT, which depicts harsh reality 

when one is ensnared by one’s own tricks, with the woods, the soil and 

the darkness – damp, raw and stone agelike in Peter Larsson’s animated 

experimental SEVEn DAyS In THE WOODS, with Jerome Sable 

and Eli Batalion’s horror rock musical THE LEGEnD OF BEAVER DAM 

which has kids, an evil monster and a gory fight to death in the woods, 

and last but not least, with a high school student lost in the world of 

computer games, protecting a sexy female mega singer from all kinds 

of attacks in Evert de Beijer’s GET REAL!. Present at the screenings will 

be the five filmmakers who discuss their short and scary works with 

new Zealand director and producer Juliette Veber.


tueSday, feb 15 55 


Presented by the Berlinale Talent Campus. 

9:30 | Hau 2 

This morning’s Rise and Shine Breakfast offers the early birds a 

tasty start to a promising new Campus day. Enjoy a selection of sweet 

and savoury delights as you catch up with Talents and Campus team 

members. 

Where I am and Where I Want to Go: 

Choosing Personal Strategies in daily Life 

Workshop by thomas biniasz. 


Any kind of creative work requires the ability to grasp something 

that exists purely in the imagination and shape it into something 

tangible and successful. Translating innovative ideas into reality 

requires a creative strategy. This handson workshop, led by psy chologist, 

executive coach and management consultant Thomas Biniasz, 

focuses on learning to define yourself and your projects in the present, 

visualising possible options for the future and developing and improving 

decisionmaking in order to synchronise the present and the 

future. 

Biniasz, whose core competencies comprise executive coaching, 

developing and implementing leadership programmes and facilitating 

change processes in large organisations, will take you through 

the threephased “Walt Disney Strategy“ which divides the world into 

dreamers, realists and critics. This workshop, designed for up to 20 

participants, will help you learn about your personal goals and your 

professional positioning to enhance your individual impact. 

rehearsed reading: an acting and scriptwriting workshop 

with independent producer and script consultant Alby James 

too Good to be true: directing reality 

Heddy Honigmann and andres Veiel. 


11:00 | Hau 1 

Incorporating fictionalstyle elements in documentary films 

have enriched the genre tremendously and resulted in compelling 

storytelling taken from reality. yet, critics question reenactments, 

stag ing of interviews or even the adding of music in documentary 

films. On this panel are two outstanding filmmakers who have creat 

ed their own unique filmic language in both their documentary and 

fictional work: Andres Veiel is considered one of Germany’s leading 

documentary filmmakers; his latest feature IF nOT uS, WHO? features in 

this year’s Berlinale Competition. Veiel’s social and political viewpoint 

is strongly reflected in the choice of themes of his re mark able productions, 

for example, the documentary BLACK BOX BRD and the 

feature THE KICK. Another preeminent filmmaker, Heddy Honigmann 

is noted for her ability to make an emotional connection with people 

she films; her subjects have included cab drivers in Peru, immigrant 

musicians on the Parisian metro and Cuban exiles in new Jersey. 

Winner of major awards at festivals around the world, her artistic 

œuvre has been honoured with retrospectives, for example, at the 

MOMA in new york and Arsenal Cinema in Berlin. Through examples 

from their respective filmographies, the experts will discuss the extent 

to which directors can create their own filmic reality when making 

docu mentaries or use documentary elements when making fiction 

films. 

Cinematography: the establishing Shot 

edward Lachman. Moderated by ben Gibson. 

14:00 | Hau 1 

One of the most significant cinematographers of independent 

and Hollywood cinema, Ed Lachman has worked with directors such 

as Werner Herzog, Wim Wenders, Todd Haynes, Todd Solondz, Steven 

Soderbergh and ulrich Seidl, and is reputed to successful switch bet 

ween documentary and fictional forms. “It’s not a cameraman’s job to 

make nice pictures,” says Lachman, “but to bring out the truth.” His 

guiding principle can be seen in the multitude of films he has shot, 

such as THE VIRGIn SuICIDES, FAR FROM HEAVEn – which earned him an 

Academy Award nomination, ERIn BROCKOVICH, DESPERATELy SEEKInG 

SuSAn and the documentaries LIGHTnInG OVER WATER and LA SOu- 

FRIèRE. This highly acclaimed director of photography, who is also a 

filmmaker – he directed the controversial KEn PARK together with 

Larry Clark in 1995, will show excerpts from some of his independent 

and Hollywood film projects and elaborate on his style of working and 

his artistic influences, as well as on how one can create a particular 

look and atmosphere of a film from the start, one that penetrates with 

insight and accuracy and pervades until the end. 



56 

Exciting discussions: Actor and director Ralph Fiennes with Vanessa Redgrave 

in his Berlinale Competition film CORIOLAnuS | Production designer Alex McDowell 

joins the Campus again (insert) | Liz Rosenthal moderates all three “Indie 

Filmmakers Guide“ sessions (right page) 

Play as Process: Worldbuilding and New Ways to Imagine 

Shekhar Kapur, tali Krakowsky, 

Saku Lehtinen, alex Mcdowell and andrew Shoben. 

In cooperation with 5D Conference, L.A. 

14:00 | Hau 2 

Our lives are subject to a structure within which we enact our 

daily acts and rituals, play our games and design our future. The five 

guests on this panel – each an expert in his/her field of spe ci a lisation 

– will address how one can create a virtual landscape of things and 

spaces around us and consequently in art and film. This session brings 

together production designer Alex McDowell (FIGHT CLuB, MInORITy 

REPORT), he is also the founder of 5D: The Future of Immersive Design; 

film maker Shekhar Kapur (ELIZABETH and ELIZABETH THE GOLDEn 

AGE); ex pe r ience designer and founding member of 5D Tali Krakowsky; 

founder of Greyworld, an artists‘ collective creating art in public 

spaces, Andrew Shoben; and art director of Remedy Entertainment 

Saku Lehtinen, who is responsible for the audiovisual experience of 

games. Based on the core idea behind the 5D Conference – talking 

about learning about seeing better stories – the five panellists will 

explore the notion of “playing“ at the centre of the new creative collaborative 

space, and the designer’s recent ability to build worlds 

using digital tools, for an immersive audience experience. 

tueSday, feb 15 

rehearsed reading 

Workshop with alby James. 

feb 15 + 16, 14:00 | Hau 3, black Stage 

The look, the style of movement and the ability to adapt these 

to the different character roles and filmic setting are core aspects of 

the actor’s craft. Equally crucial to bringing characters of a script to life 

is the smooth and effective delivery of dialogue. This workshop of the 

Talent Actors Stage focuses on dialogue training and will have Talent 

actors reading vital scenes from a preselected script of the Script 

Station. Mentor Alby James will work with Talent actors and scriptwriters 

on building characters, exploring how characters would act, 

react and talk in a variety of circumstances and in the different 

situ at ions portrayed in each scene. Alby James, a successful theatre 

direc tor for fifteen years before he moved into films, radio and 

television drama, was previously head of development for two years 

with EOn Screenwriters’ Workshop in London and is currently in dependent 

producer. Scriptwriters will have the opportunity to ob serve 

a screen play brought to life for the first time. Participating actors and 

script writers are invited to offer opinions, reactions, feedback and 

suggestions at the end of each reading.


tueSday, feb 15 57 

the Indie filmmakers Guide to Cross-Media II 

extending Partnerships: 

How to Produce Cross-Media Projects 

Wendy bernfeld, ben Grass and Inga von Staden. 



Creating crossmedia projects demands a whole new set of 

skills, collaborators and finance partners from across the media in dus 

tries. This session looks at the extended role of the crossmedia pro 

ducer and examines potential new alliances and partnerships with 

online networks, multiplatform broadcasters, brands, agencies 

and other new financiers, as well as the legal issues involved. 

In the Limelight: István Szabó and ralph fiennes 

With ralph fiennes and István Szabó. 

Moderated by Mike Goodridge. 

In cooperation with FERA and Robert Bosch Stiftung. 

17:00 | Hau 1 

Renowned British actor turned director Ralph Fiennes, whose 

debut film CORIOLAnuS premieres prominently at this year’s Berlinale, 

has acted in films such as THE COnSTAnT GARDEnER, SunSHInE, THE 

READER, THE HuRT LOCKER, SCHInDLER’S LIST and THE EnGLISH PATIEnT. 

He was nominated for Oscars for the latter two films. Fiennes steps 

into the spotlight with Hungarian filmmaker, István Szabó – a name 

that resonates in the world of cinema. He was awarded an Oscar for 

MEPHISTO and received tremendous accolade not just for his im pres 

s ive slate of films such as COLOnEL REDL, HAnuSSEn, MEETInG VEnuS 

and SWEET EMMA, DEAR BöBE, but also for the historic and con tem 

p orary relevance of the social and political themes they ad dress. 

The celebrated actor and director who worked closely together on 

Sun SHInE, an epic tale that follows the Hungarian Jewish family, 

Sonnen schein, through five generations, will discuss what it takes for 

a director to get actors to step into their roles with an ease that brings 

out convincing performances and what the close collaboration on the 

content of the film means and entails. 

Plugging People: european Producers Positioning themselves 

Jean des forêts, Nicole Gerhards, Peter de Maegd 

and Soon-Mi Peten. Moderated by fleur Knopperts. 

In cooperation with MEDIA. 

17:00 | Hau 2 

Emerging producers have plenty of tools to put their com panies 

on the map and can choose from an array of funding opportunities 

for support. So much for marketing talk! What is the reality on ground 

when you set up your own company and want to distinguish yourself 

from others? How can you build a steady track record as a producer 

and be successful in getting your film out there? 

Three European producers, who have made their mark in the 

past decade, will discuss the dos and don’ts when establishing oneself 

as a producer. They will be joined by SoonMi Peten, MEDIA Devel opment 

Programme representative, who will emphasise the signi ficance 

of new producers and entrepreneurs for the audiovisual industry and 

highlight the opportunities MEDIA offers young producers: how it enables 

them to broaden their horizons and streng then their profiles, 

gain access to financing and networking op por tunities. MEDIA, the 

Eu's support programme for the European audio visual industry, has 

facilitated the development and distribution of thousands of films as 

well as training activities, festivals and pro motion projects throughout 

the continent over the past 20 years. MEDIA is one of the Berlinale 

Talent Campus’ most essential partners. 

building digital Worlds for the Screen 

Shekhar Kapur and alex Mcdowell. 


Creating the physical world surrounding a film story involves 

not just design but also indepth research, problemsolving and 

technical insight. As a creative process of visualising and physically 

developing an environment, it becomes a key element of the storytelling 

process. This workshop, for a selected group of production desig 

ners, is led by two master craftsmen: Indian filmmaker and producer 

Shekhar Kapur and production designer and producer Alex 

McDowell. Shekhar Kapur has made critically acclaimed films like 

BAnDIT quEEn, the awardwinning historical biopic ELIZABETH and its 

sequel ELIZABETH: THE GOLDEn AGE, which was nominated for two 

Oscars. Alex McDowell is one of Hollywood’s most acclaimed production 

designers with films such as MInORITy REPORT, CHARLIE AnD 

THE CHOCOLATE FACTORy, FEAR AnD LOATHInG In LAS VEGAS, FIGHT 

CLuB and CORPSE BRIDE comprising his film portfolio. Showing excerpts 

from their films, the two professionals will examine indepth 

the production of a plausible and realistic world on screen. Parti ci pating 

Talents will have the opportunity to discuss their own projects 

and receive input, insight and guidance. 



58 


Presented by ACPFILMS. 

9:30 | Hau 2 

Early birds catch the worm! In this case, it’s the breakfast. This 

morning’s scrumptious spread of breakfast delights is offered by 

ACPFILMS. Learn more about their fund and get to know their re presentatives 

over hot coffee and delicious chocolate croissants. 

in the Berlinale Forum: Thunska Pansittivorakul‘s THE TERRORISTS 

(above) | The future after the Campus shone bright for alumna 

Rosario GarcíaMontero whose THE BAD InTEnTIOnS runs in the 

Berlinale Generation 

WedNeSday, feb 16 

absolute Hearing I-IV 

excursions to the Heinrich Hertz Institut and the German 

film Orchestra babelsberg; Q&a with Michael Nyman; 

Master Class Sound editing & re-recording Mixing 

at the film and television university (Hff) “Konrad Wolf”. 

For composers and sound designers only. 

In cooperation with Fraunhofer/Heinrich Hertz Institut, German Film 

Orchestra Babelsberg, Film and Television University (HFF) “Konrad Wolf“. 

9:30 | Meeting point at the entrance of Hau 1 

absolute Hearing I-II: excursions to the Heinrich Hertz Institut 

and the German film Orchestra babelsberg 

The Heinrich Hertz Institut is a stateoftheart research institute 

for communication systems and digital media and services where 

Talents will learn about pioneering technologies for screen and sound 

developed for the future. The scores of the Score Competition, recorded 

with the German Film Orchestra Babelsberg, are remixed in Wave 

Field Synthesis (WFS), in order to show the spatial sensation of the technology. 

These scores will be presented at the Heinrich Hertz Institut. 

WFS is a sound technology which offers high creative potential for an 

im mersive interactive “cinema of the future”.


WedNeSday, feb 16 59 

The excursion then moves to the German Film Orchestra 

Babels berg, the only professional orchestra for film music in Germany, 

invites sound designers and composers for a guided tour of its premises. 

It gets its name from the illustrious Babelsberg Studios, where 

noteworthy films such as DR. MABuSE, THE BLuE AnGEL, THE LIFE OF 

OTHERS and THE GHOST WRITER were produced. 

absolute Hearing III-IV: 

Master class sound editing & re-recor d ing mixing on 

tHe LaSt StatION at the Hff-mixing stage 

The sound and music excursion makes its final halt at the Film 

and Television university (HFF) “Konrad Wolf”. A tour of one of the most 

modern and biggest film academies in Germany will be followed by a 

q&A session with esteemed composer and Score Competition mentor 

Michael nyman. Prof. Martin Steyer, vice president of HFF “Konrad 

Wolf” and rerecording mixer of the awardwinning film THE LAST 

STATIOn directed by Michael Hoffman and featuring Helen Mirren, 

James McAvoy and Christopher Plummer, will conduct a master class 

on the film: the relation and interaction of picture and sound and the 

creative work in the mixing theatre (the rerecording stage). Based on 

an autobiographical novel of the same name by Jay Parini, THE LAST 

STATIOn is a historical drama that depicts the last year in the life of 

Russian author Leo Tolstoy and his struggle to balance fame and 

wealth with his commitment to a life devoid of material things. 

berlin today award 2012 

Producers’ Meeting 

Supported by Medienboard Berlin-Brandenburg. 

10:00 | Hessische Landesvertretung 

The Berlinale Talent Campus offers young directors worldwide 

the opportunity to work with producers from BerlinBrandenburg, 

and a golden chance at the Berlin Today Award 2012. Five films based 

on the theme “Every Step you Take” will enjoy their world premiere at 

the 10th Berlinale Talent Campus in 2012. The winning film, which will 

take home the Berlin Today Award 2012, will be selected by a jury of 

five eminent film professionals. But that’s still in time to come! At this 

year’s Campus, fifteen preselected Talents and ten production companies 

will converge at the Producers’ Meeting for a marriage of sorts. 

