MAGAZINE - Berlinale Talent Campus - Top-IX

TALENTS 2007Carwyn Jones / Sushma Joshi / Vanja Juranic / Joanna Kaczmarek / PriyanthaKaluarachchi / Guido Kalwill / Christian Kämpfer / Caroline Kamya / RolandKanamüller / Suhani Kanwar / Jürgen Karasek / Karen Katz / Hossein Keshavarz /Maryam Keshavarz / Tamara Kesic / Eva Keuris / Taran Khan / Arzé Khodr / DebbieKleijn / Ulrike Knorr / Olga Koch / Lynn Kodeih / Kai-Fong Kok / Alimata Kone Salouka/ Vitaliy Korchev / Young-Mi Kuen / Vladimir Kukovyakin / Nil Kural / Irem Kutuk /Foo Cheung L K N James / Noël Labridy / Julien Lang / Line Langebek Knudsen /Sándor Lau / Jean-Denis Le Dinahet / Jane Lee / Mischa Leinkauf / Pascal Leister /Ming Kai Leung / Alon Levy / Dana Levy / Xiaobo Liao / Seng Tat Liew / Jon Lim / LungChieh Lim / Chunyang Lin / Nikolas List / Matthew Lloyd / Yen San Michelle Lo /Annette Lober / Petr Lom / Amira Lopez / Alex Lora / Ian Dean Lorenos / SandyLorente / István Madarász / Pedro Maia / Sukanta Majumdar / Tamara Maloney /Ragne Mandri / Zia Mandviwalla / Diego Marin / Itay Marom / Vladimir Mavounia-Kouka / Zacharias Mavroeidis / Briona McArdle / Damien McDonald / ChelseaMcMullan / Maeve McQuillan / Leonardo Mecchi / Juan Mendez / Bernard Michaux /Sabine Michel / Kirill Mikhanovsky / Persefoni Miliou / Samina Mishra / GeorgyMolodtsov / Thomas Molt / Kareem Mortimer / Abdelsalam Moussa / Omelga Mthiyane /Martina Mückova / Kathrin Müllenbach / Farai Darlington Munharira / MatthewMurdoch / Catalin Musat / Axel Mustad-Bevreng / Ioakim Mylonas / Mehdi NadiNajafabadi / Gunel Najafzada / Mayu Nakamura / Mayumi Nakazaki / Aki Nakazawa /Rita Neves de Toledo / Tara Nicodemo / Dragan Nikolic / Leonor Noivo / JustynaNowak / Melchissedec Obiang Zue / Jessica Olibunor Okwuchi / Neus Olle / OgovaOndego / Emmy Oost / Leonardo Ortizgris / Ozan Özdilek / Liina Paakspuu / RuslanPak / Monica Palazzo / Fabia Paller / Klaus Pas / Maja Pelevic / NM Pena / João Pereira /Roddy A. Pérez / Kata Petõ / Titas Petrikis / Annaleena Piel Linna / Sebastian Pille /Patrick Pinheiro / Antti Pirinen / Rusudan Pirveli / Juliet Porter / Claudia Postelnicescu/ V. Prasad / Martin Preiss / Georgina Pretto / Elina Psykou / Colm Quinn / AmisiRadjabu / Aleksi Raij / Christoph Rainer / Àlam Raja / Ilango Ramanathan / FabiolaRamos / Maria Rank / Halina Rasinski / Sebastien Ratcliffe / Payam Razi / JonathanRhodes / Gisela Ritzén / Alexa Rivero / Aliaj Robert / Odilon Rocha / Lukas Roegler /Janek Romero / Gustavo Rondon-Cordova / David Rosfeld / Manfred Rott / VictorRuano / Iulia Rugina / Rana Sabbagha / Mohamed Salah / Rommel Andreo Sales /Sarah Sandring / Gabriela Santos del Olmo / Thanassis Sarantos / Srdjan Sarenac /Gareth Scales / Claudia Schaefer / Raquel Schefer / Adam Schlachter / Laure Schwarz /Luca Scivoletto / Nick Scott / Henrik Selin Lorentzen / Supriyo Sen / Fatou KandéSenghor / Zeina Sfeir / Shimon Shai / Yevgeniya Shekoyan / Rethabile Shongwe /Henrique Da Silva / Giedre Simanauskaite / Martin Skalsky / Marija Skaricic / AlexSmith / Marie Soderpalm / Simonetta Solder / Elena Solodkova / Valeriu Sova /Jordana Spiro / Sarah Stähli / Michal Stajniak / Gjorce Stavreski / Kang Stephen /Sherene Strausberg / Haim Tabakman / Abdelaziz Taleb / Mohamed Oualid LemirTayaa / Ivan Tchankov / Nawapol Thamrongrattanarit / Ulrike Thiele / DushimirimanaThierry / Miguel Tomar-Nogueira / Tanel Toom / Mario de la Torre Espinosa / JosefinaTrotta / Petre Tudor / David Tynan / Peter Vadocz / Grégory Valens / Thom VanderBeken / Ingrid Veninger / Mike Viebrock / Ernesto Villalobos-Brenes / Nicolas Villegas /Ana Vlad / John Wallace / Danhua Wang / Toma Waszarow / Simon Weber / GilWiener / Martín Wozniak / Morinaga Yasuhiro / Zhang Yaxuan / Sze Long Yeung /Samba Yonga / Gavin Youngs / Yan Zhou / Di Zhu / Maheen Zia / Eric Zimmerman /George Zois / Karima Zoubir / Markus ZuckerCOUNTRIES Afghanistan / Albania / Argentina / Armenia / Australia / Austria /Azerbaijan / Bahamas / Belgium / Benin / Bosnia and Herzegovina / Brazil / Bulgaria /Burkina Faso / Canada / Chile / China / Colombia / The Democratic Republic of theCongo / Costa Rica / Croatia / Cuba / Cyprus / Czech Republic / Denmark / DominicanRepublic / Ecuador / Egypt / Estonia / Ethiopia / Finland / France / Gabon / Georgia /Germany / Ghana / Greece / Guatemala / Hungary / Iceland / India / Islamic Republicof Iran / Iraq / Ireland / Israel / Italy / Japan / Jordan / Kenya / Kyrgyzstan / Latvia /Lebanon / Lithuania / Luxembourg / Macedonia / Malaysia / Mauritius / Mexico /Moldova / Morocco / Nepal / Netherlands / New Zealand / Nigeria / Norway /Pakistan / Palestinian Territory / Panama / Peru / Philippines / Poland / Portugal /Romania / Russian Federation / Rwanda / Senegal / Serbia / Singapore / Slovenia /South Africa / South Korea / Spain / Sri Lanka / Sweden / Switzerland / Syria / Taiwan /Thailand / Tunisia / Turkey / Uganda / Ukraine / United Kingdom / United States ofAmerica / Uruguay / Uzbekistan / Venezuela / Zambia / ZimbabweRoyal Norwegian Embassy in Berlin, Norwegian Film Institute, Embassy of Peru in Berlin, Embassy of Portugal in Berlin, Embassy of Singapore in Berlin, National Film andVideo Foundation of South Africa, Embassy of Spain in Berlin , Embassy of Sweden in Berlin, Embassy of Uruguay in Berlin, Québec Government OfficeBERLINALE TALENT CAMPUS #503

CONTENTSCONTENTSEDITORIAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .05A WELCOME FROM OUR PARTNERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .06HAU – HEBBEL AM UFER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .07GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .08VIRTUAL BERLINALE TALENT CAMPUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .09SPECIAL FOCUS: HOME AFFAIRSHOME AFFAIRS – PRIVACY, FILMS AND POLITICS . . . . . . . . . . . . . . . . . . . . . .10HOME AFFAIRS: THE TALENTS’ FILMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Darren Aronofsky’s THE FOUNTAIN, produced by Iain SmithPORTRAITS: JIA ZHANGKE & JAN KACZMAREK. . . . . . . . . . . . . . . . . . . . . . . .15THE WORKING CAMPUSTHE PROJECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16GARAGE STUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18VOLKSWAGEN SCORE COMPETITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19BERLIN TODAY AWARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20PORTRAITS: SUSAN KORDA & RAOUL PECK . . . . . . . . . . . . . . . . . . . . . . . . . . .22BERLIN ANGELS DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24THE MAKING OF: BERLINALE TALENT CAMPUS . . . . . . . . . . . . . . . . . . . . . . . .25FOUNDATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26PORTRAITS: WALTER SALLES & JASMILA ZBANIC . . . . . . . . . . . . . . . . . . . . . .28ALUMNI AT THE BERLINALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30SUSTAINABILITY / EUROMED CONFERENCE . . . . . . . . . . . . . . . . . . . . . . . . . . .31MEET THE EXPERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32CAMPUS PROGRAMMEEXCURSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33SATURDAY 10: ORIENTATION DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39SUNDAY 11: PHILOSOPHY DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41MONDAY 12: PRE-PRODUCTION DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45TUESDAY 13: PRODUCTION DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49WEDNESDAY 14: POST-PRODUCTION DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . .53THURSDAY 15: PROMOTION DAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57INDEX OF EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61INDEX OF EXPERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62NOTE OF THANKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68TEAM / IMPRINT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70WASHINGTON SQUARE, score composed by Jan A.P. KaczmarekGregory Nava’s BORDERTOWNGuy Maddin’s THE SADDEST MUSIC IN THE WORLD04 BERLINALE TALENT CAMPUS #5

EDITORIALWELCOME HOMEFive years of Berlinale Talent Campus – that means nearly2,500 young filmmakers from 120 countries, more than 300international film experts and film artists as well as countlessnumbers of worldwide Talent collaborations. The BerlinaleTalent Campus will tighten this global network with a newsustainability concept that will help keep this boundlessconnection of passion and creativity together. Thanks toits plura listic character and its open-minded structure, theCampus is also able to intensify relationships with regions inthe world where filmmakers often still have trouble raisingtheir artistic voice. But it’s not only the young filmmakerswho benefit from this glowing creative network: The BerlinInternational Film Festival itself is thrilled about the participationof 24 films with major involvement of current orformer Talents in this year’s Official Selection.The fifth year also marks some structural changes – particularlythe new location of the Campus at the Theatre Hebbelam Ufer (HAU). This location is famous for its independent,political and artistically sophisticated theatre what makes itthe right place to be! So we are sure that the focused andconvenient atmosphere of our new venue will give the Campusan appropriate home – important enough after all in theyear when “Home Affairs. Privacy, Films and Politics“ is themain topic of the Berlinale Talent Campus. “Home“ doesn’thave just a private meaning, “home“ often enough becomesa huge political issue, as the relationship between privacyand world politics generally has developed in a globalisedworld.Five years of Berlinale Talent Campus – that also meansmany thanks to everybody whose support made this ambitiousidea possible. First and foremost, we want to expressour gratitude to the group of long-time partners and establishedsponsors such as MEDIA – Training Programme of theEuropean Union, Medienboard Berlin-Brandenburg, as wellas Skillset and the UK Film Council. And of course Volkswagenwhich, amongst other things, funds the VolkswagenScore Competition for the fourth time this year. It’s an initiativefor young composers that is also supported by the Film& Television Academy (HFF) “Konrad Wolf“ and by Dolbywhich invites the winner on a trip to the studios of Los Angeles.In addition, we are happy that we have deepened ourco-operation with Euromed Audiovisual II Programme thatjoined the group of Campus co-partners in 2006: The firstregional conference “Euromed Audiovisual II“ will be heldfrom February 10-11 in Berlin’s Kalkscheune. The prolific cooperationand the courtesy of these partners establish thebackbone of a vivacious and spirited project like the BerlinaleTalent Campus.So, make yourself at home and feel welcome to participatein an exciting Campus week.Dieter KosslickDirector Berlin International Film FestivalThe Berlin International Film Festival traditionally providesa home to films which discuss relevant and controversialtopics such as these. And so the Berlinale Talent Campusalready stands at the very heart of the festival’s spirit. Thisyear, its essence is more than ever integrated into the festivalby seizing and deepening topics from other sections orby the added involvements of festival guests.BERLINALE TALENT CAMPUS #505

PARTNERSA WELCOME FROM OUR PARTNERSJanine Marmot, Director of Film,Skillset, Sector Skills Council for theAudiovisual IndustriesCord Dreyer, Volkswagen GroupSpokesperson, Head of VolkswagenGroup Communication/PressCostas Daskalakis, Head of the EU ME-DIA programme at the Education, Audivisualand Culture Executive AgencyPetra M. Müller, CEO MedienboardBerlin-Brandenburg, ManagementMedia DevelopmentKirsten Niehuus, CEO MedienboardBerlin-Brandenburg, ManagementFilm FundingJANINE MARMOTFor the third year Skillset is proud to be supporting the BerlinaleTalent Campus. Skillset is committed to encouragingand nurturing the next generation of bright new filmmakersand we believe that the Campus gives filmmakers an amazingexperience. We are organising the highly successful speedmatching sessions, taking place every day, starting on OrientationDay, giving all Talents the chance to meet informallyand start networking – it is an invaluable opportunity to findpotential co-production partners. We are also hosting severalworkshops during the week. Skillset is delighted to be workingwith the Berlinale again and hope you have a great week.For more information on Skillset, visit www.skillset.org.CORD DREYERAs a main sponsor of the 57th Berlin International Film Festival,Volkswagen is now sponsoring the Berlinale Talent Campusfor the fifth year. The successfully established VolkswagenScore Competition is a perfect bridge for us betweenboth cultural fields that the company is associated with: filmand music. Volkswagen has been active in the music industrysince 1997 with the sponsorship platform Volkswagen SoundFoundation. Talents from both genres will have the opportunityfor a creative exchange at the Campus: Sound Foundationbands will provide the perfect atmosphere at the OpeningNight and at the Farewell Party. We are very happy to bea partner of the Berlinale Talent Campus again and wish allparticipants an exciting and informative time in Berlin.COSTAS DASKALAKISThe Berlinale Talent Campus not only builds the foundationsfor future closer international co-operation and business relationsbut also contributes to stimulating the exchange ofideas and views. The objective of the MEDIA Programme ofthe European Union is to encourage and support the circulationand diversity of European works and professionals inEurope and in the world. The MEDIA programme devotes asignificant share of its budget to support dozens of traininginitiatives in Europe. The MEDIA programme has been happyto support the Berlinale Talent Campus as a major partnersince its creation in 2003. We would like to wish every successto the 350 Talents gathered by the Berlinale Talent Campusthis year.PETRA M. MÜLLER & KIRSTEN NIEHUUSThe Medienboard Berlin-Brandenburg is very happy to welcomeyou to the Berlinale Talent Campus. We wish all of youan exciting week in Berlin – certainly one of the hottest hotspots of creativity in Europe. We hope that this unique blendof young international talents and experienced lecturers,every single one of them a star in their profession, in a citythat does not sleep, will become a memorable step in yourcareer as a filmmaker. The red carpet is rolled out for you– Berlin is your claim to fame. Why not try to win the BerlinToday Award next year? We hope to welcome you again inBerlin soon with your next film!Have a great experience, make friends and come back !06 BERLINALE TALENT CAMPUS #5

GLOSSARYTHE TALENT’S GLOSSARYTHE MOST IMPORTANT CATCHWORDS AT THE BERLINALE TALENT CAMPUS – FAST FORWARD INFORMATION FOR FIRST TIME VISITORS.THE FIVE P’S OF FILMMAKINGPhilosophy, Pre-Production, Production, Post-Productionand Promotion: These essential steps of filmmaking formthe backbone of the Campus programme.CURRICULUMThe Berlinale Talent Campus offers more than 60 lectures,discussions, excursions, screenings and workshops forTalents, Berlinale guests and the public.WORKING CAMPUS (SEE ALSO P. 16)The Working Campus brings Talents together to work activelywith one another in small teams and produce tangibleresults during the Campus. There are special applicationprocedures to apply to the following five projects of the BerlinaleTalent Campus:GARAGE STUDIOOn four Campus days, international Talent-teams producefour “Garage Flicks“, digital short films, to be instantaneouslyand exclusively presented on the internet.SCRIPT & DOC CLINICS23 selected Talents will receive advice and guidance fromexperienced script consultants, producers and experienceddirectors about the development of their feature film scriptsand treatments or documentary film ideas.THE TALENT PRESSEight young film critics are invited to report on the BerlinaleTalent Campus and the films of the Berlinale. Their articleswill be published daily on the following websites:www.talentpress.org, www.fipresci.org, www.goethe.de.BERLIN TODAY AWARDThe Talents are invited to propose short film concepts relatingto Berlin. The three best ideas are awarded a productionbudget of 50,000 Euro from Medienboard Berlin-Brandenburgand the film industry of Berlin-Brandenburg (see alsop. 20).APPLICATION TO THE BERLINALE TALENT CAMPUSThe application will be made available at www.berlinaletalentcampus.dein the summer of 2007. Filmmakers areencouraged to apply with a short sample of work. Applicationsamples from this year‘s Talents can be viewed at theterminals in the three HAUs. Work samples of all Talents arecontinuously streamed on the Campus website.WHAT FIELDS OF WORK ARE THE TALENTS OF 2007 ACTIVE IN?Most of the 350 Talents are working in more than one field.263 are directors, 150 write scripts, 64 are producers, 53 arecinematographers, 54 are editors, 15 are production designersor art directors, 24 are sound designers or composers, 23are actors, and eight are critics or film journalists.TALENT PROJECT MARKETThe Talent Project Market gives 11 Talents the opportunityto work together with professionals attending the Co-ProductionMarket, and to receive personal feedback from wellknownproducers about their current projects.VOLKSWAGEN SCORE COMPETITIONThree Talents create a new sound design for three short filmclips. During the Campus they are recorded in a Berlin soundstudio with the Babelsberg Film Orchestra. The winner willbe presented at the Farewell Celebration. This year‘s mentoris Jan A.P. Kaczmarek.“FILM IS AN ILLUSION, THE MAGIC OF THE WIZARDS OFTHE 21ST CENTURY.“Jürgen Karasek, Talent from Austria08 BERLINALE TALENT CAMPUS #5

VIRTUAL BTCVIRTUAL CAMPUS REALITIESTHE VIRTUAL SERVICES AVAILABLE DURING THE BERLINALE TALENT CAMPUS IN AND THROUGHOUT THE YEAR ON THE INTERNET ALLOW ACCESSTO FILMS AND FACTS ABOUT CURRENT AND FORMER TALENTS.The “Virtual Berlinale Talent Campus“ is divided into twoparts: the Talent database, which is set up during the Campus,and the Campus website, which acts as an archive anda reference point for Talents or other interested visitorsthroughout the year.THE TALENT DATABASEBetween February 10 and February 15, Talents can turn onand tune in to the work of other Talents. In the foyers ofall three Hebbel am Ufer (HAU) theatres, you’ll find terminalsequipped with flat screen monitors and headphones,each linked to the Campus database, making this year’s Talentsamples of work available for your perusal. Moreover,the system allows Campus visitors to get in touch with theTalents. If you’re looking for innovative creative ideas orsamples from the young cinematic world, you’ve come tothe right place.These terminals will also enable you to access two WorkingCampus projects online. On www.berlinale-talentcampus.de you will be able to watch the Garage Flicks. From February11 to February 14, Talents will produce four short filmsand upload them onto the Campus website (see p.18 forfurther details on the Garage Studio). In addition, you canread articles by The Talent Press updated daily at www.talentpress.org.Eight young film journalists from around theworld will cover Campus activities and Berlinale films fromFebruary 10 to February 15 (see p.16 for further details).THE CAMPUS WEBSITEA visit to www.berlinale-talentcampus.de, maintained byeditor Marcus Forchner and programmer Jens Rietdorf, is aworthwhile endeavour for anyone, from curious filmmakerswho have never set foot on the Campus to seasoned Campusveterans hoping to catch up on missed events. On thewebsite, the Berlinale Talent Campus really gets virtual as itpresents a treasury of tele-lectures – video samples of formerCampus lectures from a growing list of world cinema’s biggestnames, including Ridley Scott, Dante Ferretti, RolandEmmerich, Anthony Minghella, Walter Salles, Anna Asp andFrances McDormand. Furthermore, this online Campus offersyou a wide range of discussion transcripts and detailednotes on numerous lectures from the four Campus years.But of course, the crucial element of the website is the completeTalent database with information on and film samplesfrom nearly 2,500 participating young filmmakers, accessableyear-round.All these offerings and interactive possibilities will be enhancedin the course of the year (see p.31 for further detailsabout the sustainability) – so keep a tab on the Campuswebsite!BERLINALE TALENT CAMPUS #509

HOME AFFAIRSSTORIES FROM HOME“HOME AFFAIRS – PRIVACY, FILMS AND POLITICS“ – THE CENTRAL THEME OF THIS YEAR’S BERLINALE TALENT CAMPUS WILL BE DISCUSSED INSEVERAL PANELS AND WORKSHOPS THAT EXPLORE THE RELATIONSHIP BETWEEN THE LOCAL AND THE GLOBAL, THE PRIVATE AND THE PUBLICASPECTS OF MAKING FILMS.In recent years, the power of cinema as a platform for politicaldebate has been rediscovered. In effect, politics havereentered cinemas on the red carpet. But what makes today’sfilms political and what makes individuals love or hate a film?The answer lies in the power of identification – a deeply privaterelation and an empathy that grows for a character, twolovers, a family or a set of equal-minded people – and it istheir side you take, right or wrong.Part of the “Home Affairs” Film Programme: NEONORANGENE KUH by Mischa Leinkauf/Matthias WermkeThe Berlinale Talent Campus #5 takes a good long look at“Home Affairs – Privacy, Films and Politics“, its focus for 2007.How does the “personal” home fit into the framework of anincreasingly globalised political world? “Home“ can meannumerous things: a bed for the night or where you wereborn, a place of comfort and safety or a place of fear andrepression. Home Affairs can be a private emotion, an explicitlypolitical agenda or a starting point for reflection onwhere you come from or where you are headed.The sense of being “at home”, whether by choice or by circumstance,has an enormous influence on the path a filmmaker’sproject may take. It is one’s “home base” that shapesevery aspect of film production, starting with the initial ideafor a new film and leading to the various decisions madeabout the genre, format, work methods, financial models,languages and routes of distribution.“The necessity for filmmakers to find their own path throughthe globalised film industry is perhaps the most importantthing that we can try to get across at the Campus“, says CampusDirector, Dorothee Wenner, to best describe the significanceof the focal theme.The globalisation of cinema also offers new resources whilesimultaneously rendering the necessary reaffirmation ofone’s own cinematic culture. On the one hand, there is astrong tendency worldwide to streamline cinema productioneyeing the variety of existing film markets. On theother hand, depending on where they are created, filmsare produced under very different conditions. Cinema is nolonger a western concept. It has a different home in differentcountries. So then whose Home Affairs are being portrayedin each individual film? People in Egypt, China, Nigeria orIndia often prefer watching movies produced in their owncountries, movies that tell stories from their own shores,show places familiar to them with stars hailing from similarcultural backgrounds. The same holds true for people inthe diaspora who are likely to desire films from the countriesof their origin. As such, Home Affairs, whether for the filmmakeror the audience, is the search for cultural identity inan increasingly globalised film industry.One of the strategies filmmakers use to empower themselvesis to create self-organised networks – film co-operatives– to discuss the problems of working as autonomousfilmmakers. Such independent initiatives are represented inthe Campus through the panel “Making Films With Friends”.Panelists will share their insight on what a co-operation isand how it can help when no infrastructure exists. The filmco-op concept has also taken on the form of a long-termsustainability project which is being initiated in three countriesthrough a collaborative effort of the Berlinale TalentCampus and the House of World Cultures.10BERLINALE TALENT CAMPUS #5