Talents will meet Berlinbased producers in oneonone meetings 

to present their film projects; likewise producers will present their 

respective companies and the scope of their work. An intensive day, 

full of presentations and discussions, Talents and pro ducers will also 

vote for their preferred partners. From the wish list put together at the 

Producers’ Meeting, the Campus will select in spring 2011 the final five 

film projects and match them with five production companies. Please 

see page 32 for more information on the Berlin Today Award and the 

theme for 2011. 

as Queer as It Gets 

John Greyson, thunska Pansittivorakul, 

Wieland Speck, Monika treut and Christine Vachon. 


In cooperation with Berlinale Panorama, 

Berlinale Forum and TEDDY AWARD. 

11:00 | Hau 1 

queer cinema originated in times when queer opinions and 

lifestyles weren’t as yet part of the prevailing film industry in western 

countries. queer filmmakers experimented with new, different forms 

of storytelling working with lowbudgets and digital shooting formats 

way before the mainstream caught up with them. not only has queer 

cinema established itself as a thriving niche in present times, it has 

also been successful in forging greater mainstream acceptance of 

queer perspectives in cinema and everyday culture. At the same time, 

queer cinema appears increasingly less interested in demonstrating 

the importance of “daring to be different“, but more in celebrating the 

fact that “queer“ is now somewhat “normal“. Is this what the queer 

movement has been striving to achieve? How does one define a 

queer film today and are there differences at an international level? 

Cele bra ting the 25th TEDDy AWARD, the queer film prize of the 

Berlinale, five prominent filmmaking pro fessionals come together on 

this panel: Filmmaker and queer activist Wieland Speck, who is one of 

the initiators of the TEDDy AWARD in 1985; renowned indie producer 

Christine Vachon, who has produced many of the iconic queer films of 

the past two decades; Thai filmmaker Thunska Pansittivorakul, whose 

THE TERRO RISTS premieres in this year’s Berlinale Forum; Canadian 

filmmaker, video artist and activist John Greyson, whose uRInAL 

(1989) and FIG TREES (2009) both won TEDDy AWARDS at the Berlinale; 

and Monika Treut, one of Germany's most preeminent directors when 

it comes to queer films, whose GEnDERnAuTS won the TEDDy AWARD 

in 1999. They will discuss the concept and form of the “queer film“, the 

possible future role of queer cinema and the challenges faced by 

filmmakers in less queerfriendly parts of the world. 

the Indie filmmakers Guide to Cross-Media III 

extending the audience: 

How to engage an audience across Multiple Platforms 

Martin ericsson, ben Grass and Lena thiele. 



As audiences discover and experience stories across a rapid ly 

expanding array of platforms and devices, strategies for engaging 

aud iences are evolving. Looking at a variety of case studies, speakers 

will demonstrate a number of models and lessons learned from making 

film stories available across multiple platforms, sites and devices to 

special events and digital wordofmouth campaigns. 



60 

Screening the future: excursion to the Heinrich Hertz Institut 

In cooperation with Fraunhofer / Heinrich Hertz Institut. 

13:00 | Heinrich Hertz Institut 

Meeting Point | 12:30 at the entrance to Hau1 

Innovations for the digital future – this is the core of the 

re search and development work conducted by the Heinrich Hertz 

Institut – both in the field of hightech communications systems and 

digital media and services use. The Heinrich Hertz Institut is a leading 

research institute for Mobile Broadband Communications, Photonic 

networks and Electronic Imaging for Multimedia. Multimedia is seen 

as one of the key components in information technology as images, 

video, language, sound and additional data are being used for an 

increasing number of services. Additionally, the institute heads the 

German national project (PRIME), which deals with 3D production 

technologies for film and broadcasting. Their innovative approaches 

for the film industry com prise image processing, image communication 

and 3-D displays, as well as the development of new audio technologies. 

Research and development trends in the next generation of cuttingedge 

screen and sound technologies will be demonstrated and explained 

to Tal ents visiting the institute. 

dial f for fiction: Script Station Presentation 

Moderated by Merle Kröger. 

In cooperation with German Federal Film Board (FFA) and SOURCES 2. 

14:00 | Hau 3, White Stage 

It isn’t the director alone who makes a great film artistic. They 

do so because they work with exceptional, artistic scripts. The best film 

scripts are therefore lasting works of art which contain moments of 

bril l iance, elegance and emotionality that make us want to return to 

them time and time again. As every year, the Script Station 2011 will 

be a fascinating showcase of current global storytelling – locally rooted 

in twelve writers’ experienced reality and personal imagination. 

One topic depicted in several stories is farewell – as a long process of 

accompanying a mother with dementia, as a harsh break when a wife 

suddenly disappears, leaving her husband thrown out of his daily 

routine, as a painful experience in letting go an impossible love to save 

one’s own identity. Reflections of world politics shine through highly 

personal encounters – taking place in Athens and Beirut, or even 

beyond the coastline of Somalia. Remarkably strong women have to 

deal with teenage pregnancy in the uS Bible Belt or with the drug 

scene in Bucharest, with prejudice in Jordan and uganda. While male 

protagonists catch our hearts in their vulnerability: be it an outcast 

young rebel from rural India or a boy in love with death on the island 

of Borneo, Indonesia. These screenplays, at various stages of de velopment, 

will be discussed for the first time as works in progress by 

their writers and expert mentors, each depicting the aural, visual and 

lingual elements required to transform their stories into cinema. 


the Internationals: How Small Stories become big 

Claudia Llosa, Kornél Mundruzcó and abderrahmane Sissako. 

Moderated by dorothee Wenner. 

In cooperation with ACPFILMS and Robert Bosch Stiftung. 

14:00 | Hau 1 

The most powerful stories emerge from the reality one is most 

engaged in. They are linked to the place(s) you come from, situations 

you’ve experienced and reflect issues that deeply move and interest 

you. In the words of awardwinning filmmaker and producer Ab de rrahmane 

Sissako, “When you work as a filmmaker, you have an intense 

desire to express yourself and I think that the best way to do so is to 

speak about oneself or one's experiences”. But how does one transform 

small, unique stories into compelling narratives that appeals to in ternational 

audiences? 

On stage with Abderrahmane Sissako, whose sharply political 

films such as BAMAKO and LIFE On EARTH are fitting critiques of globalisation, 

colonisation and social justice, is critically acclaimed filmmaker 

Claudia Llosa, who won the 2009 Golden Bear and an Academy 

Award nomination for THE MILK OF SORROW, and Hungarian director 

and 2003 Campus alumnus Kornél Mundruczó, whose TEnDER SOn – 

THE FRAnKEnSTEIn PROJECT screened in competition at Cannes in 

2010, his current project features in the 2011 Berlinale CoProduction 

Market. The noted filmmakers, whose films are deeply grounded in 

stories from their own backyard and have received tremendous 

international recognition, will elaborate on how they decide which 

stories to develop into films and what makes a local film an international 

one. They will discuss the significance of support at a national 

and regional level, particularly if one is keen on working and distributing 

films internationally. 

barbara Hammer: 

Making Movies Out of Sex and Life 

barbara Hammer. 

Moderated by Stefanie Schulte Strathaus. 

In cooperation with Berlinale Forum Expanded. 

14:00 | Hau 2 

She has inspired a generation of queer, feminist and avantgarde 

artists and filmmakers. Barbara Hammer, a highly prolific visual 

artist working primarily in film and video, has made over eighty films 

and videos in the past forty years. Galvanised by the second wave of 

feminism, Hammer soon became a pioneer of queer cinema. Although 

the subjects she addresses are astonishingly diverse, her innovative 

and playful approach to form is unchanging. Her work is about re vealing, 

showing, expressing, uncovering that which has not been seen 

before. “I try to give voice and image to those who have been denied 

personal expression.” Her experimental films of the 1970s dealt with 

taboo subjects through performance, in the 1980s she used optical


WedNeSday, feb 16 61 

printing to explore perception and the fragility of 16mm film itself, 

and in the 1990s she began making documentaries about hid den 

aspects of queer history. Her documentaries tell the stories of people 

who have been excluded and relegated to the margins of history and 

are often essay films that are multilayered and engage audiences 

viscerally and intellectually with the goal of activating so c i al change. 

Each decade has marked a new direction in her work as she continues 

her inward exploration with an unfailing radical sincerity to talk about 

sexuality, womanhood, illness, aging and mortality. 

Her film A HORSE IS nOT A METAPHOR won the 2009 TEDDy 

AWARD for Best Short Film, and her most recent GEnERATIOnS (made 

with Gina Carducci) celebrated its world premier at the MOMA in 

new york in 2010. Barbara Hammer, who will present the two films 

GEnERATIOnS and MAyA DEREn’S SInK at the Berlinale Forum Expanded 

this year, will talk about the evolution of her wideranging body of 

avantgarde films and on how she views her own creative trajectory. 

Welcome to reality: doc Station Presentation 

Heino deckert. Moderated by Sirkka Möller. 

In cooperation with German Federal Film Board (FFA) and SOURCES 2. 


Turning a fascinating idea grounded in reality into a factual 

work of art is indeed a long and lengthy process. The Doc Station gives 

a unique snapshot of the world, seen through the eyes of 12 filmmakers 

from five continents. They span from personal histories of violence 

Barbara Hammer‘s GEnERATIOnS screens at the Berlinale Forum 

Expanded (above) | Michael nyman, the Score Competition‘s 

mentor (insert) 

from Colombia to a revolutionary love story in Guatemala. We learn 

how the economic crisis hits a family business in China, and how an 

Ethiopian girl is hit by her HIV diagnosis. The directors unravel complex 

patterns of life in smalltown Germany, in Barcelona’s suburbia, 

mov ing from new Zealand to China, and from Chile to Sweden. They 

seduce us with the timeless idea of love in Mexico, and with the 

ancient songs of Belize. And last but not least, they surprise us with the 

story of a Kenyan female truck driver, and the dilemma of two cagefighting 

friends in Germany, who have to face each other. These stories 

of the Doc Station, currently at different stages of development, will 

be presented for the first time to a professional audience. 




62 

the Great World of Sound 

Master class with Michael Nyman. 

Moderated by Peter Cowie. 

17:00 | Hau 1 

Scoring for film is not a solo venture, but rather a collaborative 

project that requires a comprehensive understanding of the film and 

the aim of the filmmaker, envisaging it from a sonic perspective before 

bringing it to life. That’s what most people are familiar with visàvis 

the music of Michael nyman – the distinguishing style of his film 

scores. Having worked as a film composer for over 30 years, he has 

composed a string of notable scores for over ten films of British art 

house director Peter Greenaway, several Michael Winterbottom films, 

and of course the astounding music for Jane Campion’s THE PIAnO. 

But nyman is more than just a film composer – with over 300 works 

only ten percent are film scores. He is also a conductor, composer, 

leader of the Michael nyman Band, photographer and filmmaker. In 

this master class, nyman will explore ideas behind the tension which 

exists between music/soundtrack composing, sound effects and 

mov ing and still images, and how all of these interact and affect each 

other in the completion of a film. Showing excerpts from his own films 

as well as the commercial films he has scored, he will talk about his 

approach and understanding of soundtrack composing from the 

perspective of a visual artist and filmmaker. 

Why Poverty? 

don edkins and Hans robert eisenhauer. 

17:00 | Hau 2 

Myriad films have been made on poverty but a large pro portion 

of them are stereotypical approaches often seen on television. 

Experts call them “development porn“ as images of passive help lessness 

and deprivation are easy to absorb and easier to ignore. “Why 

Poverty?” aims to initiate a global dialogue on poverty through public 

media, challenging people to participate and come up with their own 

solu tions to eradicate poverty. This crossmedia project, launched by 

Don Edkins, executive producer of the HIV/Aids project “Steps for the 

Future” and “Why Democracy?”, will comprise eight onehour and 

thirty short documentary films to be distributed via innumerable 

inter national broadcasters, the internet and mobile platforms during 

a theme week in 2012. The films will depict how people find ways 

to overcome and fight poverty in daily life, fostering the belief that 

things can improve if we set our minds to it. Don Edkins will explain 

the underlining concept and the objectives of the project, the broad 

themes related to poverty under which the films will be made, and 

the process of applying with short film ideas, which can be submitted 

by interested Talents from February 2011. Joining him on stage is 

coinitiator Hans Robert Eisenhauer (ZDF/ARTE), who will ela borate on 

the process of initiating a project of this size and scale. 


Happy returns: the future after the Campus 

rosario García-Montero, Kaspars Goba 

and Javier fuentes-León. 

In cooperation with Berlinale Generation, Berlinale Panorama, 

World Cinema Fund, Berlinale Co-Production Market. 

17:00 | Hau 2 

The ninth edition of the Campus assists filmmaking pro fessionals 

in their quest to position themselves in an everexpanding and 

fast changing world of cinema, where taking risks and facing chall enges 

headon is slowly becoming a matter of course. In the limelight 

today are Campus alumni who have been invited to the Berlinale 2011 

with the films or market projects they worked on since they attended 

the Campus. Javier FuentesLeón and Rosario GarcíaMontero will tell 

us how they managed to make their film projects a reality, discussing 

their personal and professional struggles in staying on the filmmaking 

path and in positioning themselves. Presenting excerpts from their 

films, they will elaborate on how they addressed the challenges that 

arose whilst taking creative and strategic decisions for their projects, 

decisions that have brought them back to the Berlinale with inspiring 

new films. 

Christoph Schlingensief: five favourites 

anselm franke, Carl Hegemann, francis Kéré, 

Matthias Lilienthal and Georg Seeßlen. 

Moderated by dorothee Wenner. 

In cooperation with Theater Hebbel am Ufer (HAU), 

Forum Expanded and Goethe-Institut South Africa. 

20:30 | Hau 1 

He was once arrested for exhibiting a poster with the words 

“Kill Helmut Kohl” (then chancellor of Germany), and a year later 

form ed a political party, Chance 2000, which urged Germans to vote 

for themselves in the 2000 national elections. Christoph Schlingensief, 

the enfantterrible of the Germanspeaking cultural scene, and certainly 

its bestknown artistic provocateur, passed away in August 

2010. An artist, film, theatre and opera director, he was tireless in his 

attempts to urge a critical reflection on issues such as immigration, 

unemployment, rights of the disabled, etc. 

This evening isdedicated to Christoph Schlingensief with selec 

ted film, photo and sound material from his work in theatre, visual 

art, film and opera. Five specialists, friends and companions will show, 

comment and discuss their favourite Schlingensief work. With Anselm 

Franke (curator) on “MedienKunst” (“Media Art”), Carl Hege mann 

(dra ma turge) on “Mea Culpa”, “Parsifal” and “Der fliegende Holländer” 

(“The Flying Dutch man”), Matthias Lilienthal (artistic director of 

HAu) on “Ausländer Raus!” (“Foreigners Out!”), Francis Kéré (architect) 

on the “Operndorf” (“Opera Village”) and Georg Seeßlen (film critic) on 

his films.


tHurSday, feb 17 63 


Presented by Institut français. 