HOME AFFAIRSThe discussion “Filming in the Eye of the Storm” will discussthe situation of filmmakers in politically unstable times andregions, for example, in places like the Congo where foreignTV news crews dominate the documentation of events. Itwill attempt to understand how filmmakers in these countriessurvive, artistically and economically, and how theynarrate their stories.Engaging young talents with pertinent questions, intricaciesand challenges, the Campus seeks to embolden them innarrating their stories by developing individual strategies.The various workshops offer subjects for reflection andanalysis. They cover, for example, the challenges involvedin producing local content for international markets or theydiscuss the enormous appeal “fantasy” and “time-travel”have for today’s audiences – just like in the very early daysof cinema. “Film’s Future Lab” will open the floor to discussthe clash of “traditional” and “new” media and the potentialfor a creative co-existence. It attempts to address expectationsof a new generation of media-savvy audiences andfilmmakers. How will the confluence of the big screen withthe internet come about and in turn, how will this influencestorytelling and the production of images?“Home Affairs – Privacy, Films and Politics” attempts thusto react to and make optimal use of globalisation with regionalor even personal efforts. Heartening success storieslike that of last year’s Golden Bear winner GRBAVICA by JasmilaŽbanić is a good example. She persevered in the lightof enormous obstacles to celebrate success and worldwideacclaim. There are numerous similar examples: films thatachieved worldwide attention through outsider strategy.Yet, there is no formula for success, no recipe for fame. Thereare only inspiring stories and encouraging persons who recountthem.Part of the “Home Affairs” Film Programme: ORQUESTA TIPICA by Nicolas Enteland opportunities that shape their future careers in theglobal film village.The Berlinale Talent Campus has set up home in the TheatreHebbel am Ufer and invites you to actively engage in thediscussions and debates with film aficionados and expertsfrom around the world and to embark on a journey of discoveriesand interpretations of the home and its affairs.SUNDAY 11, 17:00 HAU 1VIRTUAL CINEMAMONDAY 12, 14:00 HAU 1FILM CO-OPS – MAKING FILMS WITH FRIENDSMONDAY 12, 17:00 HAU 1WHOSE SIDE IS IT ANYWAYTUESDAY 13, 19:00 HAU 2FILMING IN THE EYE OF THE STORMThis year, 3,678 budding film professionals from 129 countriesapplied to the Berlinale Talent Campus and over 350Talents were selected to meet renowned film professionalsand industry experts to discuss the strategies, challenges,BERLINALE TALENT CAMPUS #511

HOME AFFAIRSTHE “HOME AFFAIRS“ FILMSTHE TERM “HOME AFFAIRS“ WAS SELECTED AS THE MAIN THEME OF THE SHORT FILM COMPETITION, AND RECEIVED OVER 300 ENTRIES. THEFILMS BROUGHT IN A MULTITUDE OF INTERPRETATIONS AND ANALYSIS OF HOME RELATED AFFAIRS.From left to right: DRAWING WISHES by Aki Nakazawa, THE HOUSE ON GULMOHAR AVENUE by Samina Mishra, SUPER 8 SERIES #1 by Pedro Maia, and FAMILY PORTRAIT by Rob BrownThe selection shows the very different aspects of Home Affairsfrom privacy to politics and from family matters to politicalintervention in the streets. The films cover the entirerange of filmmaking genres, from video art, to experimental,documentary film and essay to fiction films as well.The 14 films of the programme:DRAWING WISHES2006, Japan, 4 min., video art. Directed by Aki NakazawaIt is the sky I have never seen before that makes me realise that my past is behindme. Trails draw borderlines, leaving the story behind so that I can discover thenew and dream afresh.DRAWING WISHES is also being screened at the BerlinaleForum Expanded Programme this year.THE HOUSE ON GULMOHAR AVENUE2005, India, 6 min., essay. Directed by Samina MishraTHE HOUSE ON GULMOHAR AVENUE is set in a part of New Delhi where fourgenerations of the filmmaker’s family have lived. It traces the personal journeyof the filmmaker through ideas of identity and belonging to arrive at a complexunderstanding of what it can mean to be a Muslim in India today.SUPER 8 SERIES #12006, Portugal, 3 min., experimental film.Directed by Pedro MaiaA music video made for the Portuguese project, “The Legendary Tiger Man“. Thework is based on super-8 private family films – found footage from the 80s.FAMILY PORTRAIT2006, UK, 4 min., experimental film. Directed by Rob BrownA terrified mother calls emergency services when her estranged husband turnsup in the driveway with a gun.SUKIYAKI – A CONVERSATION PIECE2005, Japan, 5 min., video art. Directed by Mayumi NakazakiIt is a conversational piece – a family portrait in video. Participants are linkedby an activity: they are having a sukiyaki party. The work is about ‘otherness‘ inrelation to the question of one’s identity.GINGER BINGER2006, UK, 4 min., documentary. Directed by Simone BennettA short video made by the director together with her British grandmother whotalks about the Royals.NEONORANGENE KUH2005, Germany, 5 min., performance piece.Directed by Mischa Leinkauf and Matthias WermkeFrom left to right: SUKIYAKI by Mayumi Nakazaki, GINGER BINGER by Simone Bennett, NEONORANGENE KUH by Mischa Leinkauf/Matthias Wermke, and BANGKOK TANKS by Nawapol Thamrongrattanrit12BERLINALE TALENT CAMPUS #5

HOME AFFAIRSFrom left to right: REAL MODELS by Janek Romero, and FACES by Anna Gabriela VladAn expedition through Berlin at night, a Berlin one doesn‘t usually perceive. Thisapproach to dealing with public space opens up the view to discovering somethingnew within the known: Berlin from a different perspective.BANGKOK TANKS2006, Thailand, 5 min., video art.Directed by Nawapol ThamrongrattanritA conversation on the MSN chatting programme during the coup that took placein Thailand on 19th September 2006.REAL MODELS2006, Germany, 4.36 min., experimental film.Directed by Janek RomeroThe film is exclusively composed of video diaries uploaded on the internet by anumber of anonymous persons. It consists of self-portraits, solitary monologuesand desperate attempts to communicate in an intangible reality.FACES2006, Romania, 5 min., essay. Directed by Anna Gabriela VladIt is a short documentary on what people think about home in the Danube Delta– their problems, their wishes, and their portraits.SPRING & STALIN2006, Belgium, 8 min., experimental film.Directed by Aliaj RobertA short film on the 27,000 stills photographed at the archives and a poem byIsmail Kadare. It is a reflection on the mentality and nature of the transition inAlbania.SPRING & STALIN is also being screened at the BerlinaleForum Expanded Programme this year.SUPA STAR2006, Uganda, 5 min., fiction.Directed by Caroline KamyaSUPA STAR is a spiritual thriller in which a young upcoming Ugandan musicianstruggles to redefine his cultural identity against the wave of neo-colonialism incontemporary Africa.HABITÁCULOS2006, Mexico, 5 min., fiction.Directed by Gabriela Santos del OlmoOver time, the search for a home can transform itself into the search for the self.The character without a home walks unconsciously in search of one. She finds it ina cheap hotel room, in the company of a stranger, in a car on the road, in a churchor in an open field where she can breathe.ORQUESTA TIPICA2005, Argentina, 5 min., documentary.Directed by Nicolas EntelThis is an extract from the documentary, ORQUESTA TIPICA. A crowd discussesand argues with a policeman who tries forbidding a group of musicians fromplaying in the street. For the filmmaker, this under 5-minute fragment captures“home“.SUNDAY 11, 19:00 HAU 2HOME AFFAIRS – FILM PROGRAMMEFrom left to right: SPRING & STALIN by Aliaj Robert, SUPA STAR by Caroline Kamya, HABITÁCULOS by Gabriela Santos del Olmo, and ORQUESTA TIPICA by Nicolas EntelBERLINALE TALENT CAMPUS #513

PORTRAITEMERGING FROM UNDERGROUNDA MOVING FORCE BEHIND MAINLAND CHINESE FILM‘S NEW GENERATION, HE ACHIEVED CRITICAL ACCLAIM FOR HIS REALIST PORTRAYAL OF A RAPIDLYCHANGING COUNTRY. JIA ZHANGKE JOINS US AT THE CAMPUS TO LEND HIS SUPPORT AND EXPERTISE TO THE GARAGE STUDIO.Photo: Berlinale Forumworld sit up and take notice of the young director, born in1970 in Fenyang County, Shanxi Province – the setting ofhis first two feature films. Though it is Jia’s second feature,PLATFORM is the first chapter (and XIAO Wu, the second)in a historical epic about the economic changes sweepingChina from the ‘80s onwards, with the implementation ofDeng Xiaoping’s Open Door policy. The two films form adiptych on China’s modern development as experiencedby individuals who exist on the margins of this growth. Jia’scinema belongs to a humanistic tradition, and he associateshis humanity with a feeling for home. Home is Fenyang,which acts as a microcosm of China itself. To Jia, Fenyangshows the “original face” of China.XIAO WU/PICKPOCKET, Jia Zhangke’s Berlinale Forum contribution in 1998Jia Zhangke has been making films for ten years, and for hislast feature STILL LIFE he was awarded the Golden Lion at theVenice International Film Festival in 2006, thereby acknowledgingwhat the world of cinema already knew: Jia is one ofthe leading filmmakers of our time. His works advance theart of cinema in ways that are dazzlingly innovative, whilealso being precisely attuned to the radical new demands of21st century society.In his article on the return of the amateur film era, he writesthat a fundamentally critical attitude, self-reflection andnon-dogmatic creativity are the forces that are most neededfor a cultural reorientation. His films embody preciselythese elements being gritty and contemporary realist whiletackling China’s dramatic social upheavals. Filmed withoutgovernment approval, his first two feature films, his debutfilm XIAO WU/PICKPOCKET (1997) and later PLATFORM(2000) remained mostly undistributed within China, save forthe illegal circulation of pirated video copies. THE WORLDwas the first movie made with official approval and wasnominated for the Golden Lion award at the 2004 VeniceInternational Film Festival.It was XIAO WU (premiered at the Berlinale Forum in 1998to great acclaim) that first made film audiences around theIn an interview he said, “China is in the midst of a greatchange, with so many things disappearing before our eyes. Ithink there‘s a responsibility to film, so that in the future we‘llbe able to see how it really was.“ And his films stay true to hisword, treating the themes of alienated youth, contemporaryChinese history and globalisation in his signature usage ofthe long-take, colourful digital video and his minimalist-realiststyle. His skills, his insights, the degree of excellence inhis work – all make him an ideal patron of this year’s BerlinaleTalent Campus and mentor for the Garage Studio.Talents and guests will have the chance to hear Jia Zhangkespeak on one panel during the Campus:MONDAY 12, 11:00 HAU 1BY POPULAR DEMAND – LOCAL CONTENT FOR INTERNATIONALMARKETSDirector Jia Zhangke14BERLINALE TALENT CAMPUS #5