9:30 | Hau 2 

Today’s breakfast is presented by the Institut français and offers 

you a great start to a new Campus day. Meet representatives of the 

Institut français and chat with fellow Talents as you enjoy café au lait 

and ovenfresh croissants. 

dress to Impress 

Master class for production designers 

at Costume House theaterkunst. 

In cooperation with Theaterkunst. 

10:00 | excursion | Shuttle leaves at 9:30 from Hau 2 

Production designers and their teams would be at quite a loss 

if it wasn’t for the Theaterkunst. A reputed institution with a long 

tradition of outfitting films, Theaterkunst designs very personal and 

in di vidual collections for each film in line with their specifications. 

Their highly skilled team of wardrobe masters, tailors, designers and 

costume painters custommakes every piece of clothing (or disguise) 

no matter how eccentric. As film costumes are a vital part of the narrative 

elements and contribute to the overall effect of the film, nothing 

about their form, colours, material, cut and design can be left to 

chance. Visiting the Theaterkunst is similar to taking a journey into the 

past where one revisits such classics as BEn-HuR, THE BLuE AnGEL and 

METROPOLIS, and the more recent critically acclaimed films THE LIVES 

OF OTHERS and InGLOuRIOuS BASTERDS. 

A guided tour around Theaterkunst will introduce produc 

t ion designer Talents to the vast collection of clothes and accessories 

stretch ing back decades and to the tiny details that go into costume 

and production designing. Talents will also benefit from an en lightening 

case study of the historical drama THE LAST STATIOn, which was 

filmed in Germany and supplied costumes by Theaterkunst. The film is 

an adaptation from the bestselling historical novel by Jay Parini and 

illustrates Russian author Leo Tolstoy’s struggle to balance fame and 

wealth with his commitment to a life devoid of material things. 

disclosing the World Cinema fund 

Vincenzo bugno and Sonja Heinen. 

In cooperation with World Cinema Fund. 


With the aim of bringing new perspectives to the big screen 

from countries with little financial aid, the World Cinema Fund, an 

initiative of the Berlin International Film Festival, the German Federal 

Cultural Foundation in cooperation with the GoetheInstitut, finances 

independent productions from around the world. Supporting films 

from Latin America, Africa, the Middle East, Central and South East 

Asia and the Caucasus, the fund looks for independent cinema that 

narrates local stories, embodies innovative ideas, concepts and aesthetics. 

As Project Manager Vincenzo Bugno explains, “Our job is an 

incredible privilege. We deal with countless stories, visions and visual 

worlds but we are also very ambitious: we try our best in order to 

support strong projects with an original artistic profile. And it works!” 

Eighty fiction and documentary films have received funding from the 

World Cinema Fund so far. One of their very recent success stories is 

unCLE BOOn MEE WHO CAn RECALL HIS PAST LIVES by Thai director 

Apichatpong Weera sethakul, which won the Palme d’Or in Cannes in 

2010. Moreover, three World Cinema Fund films will have their world 

premiere at the 2011 Berlinale: THE PRIZE in Competition, MEDIAnERAS 



64 

in Panorama and THE BAD InTEnTIOnS in Generation. In this session, 

Project Managers Vincenzo Bugno and Sonja Heinen elaborate on the 

scope and objectives of the fund before they present allimportant infor 

mation regarding the application process. 

the Schrader Way to Start a film 

Paul Schrader. Moderated by Peter Cowie. 

In cooperation with Berlinale Special. 

11:00 | Hau 1 

When the lights go off, the hall goes dark and the curtain rises, 

its time to sit back and enjoy the film. The anticipation that comes with 

the opening scene is often crucial to the success of the film as it sets 

the tone and allows the viewer to delve into the world it is creating. 

Many films hinge on the success of the opening scene as they compel 

us to remember and relive the moment, either with relish or tense 

with fear. Paul Schrader, uSAmerican screenwriter and director, has 

written a range of outstanding films such as TAXI DRIVER – which 

features in the 2011 Berlinale Special – RAGInG BuLL and THE LAST 

TEMP TATIOn OF CHRIST, and is the acclaimed director of MISHIMA: A 

LIFE In FOuR CHAPTERS, AMERICAn GIGOLO and BLuE COLLAR. With a 

spotlight on the perfect opening scene, Schrader will talk about 

creating an atmosphere that engages the audience, defines the film 

and keeps the audience hooked from the very start. using excerpts 

from the films he has written and/or directed, he will discuss how to 

open a film story that imparts the opening thematic component of 

everything that is to follow. 

On track with Market trends: 

berlinale Co-Production Market & talent Project Market 

Kathi bildhauer, Martina bleis and Sonja Heinen. 

In cooperation with Berlinale Co-Production Market. 


The 8th Berlinale CoProduction Market brings together about 

500 reputed international producers, film financiers, sales agents and 

distributors, as well as broadcasting and funding representatives, for 

exclusive and concentrated networking. As its name implies, it is a service 

platform for those interested in international coproduction to 

discover the most promising preselected projects, financing pos sibilities 

and have productive exchanges on current topics. A per so nalised 

schedule of onetoone meetings with producers of selected 

projects is put together for each participant based on their preference 

of projects from the CoProduction Market’s catalogue. Since its in 

cep tion in 2004, 115 films, comprising approximately 40% of all projects 

presented at the Berlinale CoProduction Market, have been 

made, premiered at major festivals worldwide and released in cinemas. 

In addition, the CoProduction Market closely collaborates with the 

Berlinale Talent Campus for the Talent Project Market, which opens up 

tHurSday, feb 17 

opportunities for young filmmakers to present their projects at the 

CoProduction Market and connect with international film industry 

professionals. Head of the CoProduction Market, Sonja Heinen, together 

with Kathi Bildhauer and Martina Bleis will introduce the role 

and workings of the market, its range of events and the application 

and selection process, as well as how Campus alumni can apply to the 

Talent Project Market. 


Sepideh farsi, Mehrangiz Kar, rafi Pitts and ali Samadi ahadi. 

Moderated by Vincenzo bugno. 

In cooperation with World Cinema Fund. 

14:00 | Hau 1 

Filmmaking remains politically sensitive facing censorship and 

limitation of artistic expression in far too many countries, one such 

example is Iran. Iranian filmmakers Jafar Panahi and Mohammad Rassoulov 

were recently sentenced to imprisonment and banned from 

making films. yet, films do get made in Iran, films that strive to tackle 

social issues headon. And despite the fact that Iran’s current creative 

climate con tin ues to be in the clasp of a repressive regime, an im pressive 

body of work earning critical acclaim and international recognition 

is being pro duced. How do Iranian filmmakers deal with censorship 

and the imposed restrictions, and what consequences does this have? 

Pro mi nent Iranian filmmaker Rafi Pitts, whose film THE HunTER prem ie 

red in the 2010 Berlinale Competition, will be joined by Mehrangiz 

Kar, eminent Iranian human rights activist and author, Iranian director 

Sepideh Farsi and Ali Samadi Ahadi, German filmmaker of Iranian 

descent. They will talk about how filmmakers can join forces and 

respond to political censorship. 

Covering Cinema: Critics Meet filmmakers 

alma Har'el, Gerhard Midding, 

Jay Weissberg and Przemysław Wojcieszek. 

Moderated by dana Linssen. 

In cooperation with Robert Bosch Stiftung, 

Berlinale Forum and Berlinale Panorama. 

14:00 | Hau 2 

Films, the most accessible and popular of art forms, are predominantly 

reviewed and evaluated in print and online media. A rare 

opportunity to experience a facetoface session between film critics 

and filmmakers as they discuss the latters‘ films! under critical review 

are MADE In POLAnD by Przemysław Wojcieszek, which feature in this 

year’s Berlinale Forum, and BOMBAy BEACH by Alma Har‘el, screening 

in the Berlinale Panorama. Reputed film critics – Gerhard Midding, 

freelance film critic for German daily newspapers, magazines, as well 

as radio and television, and Jay Weissberg, film critic for Variety – will 

undertake an indepth critical analysis of the film, dissecting the


tHurSday, feb 17 65 

thematic, the dramatic and the aesthetics aspects with the filmmakers 

in question. The panelists will also reflect on the current state of film 

criticism: how young filmmakers deal with critiques and viceversa. 

Where things Come together: 

Campus Post-Production Studio Presentation 

Philippe ros. 

Moderated by Christine tröstrum. 



The right blend of ideas and techniques can take your film 

places, but getting acquainted with technological aspects of filmmaking 

can be quite intimidating. The Campus PostProduction Studio 

is a technical handson training programme geared to assist Talents in 

learning practical filmmaking techniques with the latest digital workflow 

equipment and the guidance of prominent cine mato graph ers 

and postproduction experts. 24 Talents chosen to work with expert 

practitioners in the Digital Workflow segment were able to shoot and 

experiment with digital cameras like Sony F3 and ARRI Alexa and digital 

postproduction processes including editing, grad ing, master ing 

and data management. Philippe Ros will present the final outcomes of 

this bustling postproduction hub. 

Cutting on the edge: Campus editing Studio Presentation 

Susan Korda, Paz Lázaro, florian Weghorn. 

Moderated by Kevin Murphy. 

In cooperation with dffb. 

14:00 | CinemaxX 17 

That extra little insight and input is sometimes all it takes to 

polish a roughcut and strengthen the narrative structure of a fiction 

or documentary project. Internationally renowned editors join the 

Campus Editing Studio to give advice and feedback that will help take 

films that extra distance. Selected participants will present excerpts 

from their roughcuts and describe how the oneday session in the 

editing room provided fresh insights and approaches to their projects. 

In conversation with Susan Korda, the participants will explain the 

challenges they identified within their roughcuts and the various 

approaches that were tried and tested in the Editing Studio. 

Often the editing process can drag on longer than expected, 

and film festival submission deadlines are fast approaching. When is 

a roughcut polished enough to present to festival programmers? Paz 

Lázaro, Programme Manager, Berlinale Panorama, and Florian 

Weghorn, CoDirector, Berlinale Generation, will join the conversation 

and share their experiences when viewing roughcuts during the 

programming process. The discussion will turn to when and how to 

present a roughcut, as well as shedding light on the expectations of 

programmers when they select a roughcut for screening. 

things to take Home 

Marjorie bendeck, Kathi bildhauer and Christine tröstrum. 


16:00 | Hau 2 

One of the last events of the ninth Berlinale Talent Campus and 

you begin to ask yourself – is this really the end? This session is designed 

to show you that there is life after the Campus, and in fact, 

there is a whole lot in store – a host of new opportunities, activities 

and events that may be of advantage to you and can be availed of 

from your home base. Members of the Campus team will present an 

overview of the various extraCampus services that could be useful in 

developing your current and future film projects. Information about 

Campus activities throughout the year, including the online Campus 

community and Campus international editions will be provided. 

Say It with a Score: 

Score Competition Presentation and award Ceremony 

ehud freedman, roger Goula, Hubert Henle, Michael Nyman 

and felix rösch. Moderated by Milena fessmann. 

In cooperation with Dolby Laboratories. 

17:30 | Hau 1 

Scoring for film is all about imagery – it not only helps to create 

the ambience of the film and its plot, but also to elicit the emotions 

of the characters. The transformative power of a score when com 

bined with images is quite amazing. It guides emotions and can signal 

a change in theme or mood, a quality in a particular character or lend 

landscapes a certain characterlike quality. As Francis Ford Coppola 

stated, “Music is a big factor in helping the illusion of the film come to 

life.” And it is most effective when it works subtly, evoking and tuning 

the emotional response of the audience without them being aware of 

it. This is the craft of the sound composer – complementing dialogues, 

lighting, setdesign and the montage of the film with music. Three 

emerging composers and finalists of the Campus Score Competition 

have spent the past week working on their scores under the guidance 

of Michael nyman. The three composers join him on stage to discuss 

the process of creating original music and weaving it seamlessly to 

moving images. At the end of the session, the winner will be presented 

the Score Competition Award 2011: a unique tour of the best sound 

studios in Los Angeles, sponsored by Dolby Laboratories. 

Closing Party 

21:00 | Hau 2 

As the exhilarating Campus week comes to a close, we invite 

all Talents and experts to wind down at the Closing Party in HAu 2. 

A final farewell from the Campus team will follow the screening of the 

“Best of Berlinale Talent Campus”, snapshots of the week capt u red by 

the Deutsche Welle DW-TV Crew. 


Chapter 

05 

Index 

p.68 Index of events | p.69 Index of experts 

p.75 Index of participants | p.77 Note of thanks 

p.78 Team and imprint | p.79 Partners 


Page 

68 

Alongside the master classes that are of general interest, the Berlinale Talent Campus 

offers about 80 panel discussions, workshops and individual sessions. 

Find out which events best suit your needs: 

Interesting for actors 

Directing Actors | p.48 

Embodying the Character | p.52 

On the Path with Jasmila Žbanić | p.50 

Rehearsed Reading | p.56 

The Rules of Engagement | p.47 

Speed Matching on Feb 16 | p.46 

Interesting for cinematographers 

Camera Workshop at Camelot | p.51 

Cinematography: The Establishing Shot | p.55 

Diving into Post-Production | p.47 


Where Things Come Together: Campus Post- 

Production Studio Presentation | p.65 

Interesting for composers 

and sound designers 

Absolute Hearing | p.58 

The Great World of Sound | p.62 

The Legal Sound of Music | p.53 

Say It with a Score: Score Competition 

Presentation and Award Ceremony | p.65 


Interesting for directors 

Covering Cinema: 

Critics Meet Filmmakers | p.64 

Index of events 

Katriel Schory at the Campus 2010: Check also the Meet the Expert sessions 

for talks that might interest you 

mAke your own ITInerAry 


Campus Editing Studio Presentation | p.65 

Filming War | p.47 

Disclosing the World Cinema Fund | p.63 

The Indie Filmmakers Guide 

to Cross Media | p.52,57,59 

Kill Your Darlings | p.47 

Let‘s Make It Legal | p.51 


Storytelling and Producing Redefined | p.54 

Short Encounters | p.53 

The Shortest Track to Cinema | p.53 






Doc Station Presentation | p.61 

Why Poverty? | p.62 

Your Body Speaks | p.49 

Interesting for editors 


Campus Editing Studio Presentation | p.65 

Diving into Post-Production | p.47 

Kill Your Darlings | p.47 

Where Things Come Together: Campus 

Post-Production Studio Presentation | p.65 

Interesting for producers 


Script Station Presentation | p.60 

Disclosing the World Cinema Fund | p.63 

Excursion to the European Film Market | p.53 

The Indie Filmmakers Guide 

to Cross Media | p.52,57,59 

The Legal Sound of Music | p.53 

Let‘s Make It Legal | p.51 



On Track with Market Trends: 

Berlinale Co-Production Market and 

Talent Project Market | p.64 

Plugging People: European Producers 

Positioning Themselves | p.57 

Short Encounters | p.53 

The Shortest Track to Cinema | p.53 


Two Producers Sharing Their Secrets | p.49 


Doc Station Presentation | p.61 


Your Body Speaks | p.49 

Interesting for production designers 

Building Digital Worlds for the Screen | p.57 

Dress to Impress – Master Class at Costume 

House Theaterkunst | p.63 

Excursion to the Costume House 

Theaterkunst | p.51 

Play as Process: Worldbuilding 

and New Ways to Imagine | p.56 

Interesting for screenwriters 


Script Station Presentation | p.60 



Rehearsed Reading | p.56 



Your Body Speaks | p.49

Index of experts 

experTs 

AbrAm, Ido 

Director of communications of the EYE Film Institute Netherlands, the new national 

film institute. He is a board member of ACE and member of the International Advisory 

Board of the CineMart and the Hong Kong Film Financing Forum. (p.28) 

AllAmodA, bettInA 

Artist working in the contextual field of visual arts in a transdisciplinary sense, her 

work reflects architectural interdependencies of urban public spaces and projective 

functions of the built environment. Focusing on the mediatisation of history and 

documentation, her work shows the analysis and exposure of concealed politics of 

vi si bility inscribed in the surfaces of fashion, art and architecture. (p.35) 

ArrAte Fernández, IsAbel 

Head of the Jan Vrijman Fund, initiated in 1998 by the International Documentary 

Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded over 

400 creative documentary projects in development and (post)production stage by 

filmmakers from developing countries. (p.35) 

beerends, sAndrA 

Dutch script editor and guest lecturer. She has worked with an array of screenwriters, 

directors and producers strengthening the narrative structure of their scripts and 

films. At the public broadcaster NTR, she was responsible for various awardwinning 

series and worked on several feature films, family films and documentaries. (p.35) 

behesht nedjAd, roshAnAk 

She is the founder and producer of Flying Moon, a Berlinbased production company, 

which focuses on features films and documentaries. With an emphasis on 

inter national coproductions, Flying Moon films include COMRADES IN DREAMS and 

FULL METAL VILLAGE. She also produced FOOTBALL UNDER COVER, OVERSEAS AND 

UNDER YOUR SKIN and HOME FROM HOME and most recently, LOVESONG. (p.28) 

belAFonte, hArry 

In addition to a long, successful singing and acting career, the USAmerican Harry 

Belafonte is wellknown as an advocate for human rights and has received awards 

from the Peace Corps and UNICEF. His film career includes CARMEN JONES, ISLAND IN 

THE SUN and KANSAS CITY. Susanne Rostock’s documentary about Belafonte’s life, 

SING YOUR SONG, will be screened at this year’s Berlinale Special. (p.51) 

belsIto, Peter 

American producer, cinematographer and publisher, he was the executive vice president 

of FilmFinders. Together with Sydney Levine, he successfully merged Film 

Finders with IMDb and Amazon.com. He has been involved in the professional education 

of young filmmakers at festivals, market panels and forums. (p.35) 

berg, ChrIstIne 

Former managing director of the Film Fund SchleswigHolstein, she is the project 

director of the German Federal Film Fund (DFFF) at the German Federal Film Board 

(FFA). She also worked for the production company Kinowelt where she produced 

MOSTLY MARTHA. (p.46) 

bernFeld, Wendy 

Founder of Rights Stuff BV, established in 1999. She specialises in hardcore content 

licensing negotiations and related rights advice for traditional and new media. 

Based in Amsterdam, she has over 24 years experience in film/payTV channel startup 

and programme buying, beginning originally as an entertainment lawyer and 

then spending her career as a senior movie buyer/TV executive. (p.37,57) 

beyer, klAus-Peter 

Artistic director of the German Film Orchestra Babelsberg, he was the music pro ducer 

of the 2001 version of Lotte Reiniger’s THE ADVENTURES OF PRINCE ACHMED, mu sic 

composer of CONVERSATIONS WITH A BEAST and studio manager of THE MUSKE TEER. 

(p.22, 58) 

bInIAsz, thomAs 

Psychologist, executive coach and management consultant. Since 2001, he is director 

of PSM. His core competencies are executive coaching, developing and im plementing 

leadership programmes and facilitating change processes in big organisations. 

(p.55) 

Bird, Andrew 

British-born editor who works chiefly in German cinema. He collaborated with Fatih 

Akin, whose films THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN he edited. Among 

others, he received the German Camera Award and Film+'s Schnitt Prize. He edited 

Miranda July’s THE FUTURE, which runs in this year’s Berlinale Competition. (p.26) 

BrinkmAnn, kAthrin 

Commissioning editor of the department ARTE “Thema” within the German TV 

channel ZDF, she used to commission “Das Kleine Fernsehspiel” from 1994-2000. 

Recently she commissioned COMRADE COUTURE by Marco Willms, SUPER ART MAR KET 

by Zoran Solomun and A JIHAD FOR LOVE by Parvez Sharma. (p.25) 

Büscher, mAreile 

Berlin-based lawyer at Raue LLP, she focuses on intellectual property matters, media 

and entertainment law, as well as copyright litigation and negotiation. She has lectured 

on the subject of art and copyright law for various institutions including the 

Humboldt University Berlin. (p.51, 53) 

chronis, iwAnA 

Manager of the Hubert Bals Fund of the International Film Festival Rotterdam. 

Previously, she worked at the Prince Claus Fund for Culture and Development, 

where she coordinated the Cultural Emergency Response (CER) programme. During 

those years, she also collaborated with IFFR’s CineMart for the Prince Claus Fund 

Film Grant. (p.37) 

colAs, cAtherine 

Commissioning editor for short and long films at ZDF/ARTE, she is also responsible 

for the ZDF magazine “Short Circuit”. Since 1995, she works at ARTE in Paris in the 

feature film department, for the programme “Metropolis” and as production man ager 

for documentary films. (p.53) 

cowie, Peter 

Film historian and long-time international publishing director of “Variety" magazine, 

he has written some 30 books on film and film icons, and has contributed numerous 

commentaries to “Criterion” DVDs. In 1963 he was the founding editor of the annual 

“International Film Guide”. His latest book is on Akira Kurosawa. (p.49, 62, 64) 

de Beijer, evert 

Dutch short film director, screenwriter and graphic designer. In 1980 he completed 

his first animated film, GERARD which ran successfully at festivals, followed by THE 

CHARACTERS which was honoured with numerous prizes and awards. His most recent 

film GET REAL! will be shown in this year’s Berlinale Generation. (p.54) 

de mAegd, Peter 

Independent film producer focusing on new opportunities of the converging media. 

He was involved in the production and marketing of various Caviar Films releases 

such as DIRTY MIND, LEFT BANK and MY QUEEN KARO. With Caviar Films, he develops 

the drama series THE ARTISTS in co-production with several European broadcasters. 

In 2004 he founded the production company Potemkino. (p.57) 

deckert, heino 

Producer and managing director of MA.JA.DE Film Production. In 1995 he founded 

d.net, an informal union of seven European producers. In 2003 he established the 

world sales agency Deckert Distribution. He lectures on documentary production 

and distribution for organisations such as EDN and Eurodoc. (p.61) 

deroBe, AlAin 

French cinematographer and stereographer. Having been involved in numerous 

feature films, Derobe specialised on 3D cinema and developed various systems that 

are crucial for 3D filming. He is the founder of the Association of French Cine matographers 

and UP3D, an association of French stereographers. He is the stereographer 

of PINA, screening in this year‘s Berlinale. (p.54) 

des Forêts, jeAn 

Alumnus of 2008, he is the producer of numerous short and feature films including 

AGUA FRÍA DE MAR by Paz Fábrega and HÉROS by Bruno Merle. In 2010 he started his 

own company, Petit Film. Currently in production are 40 DAYS OF SILENCE by Saodat 

Ismailova, LEONES by Jazmín López and WIR SIND TOT by Tobias Nölle. (p.14, 57) 


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DonalDson, Michael c. 

Entertainment lawyer for independent filmmakers for over thirty years. In addition 

to representing writers, producers and directors, he serves as General Counsel to 

Film Independent and the Writers Guild Foundation. His books on faire use, copyright, 

negotiation and trademarks for independent filmmakers are standard re ference 

books. He lectures at law and film schools worldwide. (p.51) 

Driessen, ellis 

Working through the privately owned company Proctor Film & TV, she has also 

work ed for Fortissimo Films as the acquisition consultant for Europe & the Middle 

East, as an independent sales agent and an individual producer for German speaking 

countries. Driessen has been involved in the Binger Filmlab and is a member of the 

feature film advisory commission of the Netherlands Film Fund. (p.28) 

Dringenberg, Katja 

One of Germany’s finest film editors, she won the German Camera Award for Andres 

Veiel‘s BlACk BOx BRD and DIE TöDlICHE MARIA by Tom Tykwer. She has also directed 

the documentaries kINDHEIT HINTER DRAHT and ICH DICH AuCH. (p.26) 

eDKins, Don 

Producer of the Southern African series on truth and reconciliation lANDSCAPE OF 

MEMORy, and the multiawarded documentary project STEPS FOR THE FuTuRE. He is 

executive producer of the STEPS International global documentary project “Why 

Democracy?” which encompassed long and short films, one of which, TAxI TO THE 

DARk SIDE, won an Oscar for Best Documentary in 2008. (p.62) 

eisenhauer, hans robert 

Head of Thema at ZDF/ARTE. Before working in the film industry, he was a freelance 

journalist and moved to ZDF/ARTE in 1991, where he commissioned international 

coproductions including BuENA VISTA SOCIAl CluB and TAxI TO THE DARk SIDE. (p.62) 

ericsson, Martin 

Senior designer and creative director of The Company P in Sweden. He has initiated, 

written and designed more than twenty pieces of participative art ranging from 

reality games to SciFi and FantasylARPS. Together with the Swedish channel SVT, 

he created THE TRuTH ABOuT MARIkA, which won an Emmy Award in 2008. (p.52, 59) 

Farsi, sepiDeh 

Iranian filmmaker based in Tehran and Paris. Before making her first film, she worked 

in visual arts and photography. She won the FIPRESCI Prize at the Mumbai International 

Film Festival for HOMI D. SETHNA, FIlMMAkER and Best documentary prize in 

Festival dei Popoli for HARAT. Her most recent documentary TEHRAN WITHOuT 

PERMISSION which portrays her hometown, is shot entirely on a mobile phone. (p.64) 

Felix, bruno 

Director and independent new media producer. In 2000 he cofounded Submarine, 

an independent production studio specialised in documentaries and new media. As 

a producer, he has worked with directors such as Douglas Gayeton, Peter Greenaway 

and Thé Tjongkhing. Previously, he was responsible for the new media strategy of 

Dutch Public broadcaster VPRO, and Director of VPRO Digital. (p.52) 

FessMann, Milena 

German music supervisor, she is the founder of Cinesong, which offers a full range 

of services related to music and films. She was music consultant for more than a 

hundred films including Wender’s PINA which premieres at the Berlinale. (p.53, 65) 

Fiennes, ralph 

Oscarnominated British actor, he celebrates his directing debut at this year’s 

Berlinale Competition with CORIOlANuS. His extraordinary filmography as an actor 

includes films such as SCHINDlER’S lIST, THE ENGlISH PATIENT, THE HuRT lOCkER, 

István Szabó’s SuNSHINE, and THE READER. (p.57) 

Fontaine, DicK 

Documentary filmmaker, currently head of documentary direction at the National 

Film and Television School uk, he has made over 40 films for television and in dependent 

media. A founding member of Granada Television’s WORlD IN ACTION, he 

developed experimental art films with John Cage, Roland kirk, Johnny Rotten and 

kathleen Battle. (p.25) 


70 experTs 

Fox, Kerry 

Acclaimed New Zealand actress, her film debut was Jane Campion’s AN ANgel At My 

tAble, for which she won, among others, the best Actress Award at the New 

Zealand Film & tV Awards. Fox starred in WelCoMe to SArAJeVo and won the Silver 

bear for INtIMACy at the berlinale 2001. In 2009 she performed in Hans-Christian 

Schmid’s StorM, and will soon appear in Jonathan teplitzky’s burNINg MAN. 

(p.31, 47, 48) 

FranKe, anselm 

Curator and writer, he is the artistic director of extra City Centre for Contemporary 

Art in Antwerp. He has edited and published with different publishing houses and 

contributes to a number of magazines such as Partkett and Cabinet Magazine. 

Franke is on the advisory board of the berlinale Forum expanded. (p.62) 

Fuentes-león, Javier 

Peruvian filmmaker, he made the film uNdertoW, which received awards at festivals 

such as Sundance and San Sebastian. It was also Peru‘s national entry for the 2011 

oscars. 2005 talent Project Market alumnus, Fuentes-león returns to the berlinale 

Co-Production Market with his project “the Woman Who Feared the Sun“. (p.14, 62) 

FuJiwara, Chris 

Writer, film critic, journalist, editor and translator, he is the author of various books 

such as “Jerry lewis," "otto Preminger: the World and Its double” and “Jacques 

tourneur: the Cinema of Nightfall”. He is editor of “defining Moments in Movies” and 

of the online film-criticism magazine “undercurrent” and contributes to numerous 

journals such as “Film Quarterly”. (p.29) 

GarCía-montero, rosario 

Peruvian director and screenwriter and Campus alumna from 2007, her short film 

Are you FeelINg loNely? (2003) won numerous awards at film festivals. Her feature 

film tHe bAd INteNtIoNS, for which she found her co-producers at the talent Project 

Market 2007 and which is supported by the World Cinema Fund, will celebrate its 

world premiere in this year’s berlinale generation. (p.14, 62) 

GazdaG, Gyula 

Hungarian director of theatre, film and television, his feature films include: A 

HuNgArIAN FAIry tAle, StANd oFF and SINgINg oN tHe treAdMIll. He is the artistic 

director of the Sundance Filmmakers lab, teaches at the binger Filmlab and is a 

distinguished Professor at the uClA School of theatre, Film & tV. (p.24) 

Gerhards, niCole 

Producer for NIKo Film, her filmography includes films tHe StrANger IN Me, CHAQue 

Jour eSt uNe Fête and töte MICH. She was supported as “New talent“ by MedIA in 

2007. (p.57) 

Gibson, ben 

director of the london Film School, he has commissioned and produced films by 

terence davies, derek Jarman, John Maybury and many others as an independent 

producer and as the head of production at the british Film Institute. He is the foun ding 

chairman of the Script Factory. (p.47, 55) 

Goba, Kaspars 

documentary film director and photographer, he made the award-winning SedA. 

PeoPle oF tHe MArSH. His HoMe@lV features in this year’s berlinale Panorama. 

Since 1996, he has worked as a director, scriptwripter and cinematographer on more 

than 15 documentaries that focus on social and environmental issues. (p.62) 

GoldbeCK, Christian 

german production designer and art director. He has worked on films such as tHe 

reAder, KrAbAt and reQuIeM; he was nominated for the german Film Award for all 

these three films. He is production designer of Andres Veiel’s IF Not uS, WHo? which 

premieres in this year’s berlinale Competition. (p.35) 

GoodridGe, miKe 

editor of Screen International, he is in charge of all editorial content on the brand 

which covers Screendaily.com, Screen print dailies at berlin, Cannes, toronto and 

AFM and the monthly print magazine. He has a regular column in el Mundo in Spain. 