PORTRAITSCORING, IN THE STREAM OF MUSICJAN A.P. KACZMAREK’S INDEPENDENT SPIRIT, IMAGINATION AND CREATIVE SPONTANEITY, HIS ABILITY TO GRASP THE ESSENCE OF THE PICTUREHAVE GIVEN HIM A TREMENDOUS INTERNATIONAL REPUTATION THAT CONTINUES TO GROW. HE JOINS THIS YEAR’S CAMPUS AS A MENTOR FORTHE VOLKSWAGEN SCORE COMPETITION.In February 2005, as Jan A.P. Kaczmarek accepted the Oscarfor his musical score for FINDING NEVERLAND, a successstory came to full pass. The composer, who began his filmmusic career in the 80s in his native Poland, has been livingsince 1989 in Los Angeles.As a young man in Poznan, Poland, Kaczmarek did not dreamof being a leading figure in the theatrical and cinematiccommunity. Instead, he dedicated himself to law studies beforeturning to avant-garde theatre music and ultimately tothe world of film. Not long after immigrating to America, hewon Obie and Drama Desk awards for his music for the productionof the 17th century shocker “’Tis Pity She’s a Whore“.Newsday wrote that Kaczmarek’s score “undulates with hypnoticforce that gets under your skin”.His first opportunity to work on a big budget film was in1995, TOTAL ECLIPSE by Agnieszka Holland, after whichhe gained recognition for his scores in such films as BLISS,WASHINGTON SQUARE, AIMEE & JAGUAR, THE THIRD MIRA-CLE, LOST SOULS, and UNFAITHFUL. Adrian Lyne who directedUNFAITHFUL thinks Kaczmarek is notable among composerswho consciously opt not to write prefab “bombastic”film scores but strive to express a script’s intentions. “Alwaysremember that a composer participates in a very specificact of communication, and if needed, has to restrain his orher freedom of expression in order to serve the needs of thepicture,” is Kaczmarek’s advice to young composers.Kaczmarek, whose work often combines improvisationalsoloists with such influences as Mozart’s “Requiem“, is anemblem of that trend of composers whose subtle scoresfunction as narrative elements in theatre as well as in independentworks. His music embodies the blending of anopen-minded responsiveness with an artist-activist spirit,including faintly tugging melodies as in the 2002 romance“Unfaithful” and the 2005 “Cantata for Freedom”. The lattercelebrated creation of Poland’s Solidarity movement in 1980using text from Pope John Paul II, union slogans and PolishRomantic poetry. A year later, he was commissioned to writeFINDING NEVERLAND: Oscar-awarded score by Jan Kaczmarekanother piece “Oratorio 1956” to commemorate the 50th anniversaryof the bloody uprising against the socialist regimein Poznan, Poland.The year 2005 saw him nabbing not only an Oscar but alsowriting powerful, politically charged concert music andplanning the Institute Rozbitek, a centre for the developmentof new work in film, theatre, music and new media inPoland: “I want Rozbitek to bring something meaningful tothe family of creative communities. Music will have a veryspecial place there. A new generation of quality composersis waiting.“As for his involvement in the Volkswagen Score Competition,“I look forward to meeting young, talented, creative minds,expecting inspiring exchange of ideas.” Jan A.P. Kaczmarekcan be heard on one panel during the Campus week and willalso make himself available in the “Meet the Experts“ segment(see p.32).THURSDAY 15, 11:00 HAU 1STEERING EMOTIONSComposer Jan A.P. KaczmarekBERLINALE TALENT CAMPUS #515

WORKING CAMPUSWORKING CAMPUSTALENTS ARE BUZZING AROUND INVOLVED IN A VARIETY OF EXCITING PROJECTS – RIGHT THROUGH THE CAMPUS WEEK. FROM SCRIPT WRITINGTO MAKING “GARAGE FLICKS”, COMPOSING SCORES AND REVIEWING FILMS – THEIR CREATIVE JUICES ARE FLOWING AROUND THE CLOCK.Working on scripts face to face in the Script & Doc ClinicsTHE TALENT PRESSEight young journalists, in Berlin to acquaint themselveswith current trends in world cinema, will present their impressionsand insights into the films and events of the Campusand the Berlin International Film Festival by writing dailyreports, reviews, features and interviews. These articles canbe read on the Talent Press website at www.talentpress.orgas well as www.fipresci.org and www.goethe.de.In its fourth edition, Talent Press is once again made possiblethrough the valued support of the Goethe-Institut, GoetheForum and FIPRESCI. Four prominent film writers, Derek Malcolm(The Guardian), Jérémie Couston (Télérama), SabineVogel (Berliner Zeitung) and Peter Cowie (writer and formerinternational publishing editor for Variety) will assist theyoung press talents, en couraging them to generate original,high quality film journalism.Chosen from close to 170 applications, this year’s TalentPress participants are: Donal Foreman (Ireland), MalwinaGrochowska (Poland), Taran Khan (India), Nil Kural (Turkey),Lung Chieh Lim (Singapore), Leonardo Mecchi (Brazil), AliceDanhua Wang (China) and Sarah Stähli (Switzerland).THE SCRIPT & DOC CLINICThe Script & Doc Clinic is firmly anchored to the BerlinaleTalent Campus as an integral part of the Working Campus,providing selected young filmmakers the opportunity toobtain concrete results and feedback on their current filmprojects. Supported by the German Federal Film Fund FFA,12 documentary filmmakers and 11 scriptwriters will formthe 2007 group of participants. Their scripts and proposalsin German or English language have been selected fromover 280 applications. Situated at HAU 3, these Talents arebeing offered a non-public, concentrated workshop situationwith 11 mentors from different countries, but also intensiveone-to-one meetings with the experts: Two coachingsessions are scheduled with time in-between to developquestions and ideas. The Script & Doc Clinic also includesspecial meetings and lectures, creating a unique space forinteraction between Talents from around the world to talkabout local story telling, and methods of writing and scriptdevelopment.Selected projects will make a public appearance during theCampus:“Sparkling Tales“ is a presentation of three scenes from fictionscripts, to be directed and acted by the Talents themselvesand moderated by Rajendra Roy, Programme Director,Hamptons International Film Festival.“Burning Stories“ consists of two parts – a panel on the basicdevelopment of global documentary filmmaking and thepresentation of three documentary projects from the DocClinic.This year’s mentors for the Script Clinic include the wellknownexperts Franz Rodenkirchen (Script House, Germany),Alby James (Leeds University, UK), Gaby Prekop (Sources2,Hungary), Gyula Gazdag (UCLA, USA), Julian Friedmann(Blake & Friedmann Agency, UK), and Marten Rabarts (BingerFilmlab, Netherlands).16BERLINALE TALENT CAMPUS #5

GARAGE STUDIOSHORT, FAST AND DIGITALEXPLORING VIRGIN TERRITORY, THE GARAGE STUDIO OF THE WORKING CAMPUS HAS BEEN DESIGNED FOR FAST PRODUCTION OF GARAGE FLICKS –DIGITAL SHORT FILMS THAT WILL BE INSTANTANEOUSLY AND EXCLUSIVELY PRESENTED IN THE ONLINE GARAGE STUDIO.The film’s future lab: the “Garage Studio” in HAU 3The Garage Studio is the latest and youngest concept tocome from the Working Campus, taking it into unchartedcinematic territory. Fast and furious digital production at itscore, it involves the making of selected projects by an internationalteam of Talents in the Garage Studio, housed atHAU 3. Close to 350 young filmmakers from 62 countries appliedto participate in the Garage Studio. In early January, aninternational jury chose four striking ideas to be developed.The Garage Studio introduces an exciting new feature – TheOnline Garage Studio. The internet is increasingly open tonew film media and presents unprecedented challenges tothe film industry. Tackling this challenge head on, the OnlineGarage Studio enables directors to choose their teammembers from the pool of Talent actors, cinematographers,editors, set designers and sound designers who applied towork in the Garage, allowing them to communicate and developthe projects together in this new online pre-productionplatform.The core film teams arrived in Berlin four days prior to thestart of the Campus to acquaint themselves with the cast,crew and the facilities of the Garage Studio. From February 11– 14, on each Campus day, one of these international teamswill produce a “Garage Flick” – a five minute digital film – tobe instantly and exclusively presented on the internet withthe support of the Campus’ partners. JVC is supporting theCampus with cameras and the Film & Television Academy(HFF) “Konrad Wolf“ with team members and technics.Talents will find everything they need to shoot, edit and distributetheir Garage Flicks; all in one place, all in one day.They will shoot in the first half of the day, use the afternoonfor editing and finally, every night, there will be a new filmto watch, which will be uploaded daily on the Campus website:www.berlinale-talentcampus.de. Here you can see thewhole process, from start to finish. The Garage teams will beguided through the entire filmmaking process by renownedfilmmakers Hong Sang-soo (Korea), Zia Jhangke (China),Grahame Weinbren (USA) and Jay Anania (USA).Unconventional and full of creative energy, drawing upon allthe possibilities that this method of film production offers,the Garage Studio combines practical teamwork on concretefilm projects with a critical exploration of new formats, narrativestructures, distribution and production possibilities.The Garage Flicks will be shot, edited and uploaded:On February 11: RESIGNEDDirected by Tamara Maloney (USA)A story of seasons, difficult places,old parks and new cities,told in faded reflectionsof four lives half lived.On February 12: ONE DAY OF THESE DAYSDirected by Sadaf Amahdi (Iran)A man is seated in the kitchen eating breakfast. The door opens, the man goes upthe stairs and there he is standing on the roof, looking at the skyscraper toweringbefore him.On February 13: CLICK, CLACK, CLACK, CLACKDirected by Amira Lopez (Mexico)A Japanese exchange student living in Harlem receives an unexpected guest…On February 14: THE DISCREET CHARMS OF THE REFUGEEDirected by Colm Quinn (Ireland)Patrick, a Chadian in his twenties living in Dublin, auditions for the role of Francis,a refugee forced to flee his homeland.THURSDAY 15, 14:00 HAU 1PRESENTATION OF THE GARAGE FLICKS18BERLINALE TALENT CAMPUS #5

VOLKSWAGEN SCORE COMPETITIONTOP SCORESTO PROMOTE INTERNATIONAL YOUNG COMPOSERS, THE BERLINALE TALENT CAMPUS AND VOLKSWAGEN INSTALLED THE VOLKSWAGEN SCORECOMPETITION AS PART OF THE WORKING CAMPUS: THREE PRIVILEGED TALENT COMPOSERS WILL WORK THROUGHOUT THE CAMPUS WEEK TOFINISH THEIR SCORES BEFORE THURSDAY WHEN THE JURY WILL DECIDE ON THE WINNER.To participate in the Volkswagen Score Competition, Talentcomposers had to download three different short filmsfrom the Campus website: an extract of an animation filmby Jan Koester (OUR MAN IN NIRWANA), the Volkswagendocumentary ONE DAY IN WOLFSBURG by Julian Benedikt,and finally a 3-minute-sequence from FINDING NEVERLAND,Marc Foster’s film that earned Jan A.P. Kaczmarek an AcademyAward in 2004 for the Best Score.The applicants were asked to compose new scores for allthree films and send in draft versions. Prior to the Campus,the jury, consisting of this year’s mentor Jan A.P. Kaczmarek,renowned German mixing engineer Martin Steyer and composerMartin Todsharow (MINOTAUR, ELEMENTARY PARTI-CLES), chose three finalists.The finalists Titas Petrikis from Lithuania, Ilja Coric from Germanyand Costas Fotopoulos from England will work outtheir draft scores during the Campus. For that, musicians ofthe German Film Orchestra Babelsberg are at their disposal,Germany’s one and only score-specialised full orchester, aswell as the huge Harrison console at the Film & TelevisionAcademy (HFF) “Konrad Wolf“ in Potsdam, one of threeworldwide existing exemplars. The final post-productionwill be advised by the Berlin-based production companyWave-Line.On Wednesday 14, the jury will meet again for a presentationof the three final versions and will decide on the winnerof this year’s Volkswagen Score Competition. The chosenone will be invited by Dolby on a trip to Los Angeles wherehe will visit the best sound studios in town.The Harrison console in the HFF “Konrad Wolf“The results and experiences by the three finalists will be presentedand discussed with their mentor Jan A.P. Kaczmarekand with filmmaker Guy Maddin, whose latest film, BRANDUPON THE BRAIN!, will be presented as a Berlinale Special ina live-spectacle at the Deutsche Oper Berlin on February 15,also made possible with the support of Volkswagen.“JUST KNOWING THAT THERE WAS AN EIGHTY PIECE ORCHESTRAWAITING IN BERLIN TO PLAY MY SCORES FELT LIKE A GRAND PRIZEIN ITSELF.“Alasdair Reid, 2006 winner of the Volkswagen Score CompetitionWEDNESDAY 14, 11:00 EXTERNAL VENUESEXCURSION TO THE VOLKSWAGEN SCORE COMPETITION(FOR COMPOSERS AND SOUND DESIGNERS ONLY)THURSDAY 15, 11:00 HAU 1STEERING EMOTIONSBERLINALE TALENT CAMPUS #519