In 2000 he published his first book “directing”. (p.57)


GouGh, Louise 

Australian script editor and dramaturge currently based in NYC, she has worked as a 

script manager, edited a number of feature film scripts and has developed over 

40 professionally produced plays. She works as a development executive for Robyn 

Kershaw Productions, Australia, and as a script editor at SOURCES 2. (p.24) 

Grass, Ben 

Managing director of Pure Grass Films, he produced BEYOND THE RAVE and KIRILL, 

which won a Webby for Best Drama Episode in 2009. Pure Grass Films are currently 

working on four transmedia properties and financing a contemporary remake of 

Oliver Twist (TWIST). Grass was formerly responsible for Sony Pictures Digital in 

Europe and was senior advisor for Corporate Strategy at the BBC. (p.57, 59) 

Greyson, John 

Canadian filmmaker, video artist, writer and activist, he directed numerous short 

films including THE PERILS OF PEDAGOGY and MOSCOW DOES NOT BELIEVE IN QUEERS. 

Among his feature films are ZERO PATIENCE, LILIES and FIG TREES; the latter won the 

2009 TEDDY AWARD for Best Documentary. He is a professor at York University, where 

he teaches film and video theory, film production and editing. (p.59) 

GryLLus, Dorka 

Hungarian award winning film and theatre actress who studied at the Budapest 

Academy of Drama and Film. In 2004 she participated in the Berlinale Talent Campus 

and was selected as a Shooting Star during the 55th Berlinale. Among her most 

recent films are THE BONE MAN by Wolfgang Murnberger (Berlinale Panorama 2009), 

SOUL KITCHEN by Fatih Akin and IRINA PALM by Sam Garbarski. (p.33, 49) 

haDžihaLiLović, LuciLe 

French director, editor and producer. Her first feature INNOCENCE won numerous 

awards including Best First Film at San Sebastian Film Festival. Previous films include 

MIMI, which was shown at Sundance, Cannes and Toronto. With Gaspar Noé, she 

foun ded the production company Les Cinémas de la Zone, which most recently 

produced ENTER THE VOID, for which she co-wrote the script. (p.24) 

hammer, BarBara 

American experimental filmmaker, video artist, feminist activist and author. Hammer 

has directed over eighty films and videos. Her most recent films include RESISTING 

PARADISE and A HORSE IS NOT A METAPHOR, which won the TEDDY AWARD in 2009. 

Her memoir “HAMMER! Making It in Sex and Movies“ was published in the spring of 

2010. Retrospectives of her work were shown at The Museum of Modern Art in New 

York City, the Reina Sofia in Madrid, and the Tate Modern in London. Two of her films 

will be screened at this year’s Berlinale Forum Expanded. (p.60) 

har’eL, aLma 

Music video and commercial director, her documentary BOMBAY BEACH was selected 

for this year’s Berlinale Panorama. In addition to directing a number of music videos, 

she has directed TV spots starring Danny DeVito, Carl Reiner, Garry Marshal and Jerry 

Stiller for Obama’s presidential campaign. (p.64) 

hayashi, kanako 

Festival director of the TOKYO FILMeX International Film Festival, which showcases 

contemporary independent cinema from Asia, she was a member of the Berlinale 

Jury in 2002 and the Manfred Salzgeber Prize of the Panorama section. (p.37) 

heGemann, carL 

Prominent dramaturge, he has worked at a number of theatres including The 

Ber liner Ensemble. He served as the dramaturg-in-residence at the Volksbühne am 

Rosa- Luxemburg-Platz in Berlin, working with notable directors such as Frank 

Cas torf, Christoph Schingensief, Rene Pollesch and Einar Schleef. (p.62) 

høGeL, JakoB kirstein 

Artistic director of the talent development scheme New Danish Screen. Previously, 

he was a film consultant at the Danish Film Institute, supporting documentaries, 

and was co-founder of the documentary production company Cosmo Doc where he 

produced award-winning films such as PROSTITUTION BEHIND THE VEIL. (p.25) 

Honigmann, Heddy 

Peruvian-born documentary and feature filmmaker, as well as screenwriter. Her 

extraordinary filmography includes Metal and MelancHoly, o aMor natural, 

Good Husband, dear son and Goodbye. Winner of numerous awards, her work has 

been honoured in many retrospectives including at the MoMa in 2003. (p.55) 

James, alby 

Former head of development at eon screenwriters’ Workshop. Independent pro ducer 

and script consultant for emerging talent for feature films and television drama 

series. His career began in theatre and he has produced, directed and written a large 

number of notable theatrical and radio plays. His work on feature films and tele - 

vision dramas started in the mid-90s. (p.31, 56) 

Kapur, sHeKHar 

acclaimed Indian film director and producer. He rose to popularity with his film 

bandIt Queen. among others, he directed elIzabetH, which was nominated for 

seven oscars and elIzabetH: tHe Golden aGe, starring cate blanchett. His future 

projects include PaanI, to be released in 2011, produced by danny boyle. (p.56, 57) 

Kar, meHrangiz 

Iranian lawyer, human right activist and author. she has served as a fellow, among 

others, at the national endowment for democracy, the american university in 

Wash ington dc, the university of Virginia and columbia university. she was a radcliffe 

Fellow at Harvard and is currently based at the carr center for Human rights 

Policy at Harvard’s John F. Kennedy school of Government. (p.64) 

Kennedy, adrian 

actor/comedian, tV writer and senior producer of deutsche Welle dW-tV‘s daily 

show “euromaxx“. He is a founding member of the berlin & brandenburg society for 

authentic and Historical Music. (p.49) 

Kéré, francis 

an architect and development activist from burkina Faso, he won the aga Khan 

award for architecture in 2004. together with christoph schlingensief, he is the 

architect of operndorf africa, which will put in place working and living conditions 

that facilitate education, dialogue and art production. (p.62) 

Knaf, JoacHim 

tutor at the Film & television university (HFF) “Konrad Wolf” for interdisciplinary film 

economics, with a focus on financing and calculation. He has been working in international 

feature and documentary production since 1996 and was producer and line 

producer of numerous international co-operations. (p.35) 

Knopperts, fleur 

Former director of the Forum for international co-financing of documentaries at IdFa 

in amsterdam. In 2007 she set up MeetMarket – international marketplace for in dependent 

documentary projects at doc/Fest sheffield. since 2009, she is head of 

development at Volya Films. (p.25, 57) 

Korda, susan 

susan Korda edited the oscar-nominated and sundance-crowned For all Man- 

KInd, and teddy winner treMblInG beFore G-d. Korda also writes and directs, and 

was most recently a producer on WIllIaM Kunstler: dIsturbInG tHe unI Verse. 

Her own work includes VIenna Is dIFFerent and one oF us. Korda teaches at 

columbia’s Graduate Film Program and binger Film lab, amsterdam. (p.26, 47, 65) 

KosslicK, dieter 

Festival director of the berlin International Film Festival since 2001, he was managing 

director of Hamburg‘s cultural film fund since 1983. He became director of the 

Hamburg Film Fund in 1988 and director of the Filmstiftung northrhine-Westphalia 

in 1992. (p.46, 49) 

KraKowsKy, tali 

Former director of experience design at Imaginary Forces, she is a founding member 

of “5d: Future of Immersive design”. throughout her career, she has led the conceptual 

and strategic development of projects integrating storytelling, new media 

and physical environments. she has published several articles and given lectures on 

the topics of design, technology and architecture. (p.56) 


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Kruger, beatrice 

A casting director based in Rome, Beatrice Kruger was responsible for the Euro pean 

and/or Italian casting of films such as SILK, THE INTERNATIONAL, CASINO ROYALE, 

OCEAN’S TWELVE and many more. (p.31, 37) 

Kurz, Sibylle 

Pitching trainer and consultant for film schools and film institutes all over Europe, 

she specialises in intensive pitching training, project presentation, proposal development, 

dramaturgical doctoring and consultancy work. (p.28) 

lachman, edward 

Oscarnominated USAmerican director of photography and filmmaker. He has 

work ed with directors such as Steven Soderbergh, Paul Schrader and Robert 

Altman. His extraordinary filmography includes ERIN BROCKOVICH, FAR FROm 

HEAVEN and most recently Ulrich Seidl‘s new film PARAdISE. (p.55) 

larSSon, Peter 

Swedish animation film director, his SEVEN dAYS IN THE WOOdS will be screened in 

this year’s Berlinale Shorts. His most recent films are THE PEOPLE ANd THE WHALE, THE 

mAN WHO GOT NOWHERE, WHAT WE ALREAdY KNOW and SEVEN TRIPS WO RSE. (p.54) 

lehtinen, SaKu 

Finnish art director of Remedy Entertainment Ltd, he is responsible for the entire 

audiovisual experience of games such as the recent psychological action thriller 

game “Alan Wake“. (p.56) 

levine, Sydney 

Over 35 years experience in the entertainment industry, she was a pioneer acquisitions 

executive and founder of FilmFinders, the first database used for tracking 

new films worldwide. She established the video rental division of Republic Pictures 

and Lorimar Home Video. (p.35, 53) 

lilja, hugo 

Swedish film director. He has worked with the Emmy Award winning company ”The 

Company P” and directed their web series dOLLPLAY, which was developed by FOX. 

He founded and run the productions company Accordion Film in Sweden between 

20052007. Lilja presents his film THE UNLIVING in the Berlinale Shorts 2011. (p.54) 

lilienthal, matthiaS 

Artistic director of Theater Hebbel am Ufer (HAU), he was head dramaturge at the 

Volksbühne in Berlin, and in 2002 directed the “World Theatre” festival in the Ruhr 

district in Germany. He has successfully developed a chain of performing arts projects 

that look at contemporary society with a sharp and insightful eye. (p.62) 

linSSen, dana 

Since 1997, she is writing film criticism for the dutch daily newspaper NRC Handelsblad, 

became editorinchief in 1998 and later copublisher of the dutch inde pendent 

film monthly de Filmkrant. She recently launched the Slow Criticism Project as 

a counterbalance against the commodification of film criticism. (p.29, 64) 

lloSa, claudia 

Peruvian filmmaker whose first feature film mAdEINUSA won numerous awards, 

among them the FIPRESCI prize in Rotterdam. Her second film THE mILK OF SORROW 

won the Golden Bear at the 2009 Berlinale. THE mILK OF SORROW was nominated for 

the Academy Award in the Best Foreign Film category in 2010. (p.60) 

maccarone, angelina 

director and writer based in Berlin. Her first feature film UNVEILEd was nominated 

for various awards and won the Hessische Filmpreis. In 2006, her film PUNISH mE 

received the Golden Leopard at the Locarno Film Festival. maccarone works as a 

lecturer at the German Film and Television Academy Berlin (dffb). (p.22) 

malcolm, dereK 

British film historian and critic for “The Guardian” for decades, he is President of the 

British Federation of Film Societies and the International Film Critics Circle, as well as 

Honorary President of FIPRESCI. He writes for the “London Evening Standard”. (p.29) 

manKell, henning 

His most iconic literary creation is a series of crime novels with the character of Kurt 

Wallander. He has written children’s books and several plays. He was a member of 


experTs 

the International Jury at the Berlinale in 2009. He is socially and politically engaged, 

and participated in the “Ship to Gaza” project in 2010. (p.47) 

Maoz, SaMuel 

Israeli film director; his debut feature film LEBANON won the Golden Lion at the 

Venice Film Festival in 2009 and the European Discovery and Best Photography at 

the European Film Awards in 2010. (p.47) 

Marten, GeSa 

German editor, dramaturge and lecturer, she was nominated for Best Editing at the 

Ger man Television Awards for ABNEHMEN IN ESSEN and at the German Camera Award 

for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won Film+‘s Schnitt 

Prize for WAS LEBST DU? in 2005 and for PERESTROIKA in 2009. (p.26) 

MartenS, Meike 

German producer and production manager for co-productions, she participated in 

the Campus in 2009. She co-produced numerous films and documentaries including 

THE DAY OF THE SPARROW and NOSTALGIA DE LA LUZ, directed by Patricio Guzmán, 

which won the Prix Arte at the European Film Awards 2010. (p.25) 

McDowell, alex 

British production designer and film producer, he has worked with Tim Burton, 

Steven Spielberg and David Fincher. His filmography includes FEAR AND LOATHING 

IN LAS VEGAS, FIGHT CLUB and MINORITY REPORT. He is also founder and director of 

“5D Conference”, an interdisciplinary network focusing on the impact of technologies 

in design fields. (p.56, 57) 

Metz, JanuS 

Danish documentary director whose latest film ARMADILLO premiered at the Cannes 

Film Festival and was awarded the Grand Prix de la Semaine de la Critique. Metz 

holds a master degree in visual anthropology, his international breakthrough came 

in 2008 with the two films, LOVE ON DELIVERY and TICKET TO PARADISE. (p.47) 

MiDDinG, GerharD 

Film journalist for EPD Film magazine and several other newspapers, film maga - 

zines and radio programmes in Germany, Austria and Switzerland, he is the German 

corres pondent of the French magazine “Positif”. (p.64) 

Müller, ulrike 

German casting director for films such as WHEN WE LEAVE with Sibil Kekilli, which 

won numerous awards and Hochhäusler’s EINE MINUTE DUNKEL, which premieres in 

the Berlinale Forum, and SLEEPING SICKNESS, which features in this year’s Berlinale 

Competition. Müller was awarded the German Casting Prize in 2010. (p.31, 37) 

MunDruczó, kornél 

Hungarian director, actor and writer. He won, among others, the FIPRESCI prize for 

the film DELTA at the 2008 Cannes Film Festival. His film PLEASANT DAYS won a Silver 

Leopard at the Locarno Film Festival in 2002. He returns to the Co-Production Market 

with his new project “The Flying Man“. (p.14, 60) 

nikitin, nikolaJ 

The Berlinale delegate for Eastern-Europe and co-founder of the film magazine 

“Schnitt“, he is member of FIPRESCI and the European Film Academy. He curates 

international film festivals in Germany and across Europe, and heads the only 

European festival dedicated to editing, “Film+“ in Cologne. (p.37) 

nyMan, Michael 

See interview on p. 23 (p.62, 65) 

PaDilha, JoSé 

Award-winning Brazilian director of the films BUS 174 and ELITE SqUAD, the latter 

won the Golden Bear at the 2008 Berlinale. Most recently, he directed the 

documentaries GARAPA and SECRETS OF THE TRIBE. Padilha presents his sequel ELITE 

SqUAD 2 – THE ENEMY WITHIN at this year’s Berlinale Panorama. (p.47) 

PalMer, Patrick 

Co-founder and chief operating officer of IRIDAS, he has worked on the front edge of 

software technologies for the film industry for the last decade. Palmer is one of the 

driving forces in making Stereo 3D post-production tools more versatile. He also 

gives master classes on Stereo 3D at various locations throughout Europe. (p.54)