BERLIN TODAY AWARDWIN THE BTA 2008!THE YEAR-ROUND PROJECT BERLIN TODAY AWARD IS AN ANNUAL OCCASION FOR TALENTS TO PRODUCE THREE SHORT FILMS ASSOCIATED WITHBERLIN. THE PRIZE IS COLLECTIVELY FOUNDED BY THE MEDIENBOARD BERLIN-BRANDENBURG AND THE REGIONAL FILM INDUSTRY, ORGANISEDBY BOXFISH EVENTS AND FEATURED BY DEUTSCHE WELLE, DW-TV.An ice butterfly: The Berlin Today Award’s trophy, created by Danish artist Jeppe Hein.Berlin Today – Create Your Vision. The name is the game! Weare looking for cinematic visions of contemporary Berlin.Be it a documentary or short feature, a thriller or romanticcomedy – you are at complete liberty to determine yourpersonal interpretation of Berlin Today. Berlin is an opencosmos of potential when it comes to stories and ideas:use the city as inspiration and as a physical or metaphoricalbackdrop for your vision. Create your own Berlin!The three most promising film ideas will be realized in digitalformat and will be funded with 50,000 EUR from the filmsubsidy board Medienboard Berlin-Brandenburg. The filmindustry of Berlin-Brandenburg will contribute additionalnon-cash benefits of up to 20,000 EUR in value. The filmswill be shot in co-operation with a Berlin-based productioncompany that will provide know-how and administer thebudget.The competition is open to all current and former participantsof the Berlinale Talent Campus – join the competitionfor the Berlin Today Award 2008!You can apply for the Berlin Today Award – individuallyor in teams of two. Like-minded people from the Campuscommunity can be found in the database of the BerlinaleTalent Campus, www.berlinale-talentcampus.de.TIMELINEApplication: The application deadline is April 13, 2007. For theapplication, detailed information and participation conditions,see: www.berlintoday.dePre-Selection: A jury will select up to ten projects with the mostpromising cinematic visions of Berlin Today.Summer Campus and Nomination: The selected Talents/teams willbe invited to Berlin for a one-week Summer Campus, whichincludes an in-depth project development and a jury pitch.Following the pitch, the jury will select three projects to benominated for the Berlin Today Award 2008.Pre-Production & Production: Production will be prepared toge therwith a production company and the final costs will becalculated. Production will take place in late summer/fall2007.Post-Production: No matter where the films are shot, postproductionwill take place in Berlin-Brandenburg where theTalents will receive professional support by Berlin-Brandenburgfilm companies. The final step in post-production willbe the delivery of the master tapes to “boxfish events“ byNovember 30, 2007.World Premiere & the Award: The world premiere of the three shortfilms and the award ceremony will take place at the 2008Berlinale Talent Campus.20BERLINALE TALENT CAMPUS #5

BERLIN TODAY AWARDGLIMPSES OF BERLINTHREE DIGITAL SHORT FILMS BY LAST YEAR’S TALENTS HAVE BEEN PRODUCED IN THE FALL OF 2006 IN BERLIN WITH THE SUPPORT OF ZEROFICTION FILM PRODUCTION COMPANY. THEY NOW GO INTO COMPETITION FOR THIS YEAR’S BERLIN TODAY AWARD 2007.Nominated for the Berlin Today Award (from left to right): WASSERSCHLACHT – THE GREAT BORDER BATTLE, SHANTYGARDENTOWN, THE WOOLEN HAT. Photos (l.t.r.): © Jürgen Scheer, Leon Kahane, zero fiction film“Our foreign eyes were looking at the city, getting closerand closer to it every day and creating, in the end, our ownvision of Berlin today”, say directors Çagla Zencirci (Turkey)and Guillaume Giovanetti (France), about their experiencesbeing one of the chosen teams which produced the shortfilm SHANTYGARDENTOWN in 2006.Prior to that, a jury went through more than 100 entries fromall over the world and selected ten short film ideas that wereinvited to return to Berlin. After an animated and interestingone-week Summer Campus, the jury chose three happynominees for Berlin Today Award 2007:SHANTYGARDENTOWN by Çagla Zencirci (Turkey) and GuillaumeGiovanetti (France)In SHANTYGARDENTOWN Belemir, a Turkish landscapearchitect from Ankara travels to Berlin to explore the city’sgardens. She wants to know more about the use and thefunction of such gardens in Berlin, to meet the owners andunderstand their desires and dreams.THE WOOLEN HAT by Rhoda Kawinga (Zambia).The animated film tells the story of Malita, a young girl whoowns a magic woolen hat that allows her to talk to animalsand instantaneously travel to far-off places. One day duringa reading session with her grandpa, she comes across a storyabout the Berlin bears that are threatened by an evil cat anddesperately seeking help…WASSERSCHLACHT– THE GREAT BORDER BATTLE by KatarzynaKlimkiewicz (Poland) and Andrew Friedman (USA)WASSERSCHLACHT– THE GREAT BORDER BATTLE shows theannual water-battle between people of all ages from theneighbouring Berlin districts of Kreuzberg and Friedrichshain.Since 1998, each summer people meet at the Oberbaum-bridgeto fight an anarchic battle with rotten fruitsand similar harmless objects that have grown for the solepurpose of the event. Most of the warriors are not awareof the battle’s genesis, but this doesn‘t keep them fromparticipating.The Berlin Today Award Ceremony on the Opening Night ofthe Campus also marks the kick-off for the fifth Berlin TodayAward Competition. You‘re invited to send in your drafts tothe organisers at boxfish events, Berlin, by April 13, 2007(further details at www.berlintoday.de).SATURDAY 10, 17:00 HAU 1OPENING NIGHT & BERLIN TODAY AWARD CEREMONYMONDAY 12, 19:00 HAU 1BECOMING A BERLINER –WORLD PREMIERE OF THE THREE FINALIST FILMS 2007BERLINALE TALENT CAMPUS #521

PORTRAITCUT TO THE EDITORHER FIRST EDITING GIG HELPED GARNER “FOR ALL MANKIND“ AN ACADEMY AWARD NOMINATION, BUT SUSAN KORDA ISN’T JUST A GIFTEDEDITOR, SHE’S ALSO A WRITER AND A DIRECTOR OF DOCUMENTARY FILMS. WE ARE DELIGHTED TO HAVE HER SHARE HER EXPERIENCES WITH USAT THE CAMPUS.Her advice to Talent editors: “The only way to master editingis to edit and play with the material – have it teach you.Editors also need to hone similar skills to that of writers anddirectors.”Editor and filmmaker Susan Korda“Editing has to be guided by emotions and not by logic.”This is one of the principles of editing that Susan Korda –film editor, screenwriter and director – communicates in theworkshops she conducts.Her first feature-length film credit as editor was writerdirectorAl Reinert’s documentary on the Apollo moonmission, FOR ALL MANKIND, which won both Jury and AudienceAwards at Sundance in 1989 and was nominated for anAcademy Award. Korda has enjoyed a successful career editingdocumentaries in the USA and abroad, and in 2001 SandiDuBowski’s TREMBLING BEFORE G-D (2001) was screened atthe Documentary Competition at the Sundance Film Festivaland won a Teddy Award at the Berlinale.Passionate about her work, she states that editing hascorrective and metronome functions within the filming processand that the editor is the architect as well as dramaticadvisor. Most importantly, she believes that the editor worksto keep the viewer connected to what are really disconnectedmoments or shots. That‘s why she likes to refer to theeditor as “the magician”.Korda is also a filmmaker in her own right, having madeseveral award-winning experimental films, including ONEOF US, which she presented at the International Forum ofthe 1999 Berlin International Film Festival. It is a personalexploration into the nature of deformity, violence and familyattachments. Korda builds a compelling and condemningportrait of her eccentric family, and a searing indictmentof Germany, and ultimately, herself. Dr. Tina M. Campt,Women’s Studies, University of California, is of the opinionthat the film “provides rich material for engaging the lastingimpact of the Holocaust on the second generation andbeyond.”Born in New York, and raised in New York, Vienna and Austria,she studied at the City College of New York/Picker FilmInstitute from 1979 and 1984. She made her first film, FILIALDREAMS in 1983. In between film projects, she lectures onwriting, film production and editing at the New York University’sTisch School of the Arts and at the International FilmSchool in Cologne. Korda has won numerous awards for hershort films and for her documentary VIENNA IS DIFFERENT.She is currently in pre-production on her narrative shortMAZEL, A DOG’S STORY.Susan Korda will speak about her work and her philosophyof film editing:WEDNESDAY 14, 17:00 HAU 2WE’LL FIX IT IN THE EDIT!22BERLINALE TALENT CAMPUS #5

PORTRAITFILM AS GUERILLA WORKWHETHER IN THE GENRE OF DOCUMENTARY OR FEATURE FILMMAKING, THE STRENGTH OF RAOUL PECK’S FILMS LIES NOT ONLY IN HIS STORIESBUT IN THE MANNER OF THEIR TELLING, ESTABLISHING HIM AS ONE OF THE MOST PROMINENT AND PROLIFIC FILMMAKERS OF OUR TIMES.In his films, the Haiti-born film director and Haiti’s Minister ofCulture for a brief 18 months, Raoul Peck tries time and againto understand why the process of democratisation in Africaprogresses either very tenaciously or not at all. With his featurefilm THE MAN BY THE SHORE, he presented, in 1993, thefirst contribution from the Caribbean in the Cannes Competition.His second internationally successful feature LU-MUMBA (2000) is an unusually gripping film about Congo‘sfirst Prime Minister, Patrice Lumumba. Peck cut his teeth onthe subject matter in a 1992 documentary titled LUMUMBA:DEATH OF A PROPHET. On the film, Variety wrote, “a rare andsignificant biopic. [...] an impassioned, at times thrilling recreationof the birth of the country that became Zaire and isnow known as Congo again” and People Magazine, “a modelof how to film history.”While a student at the German Film and Television Academy(DFFB) in Berlin, he completed his first award-winning fulllengthfeature, HAITIAN CORNER (1989), shot in Brooklynand in Haiti. In most of his films, Peck remains true to thesubjects that he pursues in HAITIAN CORNER: Colonialismand the legacy of post-colonial dictatorship, open and subliminalracism, the personal attitude and responsibility ofeach individual in the face of dictatorship, arbitrariness andhuman rights violations. His films are a reflection on timeand media, seeing and forgetting, remembering and pain,art and politics.In 2005, he presented his searing television film SOMETIMESIN APRIL, portraying the 1994 genocide in Rwanda, in theBerlinale Competition. In an interview, he said, “one canmake a film that is both entertaining and has substance aswell. It is about content and not about politics. How doesone make pictures, how does one narrate stories that peoplewill recognise? How does one make a contribution?There are various narrative styles of doing this. It cannot bejust about consuming a film, eat your popcorn and go rightback to work for the man. Films can be more than just consumergoods.”Raoul Peck on set of SOMETIMES IN APRILHe has been richly rewarded for his historical and politicalinsights as well as his potent artistic vision. In 1994, hewas awarded the Nestor Almendros Prize by Human RightsWatch and the organisation’s Lifetime Achievement Awardin 2001.This prolific director and writer finds innovative ways ofmaking cinema an important political discourse. He can beheard on the panel “Whose Side Is It Anyway? Privacy andPolitics in Cinema“.MONDAY 12, 17:00 HAU 1WHOSE SIDE IS IT ANYWAY? PRIVACY AND POLITICS IN CINEMASOMETIMES IN APRILPhoto: HBOBERLINALE TALENT CAMPUS #523

BERLIN ANGELS DAYUNDER ANGELS’ WINGSTHE BERLIN ANGELS DAY IS AN INITIATIVE OF THE MEDIENBOARD BERLIN-BRANDENBURG AND THE MEDIA CITY BERLIN. IT WAS SET UP TO BRINGTOGETHER PROMISING TALENTS WITH INTERNATIONALLY ACCLAIMED PERSONALITIES FROM BERLIN’S FILM SCENE.Flying Moon), Berlin film school graduates and awardedfilmmakers Bülent Akinci (RUNNING ON EMPTY / dffb) andMatthias Luthardt (PINGPONG / HFF) and games developerand entrepreneur Timo Ullmann (Yager Development).Wim Wenders with 2006 Talent Jarryd Watson from South Africa. © Medienboard Berlin-Brandenburg“The Berlin Angels Day was the sugar on top of the greatCampus week for me. We spent the whole day with ‘our angel‘Knut Loewe, production designer of the German televisionseries KANZLERAMT. We had many questions and receivedmany valuable answers.“Frances Soeder, former participant from GermanyOn February 16 the Berlin Angels will be back! For the thirdtime Medienboard Berlin-Brandenburg and Media CityBerlin are going to invite 50 participants of the Berlinale TalentCampus to spend a day with one of the Berlin Angels, allof whom are prominent film and media professionals fromthe capital region, including the heads of sucessful film andtv production companies Ziegler Film and Schiwago Film,animation expert Gerhard Hahn (Hahn Film), documentaryfilmmaker Uli Gaulke (accompanied by his producers fromThe Berlin Angels will take young Talents under their wingsfor a behind-the-scenes look at local film and media production.A creative and productive two-way exchange of ideasbetween Berlin professionals and up-and-coming youngTalents from all over the world will be encouraged. EachAngel provides his/her protégés with an exciting itinerarydesigned to gain first-hand insights into the day-to-dayworkings of the film and media industry in Berlin and developcontacts.And this year again, internationally renowned German filmmakerWim Wenders has taken over the patronage of the2007 Berlin Angels Day. For Wim Wenders, the Angels Dayis “an excellent opportunity to pass our experience on toyoung filmmakers who are about to make their first film.““The Berlin Angels serve a very special purpose: as the mentorsof these international Talents they provide a glimpseinto the creative potential of the city and lay a foundation ofenduring contacts so that these young filmmakers will gladlyreturn to Berlin in the future“, explains Kirsten Niehuus, CEOManagement Film Funding, Medienboard Berlin-Brandenburg,one of the main partners of the Campus and initiatorof the Berlin Angels Day.24BERLINALE TALENT CAMPUS #5

MAKING OFTALENTS ON THE BIG SCREENTO DOCUMENT ALL ACTIVITIES AT THE THREE HAU’S, TO GIVE A PICTURE OF THE CAMPUS’ INTERNATIONALISM AND TO TELL NUMEROUS LITTLESTORIES ABOUT IT, “MAKING OF“-TEAMS OF THE DEUTSCHE WELLE TV WILL PRODUCE SHORT “DAILIES“.2006: The teams of DW-TV amongst the Talents... ...and in their production office.An event like the Berlinale Talent Campus, where nearly400 creative people come together for six days, is packedwith official, personal, private and public stories. The rightatmosphere is very important to convey the right content:And so the production crews organised by Deutsche WelleTV (DW-TV) will be on the spot to collect all these stories,atmospheric moments and moving incidents and will putthem together for the ultimate daily “Making of the BerlinaleTalent Campus“.Responsible for this documenting project are the DW-TVproducers Melanie Matthäus and Bettina Kolb. They makeup a team of 18 camera and editing crew members whoare ser ving an apprenticeship at Berlin’s Deutsche Welle TVin digital media design/sound and vision. A narrator and athird producer complete the personnel of the daily productions.Divided into smaller crews, the TV journalists spreadout around the Campus, day after day looking for interestingfaces and traces.Later in the evening, in the office of the DW-TV team in HAU2 the entire day’s material is viewed, selected, digitised andedited into a five to eight minute-long “Daily“. The postproductionwill be done on Avid Adrenalin. These “Dailies“will document the Campus days in a diary style. They willillustrate personal impressions, portray Talents and tellmemorable anecdotes.One DW-TV team will permanently cover the activities ofthe Garage Studio keeping the Talents posted about theshooting of the Garage Flicks. At the same time, other crewswill swarm the three HAUs to collect further Talent quotes,pictures and stories. The aim is to focus on the diversity ofCampus participants by narrating personal stories, by reflectingon the different ways of realising film projects intheir home countries, by collecting impressions and showinghow everyone is finding their way around Berlin and theBerlinale Talent Campus.Beginning on Sunday, February 11, the DW-TV team “Dailies”will be screened every day at 14:00 in HAU 1 and HAU 2 as anintro to the subsequent programme.BERLINALE TALENT CAMPUS #525

FOUNDATIONSWITH A LITTLE HELP...WITHOUT INTERNATIONALLY OPERATING FOUNDATIONS AND INSTITUTIONS LIKE THE FOLLOWING, THE BERLINALE TALENT CAMPUS WOULD NOTBE THE SAME. THANKS TO THEIR SUPPORT MANY TALENTS CAN AFFORD TO BE AT THE CAMPUS. WE ARE GRATEFUL TO THEIR PROGRAMME INPUTTHAT HAS INSPIRED PANELS AND EVENTS.ALFRED HERRHAUSEN SOCIETYThe Alfred Herrhausen Society is the international forum ofDeutsche Bank. It seeks traces of the future in the present andbrings together people who are committed to the continuedexistence of civil society. For this the Alfred Herrhausen Societyencourages international dialogue by organising andarranging conferences and congresses with internationalparticipation. For example, “Urban Age“, which is a series ofinternational conferences investigating the multidisciplinaryconnections between urban form and urban society. Withinthis context the Alfred Herrhausen Society supports the BerlinaleTalent Campus in the conception and organisation ofthe panel “Metrobranding – The Creation and Production ofCity Images“ which will take place on February 11 at 14:00, inHAU 1. Further information about the Society see on www.alfred-herrhausen-gesellschaft.de.HEINRICH BÖLL FOUNDATIONThe Heinrich Böll Foundation, named after the NobelPrize winning German writer, is affiliated with the GermanGreen Party and headquartered in the Hackesche Höfein the heart of Berlin. It is a legally independent politicalfoundation whose primary objective is to support politicaleducation both within Germany and abroad, thus promotingdemocratic involvement, socio-political activism, andcross- cultural understanding. The Foundation also providessupport to art and culture, science and research, and developmentalco-operation. The Foundation and the BerlinaleTalent Campus have co-operated repeatedly over the years.This year, it supports the Campus in covering the travel expensesof Latin American Talents, and in preparing the panel“Filming in the Eye of the Storm – Filmmaking in TroubledAreas“ which will take place on February 13, 19:00, in HAU 2.Further information about the Foundation at www.heinrichboell-stiftung.de.KATRIN CARTLIDGE FOUNDATIONShortly after the untimely death of 41-year-old actressKatrin Cartlidge (BREAKING THE WAVES, NAKED, BEFORETHE RAIN) the foundation was established in her memory.It exists to encourage the independence, singularity andintegrity of the spirit of young cinema that Katrin Cartlidgepowerfully embraced and exemplified in her own lifetime.Patrons of the foundation include Lars von Trier, Mike Leigh,Charlotte Rampling and Stellan Skarsgård. Once a year theKatrin Cartlidge Foundation awards a bursary to a new creativevoice in cinema. In 2006, Gerd Schneider (Germany) andEyas Salman (Israel) won in recognition of their documentaryTHE EDGE OF HOPE. We will introduce you to Eyas Salmanon February 13, 19:00 in HAU 2 when he will report on hisfilm as part of the Campus panel “Filming in the Eye of theStorm”. Further information on the foundation and its activitieson www.katrincartlidgefoundation.org.uk.MANFRED DURNIOK FOUNDATIONThe Berlin-based filmmaker and producer Manfred Durniok,who passed away four years ago, had a deep passionfor South- Eastern Asian culture. Manfred Durniok producedIstván Szabó's Oscar-awarded MEPHISTO and OBERSTREDL, and was, in 1986, one of the first Europeans to shoota film in Beijing. EIN CHINESE SUCHT EINEN MÖRDER, directedby Hans Borgelt, was a Chinese- German co-production– one of the many films that Durniok dedicated to this belovedregion.One of the aims of the Manfred Durniok Foundation,recently established by Ayano Teramoto, Manfred Durniok's19-year-old daughter, is the promotion of South-EasternAsian film art and the support of young creatives. Thisyear, like in 2006, the travel expenses of the Talents fromSouth Eastern Asia will be covered by the Manfred DurniokFoundation. Further information on Manfred Durniok atwww.durniok.com.“I BELIEVE IN CREATION AND IMAGINATION AS BETTER WAYS TOLIVE AND TO SHOW OTHERS IF YOU DO NOT AGREE WITHSOMETHING.“Juan David Diaz, Talent from Colombia26BERLINALE TALENT CAMPUS #5

FOUNDATIONSWIN A CO-PRODUCTIONTHE ROBERT BOSCH STIFTUNG ISSUES, TOGETHER WITH ITS PARTNER, THE FILMBÜRO BADEN-WÜRTTEMBERG, THREE PROMOTIONAL PRIZES FOR JOINTFILM PRODUCTIONS BY YOUNG GERMAN AND EASTERN AS WELL AS SOUTH EASTERN EUROPEAN FILMMAKERS.LES ENFANT DE PARADA by Annett Schütz......winner of one of the three Promotional Prizes 2006.The three prizes enable young and creative talents to carryout international projects together. The prize is awarded inthe categories animated film, documentary, and short film,and consists of a grant to be used for a specific film project.Contestants must submit a sample feature by their film teamdirector as well as a detailed project outline and budgetplan. Each team must be made up of at least a producer, adirector, a camera operator, and a screenwriter.The grant should primarily cover the production team’sexpenses for travel, meals, and accommodation. It may, toa lesser extent, also be allocated to cover production expenses(editing, copies). Filming material and technical filmequipment such as cameras, post-production tools etc. mustnot be covered by the grant. Every winning production canreceive up to 70,000 Euros in funds.Qualifying applications will be submitted to an independentjury. The jury will pre-select up to 15 teams. Two membersof each pre-selected team will be invited to take part in theCo-production Forum in Stuttgart to pitch their film to thejury. The promotional prizes will be awarded at a gala at thegoEast-Festival in Wiesbaden in April. Up to two membersof each winning team will have the opportunity to participatein the Berlinale Talent Campus.A detailed description of application rules as well as the applicationform are available at www.filmfoerderpreis.com.In 2006, the Robert Bosch Stiftung supported the German-Bulgarian animated film THREE SISTERS AND ANDREY (byBoris Despodov), the German-Romanian-Latvian documentaryLES ENFANTS DE PARADA (by Annett Schütze) and theGerman-Croatian short film MILAN (by Michaela Kezele). Allthese productions will soon be completed.We invite you to come to our “Early Bird Breakfast” on February13 at the Berlinale Talent Campus in HAU 2 (Hebbel amUfer) to get more information about the prize and to use theopportunity to meet many directors and producers.For more information please contact:Filmbüro Baden-Württemberg e.V.Im FilmhausOliver MahnFriedrichstraße 23aD-70174 StuttgartFon: 0049 – (0)711-22 10 67E-mail: info@filmfoerderpreis.comRobert Bosch Stiftung GmbHFrank W. AlbersE-mail: frank.albers@bosch-stiftung.deBERLINALE TALENT CAMPUS #527