Pansittivorakul, thunska 

Thai independent film director, his short films, documentaries and feature films 

were screened in over 100 international film festivals. Most recently, he directed The 

TerrorisTs which will be screened in this year’s Berlinale Forum. (p.59) 

Paul, roman 

Co-founder of razor Filmproduktion. he co-produced the oscar-nominated WalTz 

WiTh Bashir and Paradise NoW (the Berlinale’s Blue angel award, a Golden Globe 

and an european Film award). he also co-produced Cirkus ColuMBia and Miranda 

July’s The FuTure; the latter premieres in this year’s Berlinale Competition. (p.46) 

Peten, soon-mi 

audiovisual consultant before joining the Media Programme in 2000, she specialised 

in development support for independent european producers. she continues this 

work as selection coordinator within the european Commission‘s education, audiovisual 

and Culture executive agency. (p.57) 

Pinn, Julian 

Chair of both the Bsi and iso Technical Committees on Cinematography, he is re spon 

sible for the development of dolby’s motion picture services portfolio. With 

fifteen years experience as a dolby consultant for both original and foreign language 

movie releases, he is heavily involved with standards-making. (p.54) 

Pitts, rafi 

iranian filmmaker, producer and screenwriter, his short and feature films received 

numerous awards at international festivals and are often categorised as films of the 

new wave of iranian Cinema. his most recent films iT’s WiNTer and The huNTer were 

screened in the Berlinale Competition in 2006 and 2010. (p.64) 

rabarts, marten 

artistic director of the Binger Filmlab amsterdam, he is a producer and screenwriter 

for cinema and TV. he worked for la's Propaganda Films, PolyGram Filmed enter - 

tain ment group and Manifesto, and has collaborated with sarah radclyffe, Tim 

Bevan and alison owen on films such as derek Jarman's edWard ii. (p.24, 48) 

reilhac, michel 

Michel reilhac is the executive director of arTe France Cinéma and the director of 

film acquisition for arTe France. For Canal+, he made To Be a MaN in 1999, and in 

2000 directed keNYa islaNds for arTe. he produced CrY WoMaN, which was in un 

Certain regard of the Cannes Film Festival, and The Good old NauGhTY daYs 

(which he directed) was presented in the Filmmakers Fortnight. (p.35, 52) 

ringel, gian-Piero 

German producer, he founded his own film production company ringel in 2004. in 

2006 he produced the short film das Mass der diNGe and his first feature film 

NaChMiTTaG premiered in the 2007 Berlinale Forum. as managing director of the 

company Neue road Movies, he has produced Wim Wender’s PiNa, which features in 

this year’s Berlinale. (p.54) 

rissenbeek, mariette 

Managing director of German Films, she is responsible for public relations and press, 

international festivals and “das rendezvous“, an annual German-French film meeting. 

her career began at Tobis Filmkunst in Berlin before she started working as a 

producer at ziegler Film. independently, she produced hiGhWaY soCieTY by Mika 

kaurismäki, among others. (p.46) 

rodenkirchen, franz 

script advisor and tutor in international workshops and individual project development, 

he is based in Berlin. he is head of selection for Torino Film lab, a script 

advisor at the Binger Filmlab, where he also teaches script editing to industry professionals. 

(p.24) 

rodrigue, Jean-louis 

Member of the faculty at the uCla school of Theater, Film and Television, his unique 

style of acting coaching, movement training and movement design can be seen in 

W. with Josh Brolin, huMaN NaTure with Patricia arquette, The aFFair oF The 

NeCklaCe with hilary swank, seaBisCuiT with elizabeth Banks and Bee seasoN with 

Juliette Binoche. (p.31, 37, 49, 52) 

Roginas, Renate 

Renate Roginas led, as producer, the international co-production department of 

Telfrance. She works as head of studies, lecturer and tutor. She established Villa Kult 

in Berlin, a venue and meeting place for international professionals from film, television, 

media, radio and the arts. (p.32) 

Rommel, PeteR 

German producer, whose GRILL POINT by Andreas Dresen won the Silver Bear in 

2002. Other films are NIGHT SHAPES, LOST KILLERS and SUMMER IN BERLIN. His 2009 

production CLOUD 9 won a German Film Award and WHISKEY WITH VODKA was the 

winner of the International Film Festival Karlovy Vary. (p.33, 49) 

RoRvik, PeteR 

Director of the Durban International Film Festival, a flagship project of the Centre 

for Creative Arts, which Rorvik has headed since 1999. He is also the director of 

three other major annual festivals produced by the CCA; Time of the Writer, Jomba! 

Con temporary Dance Experience and Poetry Africa. (p.37) 

Ros, PhiliPPe 

Director of photography and digital imaging. He supervised the cinematography in 

HOME, Yann Arthus-Bertrand’s feature film from 2009. Ros was cinematographer for 

OCEANS, directed by Jacques Perrin and Jacques Cluzaud, and has worked as tech nical 

supervisor of cinematography. (p.26, 47, 51, 65) 

Rosenthal, liz 

Digital film and media expert, she is the founder and director of Power to the Pixel, a 

cross-media company and forum based in London. She also founded Earthly Delight 

Films, launched the online animation project “Marsipan” and set up and ran the UK 

office for Next Wave Films from 1998 to 2002. (p.52, 57, 59) 

Rossellini, isabella 

Italian actress, filmmaker and author. Her career is defined by a diverse body of 

work, including films such as BLUE VELVET, THE SADDEST MUSIC IN THE WORLD and 

THE SOLITUDE OF PRIME NUMBERS, which was nominated for a Golden Lion at the 

Venice Film Festival in 2010. She is this year‘s President of the Berlinale Jury (p.49) 

Roy, RajendRa 

Chief curator of film at the Museum of Modern Art, New York. From 2004-08, he was 

on the Competition Selection Committee of the Berlinale, and continues to serve as 

an advisor to the festival. (p.51) 

sable, jeRome 

Writer, director and composer with credits in stage and film. His film THE LEGEND OF 

BEAVER DAM, which he co-directed with Eli Batalion, will be screened at this year’s 

Berlinale Generation. Sable co-wrote and directed the short comedy series CRAzY/ 

SExY/AWKWARD for FremantleMedia, and the musical short MEANWHILE… (p.54) 

saltzwedel, daniel 

Funding advisor for feature-length documentary films at the Medienboard Berlin- 

Brandenburg, he has worked extensively in film production as a production assistant 

and subsequently, as a producer at zero Film. (p.46) 

samadi ahadi, ali 

German filmmaker of Iranian origin. In 2006 his documentary LOST CHILDREN won 

the German Film Award. Most recently, he directed the intercultural comedy SALAMI 

ALEI KUM. With his documentary THE GREEN WAVE, which features in this year’s German 

Cinema-LOLA@Berlinale, he responds to the opposition movement in Iran. (p.64) 

schmidt, eRwin m. 

German producer, he has been involved in a number of art house films, including 

YOU THE LIVING, DERNEL and ORLY. He was line producer for Shirin Neshat’s WOMEN 

WITHOUT MEN which won the 2009 Silver Lion at the Venice Film Festival. Since 2008, 

he has been working as a 3D producer for Neue Road Movies, co-producing PINA, 

which premieres in this year’s Berlinale. (p.37,54) 

schoRy, katRiel 

Executive director of the Israel Film Fund since 1999, he founded the production 

com pany Belfilms and produced over 200 films including award-winning feature 

films, TV dramas and international co-productions. (p.28) 


Page 

73

Page Index of experts 

74 

Schrader, Paul 

US-American screenwriter and film director. He wrote the screenplays of some of the 

most iconic films of modern cinema. Among them are TAxi Driver, which is part of 

this year‘s Berlinale Special. He celebrated his directorial debut with BlUe CollAr in 

1978 and wrote/directed AmeriCAn GiGolo and ADAm reSUrreCTeD. (p.64) 

Schulte StrathauS, Stefanie 

Curator at Arsenal – institute for Film und video Art in Berlin, and programmer of the 

Berlinale Forum expanded, she is the co-founder and board member of the Kinothek 

Asta nielsen in Frankfurt/main. (p.60) 

Schwerbrock, MathiaS 

German producer, his film portfolio includes AimÉe & JAGUAr, niGHTSonGS and JoHn 

rABe. in 2009 he worked as a producer of 24H Berlin, a 24-hour documentary told in 

real time. He is currently co-producing the Shah rukh Khan production Don 2. (p.35) 

Scotta, carole 

French producer and founder of the independent production and distribution 

com pany Haut et Court. The company produced and co-produced over twenty 

feature films, among them CoCo AvAnT CHAnel and enTre leS mUrS and distributed 

over hundred films. it is currently producing THe WomAn in THe FiFTH directed by 

Pawel Pawlikowski with Kristin Scott Thomas and ethan Hawke. (p.49) 

SeeSSlen, georg 

one of Germany‘s most influential media critic, Georg Seeßlen writes for magazines 

and newspapers like “Die Zeit“, “taz“ and “ePD film“. He teaches at different German 

film academies and universities and has written about 20 books on film topics. (p.62) 

Shoben, andrew 

Founder of Greyworld, which has created works in hugely coveted locations across 

the world and has permanent installations in twelve countries. in 2004 he launched 

“The Source”, a permanent installation for the london Stock exchange. Shoben is a 

regular contributor to television, radio and print. (p.56) 

SiMonen, ulla 

Producer in her own company mADe, she also works as a producer for Klaffi Pro ductions 

and as a documentary script advisor for SoUrCeS 2. She lectures both nationally 

and internationally on different aspects of documentary productions and is a member 

of the european Film Academy. (p.25) 

SiSSako, abderrahMane 

Filmmaker who has worked in mali and France. His WAiTinG For HAPPineSS won the 

FiPreSCi Prize at the 2002 Cannes Film Festival. Sissako was a member of the international 

Jury at the Berlinale and at Cannes. in 2008, he contributed the segment 

DiGniTY to the international project “Stories on Human rights”. (p.60) 

Skjødt, hanne 

network manager at the european Documentary network (eDn) based in Copenhagen. 

Since 2000, she has been with the Danish Film institute as distribution and 

promotion consultant and head of unit for the promotion and distribution of shorts 

and documentaries. (p.37) 

SPeck, wieland 

Head of Berlinale Panorama since 1992, he initiated, together with manfred Salzgeber, 

the TeDDY AWArD. He is author and producer of numerous film productions 

and directed, among others, eSCAPe To liFe: THe eriKA AnD KlAUS mAnn STorY. He 

has also worked for european film institutions and taught at universities. (p.59) 

Staden, inga von 

media architect, coach and educator for creative industries. She directs the programme 

interactive media at the Film Academy ludwigsburg. Having initiated, 

founded and directed various projects such as “The Academy of converging media”, 

she also worked for the medienboard Berlin-Brandenburg from 2004-2007. (p.57) 

Stehling, frank 

Ceo and owner of the Berlin based PrimeHoUSe GmbH. He has been active in many 

fields of the film and media business such as scriptwriting, direction, production and 

funding. Stehling’s professional focus includes business development and script 

development, market research, world sales, financing and interactive media. (p.32) 

experTs 

Stein, AlexAnder 

Managing director of the International Short Film Festival, Interfilm, in Berlin. Stein 

has been working for Interfilm since 1998 and co-founded the limited company 

Inter film in 2000. (p.53) 

StenSgAArd, Molly MAlene 

See interview on p.27. (p.26) 

Steyer, MArtin 

German sound mixer who worked on numerous acclaimed films including YELLA, 

THE LAST KING OF SCOTLAND and THE LAST STATION. He won the German Film Award 

for Best Sound Editing for REQUIEM and TRADE. He is Professor at the Film & Television 

University (HFF) “Konrad Wolf” since 2005 and its vice president since 2006. Since 

2008, he has been the programme director of INSIGHT OUT at the HFF. (p.59) 

Stöhr, hAnneS 

German director and scriptwriter who studied at the German Film and Television 

Academy Berlin (dffb). Among the films he wrote and directed are BERLIN IS IN 

GERMANY (Panorama Audience Award 2001), ONE DAY IN EUROPE (Berlinale Competition 

2005) and BERLIN CALLING (2008). He works as a guest lecturer at the dffb 

and the Film Academy in Ludwigsburg. (p.33, 49) 

SzAbó, iStván 

Hungarian filmmaker who won an Academy Award for MEPHISTO in 1981. His films 

MEETING VENUS, SWEET EMMA, SUNSHINE and BEING JULIA have received numerous 

awards, among others, at the Berlinale, Cannes and Venice Film Festivals. Most 

recently, he wrote and directed, THE DOOR, starring Helen Mirren. (p.57) 

tAnović, dAniS 

Bosnian film director and screenwriter. His film NO MAN’S LAND won an Oscar for Best 

Foreign Film, the European Film Academy Award and the César Award. Tanović was 

member of the international Jury in Cannes in 2003. Well received by the critics was 

also his most recent film CIRKUS COLUMBIA. (p.47) 

thiele, lenA 

As creative director and cross-media producer Lena Thiele is developing and producing 

new formats in the field of documentary film, online, mobile and games. She 

joined Gebrüder Beetz Filmproduktion in January 2010. Previously she headed a 

Berlin-based digital media company and a games studio as creative director. (p.59) 

todShArow, MArtin 

Film music composer, producer and musician. He wrote scores for Oskar Roehler’s 

films including ELEMENTARY PARTICLES and AGNES AND HIS BROTHERS. He also wrote 

scores for NOTHING BUT GHOSTS, MINOTAUR and HILDE and worked as lecturer at the 

Film Academy Ludwigsburg, the German Film and Television Academy Berlin (dffb) 

and the Film & Television Uni versity (HFF) “Konrad Wolf” in Potsdam. (p.22) 

treut, MonikA 

One of Germany‘s most preeminent documentary and fiction directors when it 

comes to queer films. She writes and produces her own films, among which are the 

award-winnning VIRGIN MACHINE, MY FATHER IS COMING and GENDERNAUTS, for 

which she won a TEDDY AWARD in 1999. (p.22) 

trijbitS, PAul 

Producer of award-winning films such as THE MAGDALENE SISTERS, THE WIND THAT 

SHAKES THE BARLEY and TOUCHING THE VOID. He was head of the New Cinema Fund 

of the UK Film Council before he joined Ruby Films in 2007 as partner and exe cutive 

producer. Recently completed at Ruby Films were TAMARA DREWE and TOAST, the 

latter features in Culinary Cinema at this year’s Berlinale. (p.49) 

ukwuoMA, SelinA 

Formerly a development executive at EON Screenwriters' Workshop and Cuba Pic tures, 

she now works as a freelance script editor, consultant and tutor. She has worked 

on a number of projects including the feature BOY A, which screened at the 2008 

Berlinale Panorama. (p.24) 

vAchon, chriStine 

US-American producer of critically acclaimed films such as BOYS DON’T CRY, I’M NOT 

THERE and FAR FROM HEAVEN. Vachon formed the production company Killer Films


with Pamela Koffler and Katie Roumel. In 1998 her first book “Shooting to Kill” was 

published, followed by “A Killer Life” in 2006. Vachon was a jury member of the 

Sundance Film Festival and at the Sarajevo Film Festival. (p.59) 