PORTRAITON THE ROADDARING AND EXCEPTIONAL, BRAZILIAN FILMMAKER WALTER SALLES, WHO SPEARHEADED THE RETURN OF BRAZILIAN CINEMA TO INTERNATIONALPROMINENCE IN THE LATTER HALF OF THE 1990S, HONOURS US WITH HIS PRESENCE AT THE CAMPUS.Walter Salles at the 2005 Berlinale Talent CampusVoted by the Guardian in 2003 as one of the 40 Best Directorsof the World, Walter Salles won eight international awards forFOREIGN LAND (1995), including the award for Best BrazilianFilm of the year. Nevertheless, it was with CENTRAL STATION(1998), that he burst into global cinema tic consciousness.Set in Brazil, this unflinching yet empathetic examination ofhumanity‘s capacity for good and bad garnered overwhelmingkudos from critics. It took home, amongst other awards,the Berlinale‘s Golden Bear for best film and best actress.The film helped establish Salles as a prominent member ofa new wave of filmmakers emerging from Central America.His follow-up, BEHIND THE SUN (2001), further cemented hiscompetencies and inimitable style.Salles began his filmmaking career with a spate of awardwinningdocumentary films, before turning his attention tofeatures with the thriller, EXPOSURE, in 1991. Though he continuedto make documentaries – mainly for European televison– Salles slowly began to flourish in the world of featurefilms. When asked by a Guardian reporter his reason for venturinginto the documentary vein, he responded, “I think Iturned to documentary filmmaking very early on as a wayto know a little bit more about my country and my roots.My father was a diplomat for part of his life and I jumpedfrom country to country and culture to culture. So when Iwas very young, I longed for Brazil. I really wanted to knowthe heart of it much better than I did“.Salles‘ work revolves around the themes of travel and thesearch for identity. He states quite explicitly, “I‘m completelyuninterested in what you may call a career in filmmaking.I‘m much more interested in living specific experiences infilms.“ But his career has been on a roll. His biggest internationalsuccess, the 2004 THE MOTORCYCLE DIARIES, is aboutthe life of young Ernesto Guevara who later became knownas Che Guevara. It was Salles‘ first foray as director of a filmin a language other than Portuguese and earned a GoldenGlobe nomination for Best Foreign Film.Moving away from Central American fare, he made his firstHollywood film in 2005, DARK WATER, an adaptation of the2002 Japanese film by the same name. His latest cinematicventure, ON THE ROAD, is currently in production.SUNDAY 11, 11:00 HAU 1IN THE LIMELIGHT: WALTER SALLES28BERLINALE TALENT CAMPUS #5

PORTRAITTHE 2006 GOLDEN BEARERNOT ONLY THE MOST PRODUCTIVE BUT ALSO THE MOST IMPORTANT WOMAN DIRECTOR IN THE HISTORY OF BOSNIAN CINEMA, WE ARE DELIGHTEDTO HAVE JASMILA ŽBANIĆ JOINING US AT THE CAMPUS.“I am fascinated by everyday life, but compared to war, itcan seem ordinary, non-dramatic, even banal. Yet when thesurface of this everyday life is scratched, the whole power ofhuman emotions – past, present and future – starts to leakout”, she stated on the release of GRBAVICA – a story aboutlove that is not pure because it has been mixed up with hate,disgust, trauma and despair.Jasmila Žbanić and her Golden BearThe Golden Bear, Ecumenical Jury Award, Peace Film PrizeBerlin 2006, Discovery of the Year Award Reykjavik 2006…the list just doesn’t end and all these awards for her very firstfeature film – GRBAVICA.Jasmila Žbanić, screenwriter and director, born in Sarajevo,belongs to an important group of filmmakers who, as veryyoung art students, lived through the war against Bosnia-Herzegovina and against the capital city of Sarajevo. Whilethe war was still waging, they decided to begin making films.In 1997, she founded the artist’s association “Deblokada”through which she produced, wrote and directed numerousdocumentaries, video works and shorts.Photo:: Ali Ghandtschi © Berlinale 2006The highpoints of her artistic endeavours include BIRTHDAY,which was part of the omnibus film LOST AND FOUND: SIXGLANCES AT A GENERATION, comprising six young directorsfrom Central and Eastern European countries who madeshort films which were post-produced in Germany. The directorsinclude five participants from the Berlinale TalentCampus 2004 as well as a winner of the Golden Bear: StefanArsenijevic. Jasmila’s portfolio further includes the 2002documentary RED RUBBER BOOTS, which follows Bosnianmothers searching for their children, and the 2003 documentaryIMAGES FROM THE CORNER, a moving personal accountof a young woman seriously wounded during the warwho watched in pain as a foreign photographer snappedpictures of her.Jasmila’s intellectual and creative interest goes beyond film.She is a graduate of the Sarajevo Academy of Dramatic Arts,department for theatre and film directing. Before turningto filmmaking, she worked as a puppeteer in the Vermontbased“Bread and Puppet” Theatre and as a clown in a LeeDe Long workshop. The filmic means and style characterisingher works are influenced by her work with puppets andstreet theatre as well as her literary activities. In addition tofilm scripts, she is a writer of stories and theatre texts.The spectrum of Jasmila’s interests, exceptional visual culture,unconventional and untraditional film paths, make heran ideal panellist for “Whose side is it anyway? Privacy andPolitics in Cinema”.MONDAY 12, 17:00 HAU 1WHOSE SIDE IS IT ANYWAY?BERLINALE TALENT CAMPUS #529

BTC ALUMNIYOU’LL BE BACKTHE CAMPUS WANTS TO ENCOURAGE EVERY SINGLE TALENT TO SEND IN HIS OR HER NEXT FILM TO ONE OF THE SECTIONS OF THE BERLININTERNATIONAL FILM FESTIVAL AND TO RETURN AS A FESTIVAL GUEST! A NUMBER OF CAMPUS ALUMNI DID THIS IN 2007, AND 32 OF THEMACTUALLY HAVE RETURNED WITH A FILM IN THEIR SUITCASES.Berlinale Forum. It is a Malaysian production with contributionsfrom three alumni who attended the Berlinale TalentCampus in three different years: composer Hardesh Singh(2005), editor Chui Mui Tan (2006) and producer Liew SengTat, Talent of the current Campus. Four further alumniproductions contribute to the 2007 Berlinale Forum.The Berlinale Special Programme “Eat, Drink, See Movies“organised by former Talent Manager Thomas Struck will beenriched by four Talent short films of a special kind. They arewinners of the Terra Madre Short Film Competition 2006, acontest developed together with Slow Food exclusively forBerlinale Talent Campus alumni. So watch SAWASIRAY PITU-SIRAY (Mariana Herrera), MANOOMIN – THE SACRED FOOD(Jack Riccobono), BINAMBAN – THE GLORIOUS FOOD OFLAGONOY (Ferdinand De Madura) and SOUND OF MOUN-TAINS (Alexandru Belc) and enjoy!NOTHING ELSE MATTERS, a contribution to the 2007 Berlinale Perspektive section by German Talents32 alumni will present 24 films in the various sections of thisyear’s Berlin International Film Festival. It’s not purely thenumbers that make us happy but the fact that this good newsalso proves the functionality of the Talent network. NOTH-ING ELSE MATTERS, for example, has brought together thecreativity of three filmmakers who got to know each otherat the Campus in 2004: director Julia von Heinz, producerPhilip Pratt and sound designer Benjamin Hörbe. The filmruns in the section Perspektive Deutsches Kino where youcan watch another three films with major alumni participation:BLINDFLUG, a production by 2003 participant JochenLaube, VON EINEM DER AUSZOG – WIM WEN DERS’ FRÜHEJAHRE, a documentary edited by 2006 Talent DorotheeBröckelmann, and OSDORF, photographed by alumnusJohannes Neumann.Also interesting from the Campus point of view is the filmVILLAGE PEOPLE RADIO SHOW, presented in this year’sThe section Generation will present five films with alumni involvement.Israelian Koby Gal Raday (2004) produced LOVE& DANCE, while his compatriot Yoav Cohen (2006) is the artdirector of CAMPING, and German director Ralf Westhoffshot SHOPPEN. Also two current Talents will present theirwork in the Generation section. Jens Schillmöller and LaleNalpantoglu, Talents from 2005, received an invitation to theShort Film Competition for BUS, whereas Canadian LarissaGiroux’s production THE TRACEY FRAGMENTS is part of thisyear’s Panorama section.Finally, the 2007 Co-Production Market will also be enrichedwith projects by two alumni. Spanish producer Maria Zamoraplans to find co-production partners to realise the scriptof THE AGE OF AMPHIBIANS, while Argentinian director andproducer Julia Solomonoff pitches her project THE LASTSUMMER OF LA BOYITA.As you can see: We’d love to hear from you again and arelooking forward to watching your future features! Forfurther information on submitting your films to the BerlinInternational Film Festival, see www.berlinale.de.30BERLINALE TALENT CAMPUS #5

SUSTAINABILITY / EUROMED AUDIOVISUAL II PROGRAMMESTAY IN TOUCHTHE POTENTIAL FOR POSSIBLE CO-OPERATIONS BETWEEN TALENTS IS BETTER THAN EVER, AND SO THIS YEAR THE CAMPUS WILL INTENSIFY ITSEFFORTS TO STRENGTHEN THE NETWORK AND TO HELP TALENTS TO STAY IN TOUCH AND MAKE COMMON PROJECTS POSSIBLE.The most important tool in achieving this new conceptof sustainability is of course the internet. The alumni platformon www.berlinale-talentcampus.de will be expandedgradually in the coming months to attain better networkingamong the Talents, as well as between Talents and interestedpartners. The website’s film presentation optionsfor alumni will be improved, and the pool of today’s nearly2,500 international young filmmakers will form a worldwideunique webportal of cinematic potential. Together withalumni from the Talent Campus Abroad in Buenos Aires,Cape Town and New Delhi, the number of worldwide alumniwill continue to grow.To broaden the chances for Talents from countries withvery little or no infrastructure for independent filmmakingto implement their projects, the Berlinale Talent Campustogether with the House of World Cultures plan to supportthe launching of film co-ops that will be provided with basicinfrastructural support and incentives to operate as regionalactivity centers.Furthermore, the Berlinale Talent Campus will continue toprovide Talents and alumni with short film competitionslike the Berlin Today Award (see p.20) or the recent project“Why Democracy?“. In the run-up to this year’s Berlinale TalentCampus, alumni and Talents from 2007 were asked tosubmit proposals for a short film on democracy which couldbe produced during summer. The proposals that have beenselected for this initiative by STEPS International, ZDF/ARTE,Goethe-Institut and the Berlinale Talent Campus and otherprojects in the Campus’ sustainability concept will be announcedin “Things to Take Home“.THURSDAY 15, 16:00 HAU 2THINGS TO TAKE HOMEMEDAMEETINGRIGHT AFTER THEIR ARRIVAL IN BERLIN ON FEBRUARY 10, THE TALENTS FROM THE TEN MEDA COUNTRIES HAVE THEIR FIRST EXCURSION. AT14:30 THEY WILL ATTEND A PANEL ON FINANCING AND MARKETS IN MEDITERRANEAN COUNTRIES. THIS EVENT IS PART OF THE FIRST REGIONALCONFERENCE OF THE EUROMED AUDIOVISUAL II PROGRAMME AT BERLIN’S KALKSCHEUNE.Running parallel to the Berlin International Film Festival,from February 10 to February 11, the Euromed AudiovisualII Programme will hold its first networking conference. The12 projects funded by the Programme, including the BerlinaleTalent Campus, will report on their first year of activityand together with some of the MEDA professionals whoparticipated in project training seminars, will share theexperiences that have emerged from the various projectactivities conducted to date.With the presence of representatives of the European Unionand the national authorities in charge of the audiovisual sectorin the ten MEDA countries and territories (Algeria, Egypt,Israel, Jordan, Lebanon, Morocco, Palestinian Authority,Syria, Tunisia, Turkey), the conference will offer a valuableopportunity to learn more about the financing of films fromthe Southern Mediterranean and will discuss the creation ofmarkets and locations for shooting films and technical industriesin the south. Panels will be headed by prominentexperts such as Martin Blaney and Ido Abram amongstothers, and will include a number of European and Mediterraneanprofessionals, including: Nour-Edine Saïl, MichelKhleifi, Dora Bouchoucha, Daniela Elstner, Xavier Merlin,Katriel Schory and Jan Vandierendonck.Finally, the Euromed Audiovisual II Programme will bepresent at the European Film Market with representation atthe MEDIA programme stand.BERLINALE TALENT CAMPUS #531