Veber, Juliette 

New Zealand producer and director, she produced films such as The PRIce oF MILK 

and Toy LoVe. Veber's debut feature-length documentary TRoubLe IS My buSINeSS 

premiered in the 2008 New Zealand International Film Festival. (p.54) 

Veiel, Andres 

Leading German film director, his film IF NoT uS, Who? features in this year’s berlinale 

competition. his documentaries bLAcK box bRD won the 2002 european Film Award 

and ADDIcTeD To AcTING won the 2004 Panorama Audience Award. (p.55) 

Weissberg, JAy 

Film critic at “Variety“, he was a researcher at the Photofest film stills archive in the 

uSA and continues to divide his interests between film and art history by working in 

the world of old Master drawings. (p.64) 

Wenders, Wim 

Wenders has been an influential figure in New German cinema. his films The 

AMeRIcAN FRIeND, WINGS oF DeSIRe and bueNA VISTA SocIAL cLub have won numerous 

prestigious awards. his forthcoming film PINA, an homage to the late choreographer 

Pina bausch, was shot in 3D and premieres at this year‘s berlinale. (p.54) 

Wendt, ulrich KodJo 

German composer for film and theatre who did music for feature films such as IN JuLy, 

directed by Fatih Akin, as well as the documentary films ScoRING bLue by christian 

bau and Ab NAch RIo by Jens huckeriede. his work in theatre includes The WoRLD 

IS bIG AND SALVATIoN LuRKS ARouND The coRNeR and live performances. (p.35) 

Wenner, dorothee 

Documentary filmmaker, author and journalist, she has been on the se lec tion 

committee of the berlinale Forum since 1990 and serves as the berlinale delegate for 

India and Sub-Saharan Africa. Among others, she has made the 2008 documentary 

PeAce MISSIoN. (p.60, 62) 

Westhoff, frédérique 

head of team at AcPFILMS; its overall objective is to contribute to the development 

and structuring of the cinema and audiovisual industries in the African, caribbean, 

Pacific countries so that they can create and disseminate their own works more 

effectively. (p.37) 

WoJcieszeK, PrzemysŁAW 

Polish film director. he made his directorial debut with KILL TheM ALL, followed by 

the critically acclaimed LouDeR ThAN boMb in 2001. Since 2004, Wojcieszek has also 

directed plays. he wrote and directed the feature film MADe IN PoLAND, which 

celebrates its world premiere in the 2011 berlinale Forum. (p.64) 

Worschech, rudolf 

editor of the ePD Film magazine, he was a research associate at the German Film 

Museum, Frankfurt from 1987 to 1995, where he curated several exhibitions and film 

series and published texts on Western and German films and on film policy. (p.53) 

yAng, hyo-Joo 

Korean short film director, her film The uNbRoKeN will be presented in this year’s 

berlinale Shorts. She won numerous awards for her previous shorts oNe LAST DAy 

and JouISSANce. Most recently, she won the Asian New Force award at the 15th 

hong Kong Independent Short Film and Video Awards. (p.54) 

zAchAreK, stePhAnie 

chief film critic for “Movieline”, she was the senior writer and film critic for Salon.com 

for many years. her writing on books and pop culture has also appeared in “The New 

york Times”, “The Los Angeles Times”, “Rolling Stone” and “Sight and Sound”. (p.29) 

ŽbAnić, JAsmilA 

bosnian screenwriter, artist and director, she won the 2006 Golden bear for GRbAVIcA. 

In 1997 she founded the artists’ association Deblokada – through which she has 

directed and produced her films. her latest film oN The PATh was presented in the 

berlinale competition 2010 and distributed worldwide. (p.31, 50) 

Index of participants 

A 

Abdollahyan, 

Fatima Geza 

Abuhamdan, Zaid 

Achitsa, Bethsheba 

Adizes, Topaz 

Ai , Elizabeth 

Ajayi, Christine 

Albuliwi, Bandar 

Aldershoff, Chiel 

Alexandre, Zeff 

Aloni, Omri 

Alves, Maria 

Amat, Georgina 

Amescua, Priscila 

Amirpour, Ana Lily 

Anadu, Chika 

Anderson, Josephine 

Andreeva, Maria 

Andrizzi, Mauro 

Apopei, Mihai Marius 

Arias, Felipe 

Asim, Adnan 

Attia, Habib 

Aubert, Sebastien 

Aun, Anu 

Ayub, Ishtiaque 

B 

Bajac, Stasa 

Bakker, Tristen 

Balci, Emine Emel 

Baletic, Hajdana 

Ballús, Neus 

Balulu, Rafael 

Baptist, Willem 

Barrejón, Sergio 

Bartenev, Denis 

Bastes, May Anne 

Bastos, Mario 

Baumeister, Clemens 

Ben Hamra, 

Mohamed Ali 

Berliner, Caroline 

Berliner, Michael 

Biain, Juan Manuel 

Bisset, Christopher 

Bizri, Hisham 

Boeuf, Sabrina 

Bofarull, Anna Maria 

Böhrnsen, Jytte-Merle 

Bohun, David 

Borghi, Pablo Gabriel 

Boulay-Goldsmith, 

Charlotte 

Bravo, Angela 

Brending, Nicole 

Brkusic, Hrvoslava 

Broadhurst, 

Frances Clare 

Brown, Rob 

Busch, Olaf 

Butzmühlen, Stefan 

Buyi, Philip Roy 

C-D 

Cash, Conall 

Ceyton, Kristina 

Chalupnik, Roman 

Chapman, David 

Collington, Sasha 

Corthouts, Lieven 

Cotorruelo, Ivonne 

Cruz, Francis Joseph 

Cukali, Koloreto 

Damnjanovic, Natasa 

Davari, Maryam 

De Felice, Fabio 

Deigman, Nicholas 

Delbeke, Maarten 

Diaz, Augusto Cesar 

Doering, Philipp 

Duncan, Alyx 

Durán, Mauricio 

Durand, Jonathan 

Dvornik, Klemen 

E-F 

Eakwattanakij, 

Kamontorn 

Eliash, Elisa Valentina 

Erríquez, Ezequiel 

Escala, Charena Theressa 

Essuman, Hawa 

Evans, Gareth 

Exarchou, Sofia 

Fantone, Gerald Patrick 

Faraone, Diego 

Farina, Giorgia 

Fariñas, Mauro 

Fegan, Jorge Alejandro 

Fernández, Juan Daniel 

Ferreiro, Héctor 

Freedman, Ehud 

G 

Gamat, Zalina 

Gammon, Charlotte 

Gandour, Molly 

Ganuza, Iker 

García, Josefina María 

García, Daniel 

Gebresenbet, Zelalem 

Geissendörfer, Hana 

Gerbaulet, Alexandra 

Giampà, Giorgio 


Page 

75

Page 

76 

Giberti, Luca 

Gieren, Stefan 

Gildehaus, Lisa 

Giorgetti, Alessio 

Goldstein, Verena Leona 

Goula, Roger 

Grant, Lauren Michelle 

Greene, Nicholas 

Greenspan, Gal 

Griniūtė, Albina 

Grinspum, Daniel 

Groothof, Marinus 

Grosan, Cristina 

Großheim, Juliane 

Gueli, Caterina 

Guerrero, Ianis 

H 

Haddad, Fadi 

Halldorsson, Jakob 

Hariche, Hugues 

Haseen, Nohar 

Hazboun, Ramzi 

Heinzerling, Zachary 

Hommer, Jörg 

Hörcher, Gábor 

Hotait, Laila 

How, Angela 

Hsiung, James 

Hussaini, Sayed Jalal 

Hutter, Magdalena 

I-K 

Ilana, Nadira 

Inserra, Lovissa 

Ismaiel, Ahmed 

Ivanov, Volodymyr 

Jalla, Rajesh 

Jimeno, Margarita 

Jurkiewicz, Tomasz 

Kadan, Soudd 

Kalafati, Dafni Foteini 

Kamya, Agnes 

Kangas, Jonas 

Kanic, Vladimir 

Kato, Yosuke 

Kerimaa, Ville-Veikko 

Kesteris, Pauls 

Khaindrava, Giga 

Khan, Jibran 

Khedr, Tamer 

King, Peter 

Kirkland, Alex 

Klem, Flemming 

Christian 

Klepatski, Dimitri 

Knuten, Henrik Martin 

Koçi, Gentian 

Index of participants 

pArTICIpAnTs 

Kofler, Michael 

Kolb, Tilman 

Koos, Olivier 

Koskas, Corentin 

Kostovski, Ogi 

Kozemount-Sanidis, 

Efthymios 

Krastev, Georgi 

Kristoffersen, Erlend M. 

Krizmanić, Ivana 

Krummenacher, Michael 

Kubescha, Mirjam Anne 

Kuonen, Sebastian 

L 

Lääne, Madli 

Lai, Yan Chi 

Laizāne, Agnese 

Lale, David 

Lamhene, Eric 

Lamont, Emma 

Langhof, Julia 

Laperrousaz, Clara 

Lara, Katia 

Leclere, Astrid 

Lee, David 

Lenken, Susanna 

Leo, Maximilian 

Levick, Jessica 

Liauw, Suryani 

Lim, Kah Wai 

Lindner, Tobias 

Lindström, Tobias 

Little-White, Damali 

Ļitvinova, Elīna 

Lo Savio, Giorgia 

López, Nazly 

Lovre, Ivana 

Lupik, Victoria 

M 

Machado, Paulo 

Maciulskis, Vilius 

Mackerras, Josephine 

Magee, Micah 

Marre, Emmanuel 

Martínez, Jesús Gerardo 

Masferrer, Marta 

Matthews, Kate 

Mavroidi, Martha 

Maza, Santiago 

Mazzi, Enrico 

McConville, Sean 

McGrath, Anna 

Meghie, Alison 

Mendoza, David Carlos 

Mesich, Jennifer 

Mijović, Luna 

Milne, Anne 

Mishra, Bikas Ranjan 

Molina, Catalina 

Mollo, Fabio 

Morales, Maura 

Moreira, Francisco 

Motoyoshi, Retsu 

Muhumuza, Peter 

Müjdeci, Hüseyin Kaan 

Munsamy, Kimeshree 

N 

Nasiru, Idi 

Nel, Willem 

Nesterenko, Mariia 

Neuville, Maaike 

Niemczyk, Aleksandra 

Nistor, Edgar Alexandru 

Noonan, Mark 

Norton, Sam 

Nyaruri, Zippy 

O 

Odabaşı, Eren 

Okorougo, Obinna 

O'Leary, Terence 

Oliva, Mariana 

Olsson, Iris 

Omewiri-Pius, Peter 

Opalka, Tomasz 

Orey, Mauricio 

Orjonikidze, Nino 

Oswald, Thomas 

P-Q 

Pacsay, Attila 

Pálos, Gergely 

Paradis, Katia 

Parhizgar, Golkou 

Pastor, Carles 

Pedregal, Alejandro 

Pedreira, Rafael 

Petev, Vladimir 

Pianezza, Pamela 

Pfeifer, Mario 

Pitsillidou, Theofano 

Portillo, Otilia 

Pourseifi, Hossein 

Procter, David 

Protsenko, Guillaume 

Prühl, Karsten 

Pujol, Anna 

Quadekker, Matthias 

Quinones, Jesse 

R 

Rachuba, Remigiusz 

Raffel, Felix 

Rajabi, Hamed 

Ramadan, Mohamed 

Raman, Shanker 

Randriamahaly, Sitraka 

Rankin, Matthew 

Rantonen, Mika 

Rebner, Daniel 

Reddy, Emmet 

Reich, Julian 

Reischer, Laila 

Renneke, Ursula 

Reshetnikova, Ekaterina 

Rév, Marcell 

Riddell, Benjamin 

Rittmannsberger, 

Michael 

Rodman, Miha 

Rodríguez, Octavio 

Romagno, Andrada 

Rösch, Felix 

S 

Saag, Sigrid 

Saleem, Azhur 

Salvatori-Sinz, Axel 

Samavi, Setareh 

Samusik, Rafal 

Santos, André 

Saqr, Hisham Salah 

Sárkány, Claudia 

Sarmiento, Juan 

Sattarov, Azizbek 

Savill, Michelle 

Scarlato, Dimitri 

Scheidt, Marie Elisa 

Schmidt, Steffen Philipp 

Schönherr, Andrea 

Sedgwick, Gabriel 

Segal, Ron 

Sekyaya, Patrick 

Selonk, Aletéia 

Shakeel, Mohammed 

Shan, Zuolong 

Sheridan, Tomás 

Shoval, Deborah 

Šimić, Ivana 

Singh, Pushpender 

Skalski, Rafal 

Snorrason, Ragnar 

Sokolova, Ekaterina 

Solf, Rita 

Soper, Ben 

Sotorra, Alba 

St. John, Jennifer 

Stan, Monica 

Steyer, Sabine 

Steytler, Willem 

Stránská, Martina 

Strelnikova, Svetlana 

Szymańska, Joanna 

T 

Takkin, Helen 

Tanović, Ines 

Tillotson, Rachel 

Tisminetzky, Micaela 

Titova, Yana 

Torres, Harald Carlos 

Toulemonde, Jacques 

Traila, Alex 

Trifonova, Temenuga 

Trinh, Dinh Le Minh 

U-V 

Ugarte, Myriam 

Valente, Maria 

van der Tholen, Jemima 

van Koevorden, Niels 

Vardar, Özcan 

Vavouris, Nikolaos 

Vekarić, Barbara 

Vilanova, Lara 

von Horn, Magnus 

von Lingen, Markus 

Voutas, Sam 

Vukovic, Vesi 

W 

Wagenbauer, Kristina 

Wagner, Johanna 

Wai Kit, Wong 

Wallner, Martin 

Warrink, Derk-Jan 

Watson, Justine 

Weber, Klaudia Aida 

Wermke, Christoph 

Weydemann, Jonas 

Wigens, Jon 

Włodarski, Mariusz 

Wolf, Janine 

Wysocki, Jonathan 

Y-Z 

Yamamoto, Hyoe 

Yim, Kyung-dong 

Zabukaite, Jurga 

Zaharia, 

Maria-Florentina 

Zirngibl, Christoph 

Zlotorowicz, Piotr 

Zogka, Elena Antigoni 

Zoldnere, Astra 

Zoratti, Carlo 

Index of countries 

Meet participants 

from 88 countries: 

Afghanistan, 

Albania, Angola, 

Argentina, Armenia, 

Australia, Austria, 

Bangladesh, Belgium, 

Belize, Bolivia, 

Bosnia and Herzegovina, 

Brazil, Bulgaria, 

Cameroon, Canada, 

Chile, China, 

Colombia, Costa Rica, 

Croatia, Cuba, Cyprus, 

Czech Republic, 

Denmark, 

Ecuador, Egypt, 

Estonia, Ethiopia, 

Finland, France, 

Georgia, Germany, 

Ghana, Greece, 

Guatemala, 

Honduras, 

Hong Kong, 

Hungary, 

Iceland, India, 

Indonesia, Iran, 

Ireland, Israel, Italy, 

Jamaica, Japan, 

Jordan, 

Kazakhstan, Kenya, 

Latvia, Lithuania, 

Luxembourg, 

Madagascar, 

Malaysia, Mexico, 

Moldova, 

Netherlands, 

New Zealand, 

Nigeria, Norway, 

Pakistan, 

Palestinian Territory, 

Peru, Philippines, 

Poland, Portugal, 

Romania, 

Russian Federation, 

Serbia, Singapore, 

Slovenia, South Africa, 

South Korea, 

Spain, Sweden, 

Switzerland, Syria, 

Thailand, Tunisia, 

Turkey, 

Uganda, Ukraine, 

United Kingdom, 

United States, 

Uruguay, 

Vietnam

Danke schön! 

mAny THAnks 77 

ACPFILMS Frédérique Westhoff, Moussa Sawadogo. 

Ambassade de France Charles Malinas, 

Nathalie von Bernstorff and Carole Lunt. 

A&O HOTEL and HOSTEL Mitte Robert Hering, Tina 

Bierwolf, Denitza Babekova and Jasper Beckmann. 

ARTE Deutschland Hans Robert Eisenhauer and 

Kathrin Brinkmann. 

ARTE France Michel Reilhac and Annamaria Lodato. 

Auswärtiges Amt (Federal Foreign Office) 

Dr. Guido Westerwelle, Werner Wnendt, 

Max Mal dacker, Helmut Lörsch, Bernhard Abels and 

Katharina Cramer-Hadjidimos. 

Bar 7000 Jeremias Loock. 

Berliner Pilsener Bettina Pöttken. 

Berlin Today Award Producers 2011 Beleza Film: 

Jessica Landt, Falk Nagel; Filmkantine: Katrin Springer, 

Volker Ulrich; heimatmedien: Moritz Wessendorff; 

Kloos & Co. Medien: Stefan Kloos, Vanessa Temp; 

Macchiato Pictures Filmproduktion: Ismail Sahin, 

Holger Sorg. 

Binger Filmlab Gamila Ylstra and Marten Rabarts. 

BKM – Der Beauftragte der Bundesregierung für 

Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg 

Berggreen-Merkel, Ulrike Schauz and Michael Knoche. 

BMW Karsten Engel, Maximilian Schöberl, 

Manfred Bräunl and Hans-Reiner Schröder. 

British Council Rebecca Walton, Amaka Ugwunkwo, 

Christine Bardsley and Elke Ritt. 

Camelot Broadcast Services Victor Nikolaidis, 

John Henry and Christian Klimpke. 

COLT Dr. Adelino Santos. 

Daazo Film and Media Ltd. Dániel Deák, Zoltán Aprily 

Deutsche Weine Monika Reule. 

Deutsche Welle Eric Bettermann, Christoph Lanz, 

Rainer Traube, Arno Hefner, Melanie Matthäus, Bettina 

Kolb, Dieter Roser, Hanne Kehrwald, Fred Oelschlegel, 

Pamela Schobess, and the Deutsche Welle trainees. 

Deutsches Filmorchester Babelsberg 

Klaus-Peter Beyer and the musicians. 

dffb – German Film and Television Academy 

Prof. Jan Schütte, Maximilian Müllner, 

Kathrin Osterndorff, Stefan Beckers, Laura Gintar 

and Alex Leser. 

Dolby Laboratories Julian Pinn and Hubert Henle. 

Durban International Film Festival Peter Rorvik 

and Nashen Moodley. 

European Film Academy Marion Döring, 

Stephanie Röders and Pascal Edelmann. 

European Film Market Beki Probst, Catherine Buresi. 

European Film Promotion Renate Rose and Karin Dix. 

ewerk Ralf Regitz (†), Friedrike Tiedtke, Tjabo Reuter. 

Festival internazionale del film di Locarno 

Nadia Dresti and Mario Timbal 

FFA – German Federal Film Board Peter Dinges, 

Christine Berg and Birthe Klinge. 

FIDMARSEILLE Jean-Pierre Rehm, Fabienne Moris 

and Anaëlle Bourguignon. 

FIPRESCI Klaus Eder. 

Fraunhofer / Heinrich Hertz Institut Michael Witte 

and Ralf Schäfer. 

Gahrens & Battermann Michael Kugel. 

Goethe-Institut Buenos Aires Stefan Huesgen, 

Dr. Gabriela Massuh and Inge Stache. 

Goethe-Institut Johannesburg Peter Anders. 

Goethe-Institut Mexico Folco Näther, Sebastian Huber. 

Goethe-Institut Tokyo Raimund Wördemann 

and Mihoko Tanno. 

Goethe-Institut München Prof. Dr. Klaus-Dieter 

Lehmann, Dr. Hans-Georg Knopp, 

Dr. Christian Lüffe and Marina Ludemann. 

Gorol & Partner Stephan Gorol, Verena Zimmermann 

and Leonie Würfel. 

Guadalajara International Film Festival 

Iván Trujillo Bolio. 

Hebbel am Ufer (HAU 1-3) Matthias Lilienthal, 

Sonja Hildebrandt, Rahel Häseler, Elisabeth Knauf, 

Kirsten Hehmeyer, Matthias Schäfer, Kathrin Veser 

and the entire HAU team for their cool theatre. 

Holland Subtitling Wibo de Groot, Ron van der Meij. 

Hugo Boss Philipp Wolff and Claudia Schmidt. 

IDFA Cathalijne de Wilde. 

Insight Out Max Hemmo. 

Internationale Kurzfilmtage Oberhausen 

Marcus Schütte. 

jobs und böhm Sonja Jobs and Sylvia Böhm. 

Kulturprojekte Berlin Tommy Nick. 

London Film School Ben Gibson. 

L’ORÉAL PARiS Jérôme Bruhat, Yvonne Rostock 

and Heike Leder. 

Manfred Durniok Foundation Michiko Teramoto. 

MEDIA Training Programme of the European 

Union Aviva Silver, Costas Daskalakis, Arnaud Pasquali, 

Soon-Mi Peten and Aurélie Varin. 

MEDIA International 

Irina Orssich Slavetich and Emmanuel Cocq. 

Medienboard Berlin-Brandenburg Kirsten Niehuus, 

Elmar Giglinger and Daniel Saltzwedel. 

Nipkow Programme Uta Ganschow 

and Petra Weisenburger. 

Rabenhorst Johannes H. Mauss. 

Robert Bosch Stiftung Dr. Ingrid Hamm, 

Dr. Kurt Liedtke, Frank Albers and Karin Angela Schyle. 

Sarajevo Film Festival Mirsad Purivatra, 

Amra Baksić Camo and Jovan Marjanović. 

Serve-U Phillip Sünderhauf. 

SOURCES 2 Dr. Renate Gompper, Marion Gompper. 

Talent Campus Buenos Aires María Marta Antin, 

Manuel Ferrari and Agustina Arbetman. 

Talent Campus Durban Monica Rorvik. 

Talent Campus Guadalajara Lorena Rossette Riestra 

and Ana de la Rosa Zamboni. 

Talent Campus Sarajevo Asja Makarević, 

Ivana Pekušić and Adnan Beširović. 

Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer. 

Theaterkunst Susanne Franke, Nikole Fölster, 

Birgit Raabe. 

The Film and Television University (HFF) 

„Konrad Wolf“ Prof. Dieter Wiedemann, 

Prof. Martin Steyer and Holger Lochau. 

The Post Republic Rebekka Garrido and Michael Reuter. 

TOP-IX Torino e Piemonte Internet Exchange 

Silvano Giorcelli and the entire team. 

U.S. Embassy Berlin Philip D. Murphy, Elisabeth Corwin, 

Wolfgang Brandt and Kerstin Reichert. 

VFF Prof. Johannes Kreile, Prof. Norbert Flechsig 

and Prof. Georg Feil 

Viva con Agua Benjamin Adrion. 

Wave-Line Matthias Behrens. 

Wirtshaus am Ufer Thomas King and the entire team. 

20sec.net Jens Rietdorf and Robert Wagner. 

KBB – Kulturveranstaltungen des Bundes in Berlin 

GmbH Charlotte Sieben, Ute Meyer, Johannes Emig, 

Andrea Schreiber, Susanne Grünberg, Petra Hemprich, 

Stefan Martin and Jana Daubitz. 

Berlin International Film Festival: Our colleagues 

Thomas Hailer, Bernadette Kamp, Juliane Grieb, Antonia 

Pössinger, Denise Anh-Dao Beyschlag, Karin Hoffinger 

and Daniela Weber. Johannes Wachs and Wolfgang 

Janßen. Anne Gebhardt, Kerstin Iskra, Melike Öztürk, 

Dr. Albert Drügemöller and Eva Simhart. The section 

heads Christoph Terhechte, Maike Mia Höhne, Dr. Rainer 

Rother, Maryanne Redpath and Florian Weghorn, Linda 

Söffker, Wieland Speck and their teams. Vincenzo Bugno, 

Stefanie Schulte Strathaus, Wilhelm Faber, Frauke Greiner, 

Dagmar Forelle, Anne Marburger and their teams. 

Hans von Trotha. Markus Hönle, Nina Orda, Gunnar 

Gilgen and Irena Akopjan; Karen Arikian, Anke Leweke, 

Elisabeth Lequeret, Alexis Grivas, Pamela Pickering, 

Nikolaj Nikitin, Norman Wang and Dorothee Wenner for 

strategic expert approach. Last but not least Dieter 

Kosslick! Our juries: Score Competition Klaus-Peter 

Beyer, Martin Steyer, Martin Todsharow, Angelina 

Maccarone. Doc Station Kathrin Brinkmann, Fabienne 

Moris, Sirkka Möller. Script Station Alby James, Franz 

Rodenkirchen, Merle Kröger. Talent Project Market 

Katriel Schory, Roshanak Behesht Nedjad, Ellis Driessen 

and Prof. Georg Feil. Talent Press Klaus Eder, Marina 

Ludemann, Oli Baumgarten, Rubaica Jaliwala, Frauke 

Greiner, Christiane Steiner. Berlin Today Award Jury 

Dorka Gryllus, Peter Rommel, Hannes Stöhr. Berlin Today 

Award preselection Daniel Saltzwedel, Bärbel Mauch, 

Alexandra Gramatke, Gerhard Meixner, Christiane 

Steiner. Special thanks to Peter Cowie and Liz Rosenthal. 

Campus Team 2011 Andrea, Anja, Ana, Anna, Andreas, 

Carme, Christiane, Daniel, Farina, Jana, Janne, Johannes, 

Kathi, Katrin, Kevin, Lira, Marcie, Marcus, Maria, Marjorie, 

Merle Ka., Merle Krö., Michael, Nan, Nicole, Oli, Rubaica, 

Sirkka, Stefan, Susann and Tobi; to all photographers, 

volunteers, angels, service suppliers and technicians. 

Many thanks to our location partners 


Page

Page 

78 

Berlin International 

Film Festival 

Festival Director 

Dieter Kosslick 

Berlinale Talent Campus 

2011 

Programme Manager 

Matthijs Wouter Knol 

Project Manager 

Christine Tröstrum 

Head of Press 

and Communication 

Christiane Steiner 

Programme Coordination 

Andrea Rieder 

Events & Administration 

Nicole Münch 

Press & Communication 

Assistant Katrin Wirth 

Communication & Event 

Assistant Maria Casas 

Imprint 

TeAm 

Editor 

Daniel Bickermann 

Online Editor 

Marcus Forchner 

Talent Administration 

Coordination: 

Marjorie Bendeck , 

Lira Lousinha 

Selection Commitee 

Marcie Jost, 

Kevin Murphy, 

Stefan Pethke, 

Ana de la Rosa Zamboni 

Hands-on trainings 


Marcie Jost, 

Janne von Busse 


Andreas Westphal, 

Kevin Murphy, 

Stefan Pethke 


Sirkka Möller, 

Merle Kröger 

Matthijs Wouter Knol, Marjorie Bendeck, Kevin Murphy, Kathi Bildhauer, Marcus Forchner, Carme Correa, Farina Isrusch, 

Maria Casas, Michael Hoffmeister, Christiane Steiner, Rubaica Jaliwala, Andrea Rieder, Merle Kröger, Andreas Westphal, 

Nicole Münch, Tobi, Lira Lousinha, Anna Lässer, Katrin Wirth, Johannes Sieverding, Jana Daedelow, Anja Joos, 

Merle Kasprzak, Oliver Baumgarten, Christine Tröstrum, Nan Xiao, Stefan Pethke, Verena Zimmermann, Sirkka Möller 

and Marcie Jost. (from left to right) 


Dr. Kathi Bildhauer, 

Sonja Heinen 


Oliver Baumgarten, 

Rubaica Jaliwala 


Anja Joos 

Berlin Today Award 

Christiane Steiner, 

Maria Casas 

Guest Managers 

Jana Daedelow, 

Anna Lässer 

Trainee 

Merle Kasprzak 

Interns 

Programme 

Farina Isrusch 

Press 

Johannes Siever ding 

Talent Administration 

Nan Xiao 

Website, Communication 

Carme Correa 

Press Acquisition 

& Support 

Susann Pataki 

Administration Support 

Michael Hoffmeister 

Event Agency 

Gorol & Partner: 

Stephan Gorol, 

Verena Zimmermann, 

Leonie Würfel 

IT Project Management 

20sec.net –Jens Rietdorf 

IT Technology 

serve-u – 

Phillip Sünderhauf 

Consultant 

Peter Cowie 

Imprint 

Circulation 4.000 

Editorial Office 

Oliver Baumgarten, 

Rubaica Jaliwala, 

Matthijs Wouter Knol, 

Farina Isrusch, 

Daniel Bickermann 

Cartography 

Runze & Casper, 

Berlin 

Photography 


Film Festival, 

David Ausserhofer, 

Peter Himsel and 

co op eration partners, 

distributors, 

film productions 

Print | Design 

Print 

Königsdruck, Berlin 

Cover 

BOROS, Christian Boros, 

Ingo Maak, 

Sven Quadflieg 

Layout 

jobs und böhm, 

Sonja Jobs 

Publisher 


Film Festival 

Berlinale Talent Campus 

Potsdamer Straße 5 

10785 Berlin 

Phone: +49 30 25 92 05 15 

Fax: +49 30 25 92 05 19 

campus@berlinale.de 


An initiative of the Berlin International 

Film Festival, a business division 

of the Kulturveranstaltungen des 

Bundes in Berlin GmbH.

Icelandic Film Centre, Media Development Center Singapore, Québec Government Office and the Embassy of the Kingdom of the Netherlands in Berlin 

Celebrating Our Official Partners 

Main Partner 

Co-Partner 

Supporter 

The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes 

in Berlin GmbH , funded by the Federal Government Commissioner for Culture and the Media upon a decision of the German Bundestag. 

In cooperation with MEDIA – Training programme of the European Union and Medienboard Berlin-Brandenburg. 


www.berlinale-talentcampus.de

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