EXPERTS VIS A VISMEET THE EXPERTSWOULD YOU LIKE TO TAKE US UP ON OUR OFFER OF AN UP-CLOSE AND IN-DEPTH TALK WITH EXPERTS FROM THE FILM INDUSTRY? WE OFFER YOUTHE CHANCE TO MEET RENOWNED FILM PROFESSIONALS IN AN INFORMAL SETTING FOR SOME “SPECIALISED KNOWLEDGE”. MEET THE EXPERTSIN THE HAU 1 FOXBAR EVERY DAY AT 12:30 OR 15:30. WATCH OUT FOR UPDATES AND ANNOUNCEMENTS!EXPERTS AT YOUR BIDDING (SEE CV‘S FROM P.62):Ido Abram, Director, Binger Filmlab, AmsterdamThis expert will allow you to peek through the doors of this uniquefilm lab. He will expand on the various choices filmmakershave and help recognise the wide array of possibilities inherentto stories and that lie within the vision for a film.Fraser Bensted, Professional editor, Picture Production, LondonThis is your opportunity to find out about the working lifeof an editor, the intricacies of the trailer making processand how it can help to sell your film.Susan Buice and Arin Crumley, directors, FOUR EYED MONSTER, USAFind out how to be a digital pioneer, from podcast and videoipod to self-distribution and building your fan basealong the way. They will be happy to answer questionsabout their innovative use of the Internet.Ernst Ludwig Ganzert, Producer / CEO, EIKON Media, BerlinDiscuss the various stages of the filmmaking process – fromthe initial idea, the screenplay development and filming,post-production, right up to exploitation in the market.Get input on the making of the film from the points of viewof a director and a producer.Kanako Hayashi, Festival director, TOKYO FILMeX International Film FestivalDiscover the core of independent cinema from Japan andAsia from one of the best experts with in-depth knowledgeof films in this region. Find out more on Asian film networksand festivals, placing in context Japanese filmmakers andthe film scene.Jan A.P. Kaczmarek, ComposerSee p.15 for further information.Sandy Lieberson, President of production, 20th Century Fox, MGM International,Ladd Co. (W.B.), LondonDiscuss your hopes and aspirations as filmmakers. Whatyou want to do and how you’re going to go about it. Sandyhas produced over 20 feature and doc films and is also anexperienced hand as a studio executive, developing andsupervising the production of U.S. and European films.Janine Marmot, Director of Film, Skillset, LondonYour chance to talk to a working producer on any film relatedsubject, right from development to delivery. She willalso be able to help you understand what Skillset has tooffer filmmakers in the UK.Nikolai Petersen, Head of programme, Goethe-Institut JohannesburgFind out about the Goethe-Institut (in general) and howtheir film programmes are organised. How filmmakers canco-operate with the Goethe-Institut in Sub-Saharan Africaand specifics on the Sithengi Campus.Liz Rosenthal, Programme director, Global Digital Distribution Summit, MontrealTalk with Liz Rosenthal on developing customised distributionstrategies to maximise audiences and revenues usingcutting edge distribution techniques. Get some inputs intocreating new projects for new platforms.Keith Shiri, Director, Africa at the Pictures, LondonKeith Shiri will talk about independent African cinema.He will reflect on the history, influence and future of thecontinent’s cinema and filmmakers. Get informed on thepossibilities and functioning of co-productions betweenthe African continent and Europe. Find out about his ownfestival, Africa at the Pictures.Michael Weber, Managing director, The Match Factory, MunichLearn first-hand from one of the most experienced peoplein the international sales arena how to find the right producerfor your company. How does the “matchmaking”, thelinking of producers, distributors and festivals work?Lance Weiler, Co-writer, director and producer of digital features, USAWired Magazine called Lance „one of twenty-five people helpingto re-invent entertainment and change the face of Hollywood.“This is your chance to find out how you can do the same.32BERLINALE TALENT CAMPUS #5

EXCURSIONSCLOSE TO HOMEIN ADDITION TO THE EVENTS AT THE THEATRE HEBBEL AM UFER, THE BERLINALE TALENT CAMPUS OFFERSTHREE DIFFERENT EXCURSIONS FOR THE TALENTS.(Roman Polanski). Production design Talents will be guidedthrough the costume house.TUESDAY 13, 15:30MEETING POINT: 15:30 AT THE TALENT COUNTER IN HAU 1Excursion to the Martin Gropius Bau, home of the European Film MarketEUROPEAN FILM MARKETSydney Levine. In co-operation with European Film Market.The European Film Market (EFM), one of the top annualevents for the international film industry, is the huge tradingfloor of the Berlin International Film Festival. This year 259exhibitors from 43 countries will be represented. A total of702 films, including more than 450 market premieres, will bepresented to professional visitors in 1,072 screenings. Guidedby Sydney Levine, founder and president of Film Findersdatabase, Talents have the opportunity to get an introductionto the structure and the practice of the EFM.MONDAY 12 TO THURSDAY 15, DAILY AT 14:00MEETING POINT: 14:00 AT THE TALENT COUNTER IN HAU 1COSTUME HOUSE THEATERKUNSTIn co-operation with Theaterkunst Berlin.Theaterkunst is Germany’s largest costume house for filmand theatre. In 100 years of its existance, Theaterkunst hasbrought together a collection of more than 10 million itemsstored in branches at Hamburg, Munich, Cologne and at theheadquarters in Berlin. A specialty of Theaterkunst is thecollection of 200,000 uniforms. The impressive list of filmsin which Theaterkunst participated range from Fritz Lang’sMETROPOLIS and Josef von Sternberg’s THE BLUE ANGELto Caroline Link’s NOWHERE IN AFRICA and THE PIANISTTO VOLKSWAGEN SCORE COMPETITIONJan A.P. Kaczmarek. In co-operation with HFF “Konrad Wolf“.The Film and Television Academy (HFF) “Konrad Wolf“ is theoldest and largest German media academy with a combinationof artistic and scholarly departments, where theory andpraxis go hand in hand. Alongside its offerings in continuingeducation and cultural events, the HFF also strives to be aplace of cultural, social, and political reflection. In additionto the VW Score Competition, this year the HFF supports theCampus with the Garage Studio as well. For this excursion,Talent composers will be offered a guided tour through theHFF’s sound department to one of the three Harrison consolesexisting worldwide. Afterwards, they’ll meet VW ScoreCompetition mentor and Academy Award winner Jan A.P.Kaczmarek (FINDING NEVERLAND) for an ample Q&A.WEDNESDAY 14, 10:00MEETING POINT: 10:00 AT THE TALENT COUNTER IN HAU 1MUSEUM FOR FILM AND TELEVISIONNo organised or guided excursion!The German Cinematheque presents its Permanent Exhibitionson both German film history and German television aswell as diverse special exhibitions at the Filmhaus at PotsdamerPlatz. The Exhibition on German film history leadsyou from the pioneering years, to silent-film divas and thefilms of the Weimar Republic, from cinema under NationalSocialism, exile in Hollywood to the post-war years and contemporarycinema. The German Television Museum makesthe Filmhaus a comprehensive “house of moving images”and enables you to experience great moments in broadcastinghistory as well as the medium’s development in Easternand Western Germany.FILMMUSEUM BERLIN IN THE FILMHAUS, POTSDAMER STRASSE 2BERLINALE TALENT CAMPUS #533

www.volkswagen.deIt’s a rocky road to success. Fortunately.The Touareg. Official VIP shuttle of the Berlinale Talent Campus #5.Aus Liebe zum Automobil

TIMETABLEPROGRAMME OF THEBERLINALE TALENT CAMPUSFEBRUARY 10 – 15, 2007THE FIVE P’S OF FILMMAKING – PHILOSOPHY, PRE-PRODUCTION, PRODUCTION, POST-PRODUTION AND PROMOTION: THESE ESSENTIAL STEPS INFILMMAKING FORM THE FOUNDATION OF THE CAMPUS WEEK. THE BERLINALE TALENT CAMPUS OFFERS MORE THAN 60 LECTURES, DISCUS-SIONS, EXCURSIONS, SCREENINGS AND WORKSHOPS FOR TALENTS AND INTERESTED VISITORS, ALL HELD IN ENGLISH.EVENTS RESERVED ONLY FOR TALENTS ARE MARKED IN BLACK, EVENTS WHICH ARE ALSO OPEN TO THE PUBLIC ARE MARKED IN MAGENTA. THEPAGE NUMBERS OF THE EVENT DESCRIPTIONS IN THE MAGAZINE ARE SET IN BRACKETS.ORIENTATION DAY SATURDAY FEB 10HAU 22ND FLOOROTHERWWW.BERLINALE-TALENTCAMPUS.DEVENUESHAU 1 HAU 2 HAU 3 BLACK STAGE VOLKSWAGEN SCORE09:00H10:00HTALENTREGISTRATIONTalent Accreditation, Travel ExpenseReimbursement and Ticketing (p.39)COMPETITIONEditing at Wave-Line and feedbacksession with mentor Jan A.P.Kaczmarek (p.19)12:00H13:00HTAKING OFFEssential Briefing on services,programme and Working Campus(p.39)14:00HGLOBAL SPEED MATCHINGwith Janine Marmot (p.39)17:00HOPENING NIGHT &BERLIN TODAY AWARD CEREMONYwith Kirsten Niehuus, Dieter Kosslick andSebastian Schipper. Moderated by PeterTwiehaus. In co-operation with MedienboardBerlin-Brandenburg. (p.39)BERLINALE TALENT CAMPUS #535

TIMETABLEPHILOSOPHY DAY SUNDAY FEB 11HAU 1 HAU 2 HAU 22ND FLOORHAU 3 OTHERWWW.BERLINALE-TALENTCAMPUS.DEBLACK STAGEVENUES09:30HTICKETINGSTOP BY, SHOOT FILM –DEMYSTIFYING CELLULOIDBart Durkin, Matthias Schulze. Inco-operation with Kodak (p.41).11:00HIN THE LIMELIGHT:WALTER SALLESWalter Salles, interviewed by Peter Cowie andJosé Carlos Avellar.AVID XPRESS STUDIOBasic Editing Workshop.In co-operation with Avid (p.41).VOLKSWAGEN SCORECOMPETITIONEditing at Wave-Line and feedbacksession with mentor Jan A.P.Kaczmarek (p.19)12:30HLUNCHBREAKSPEED MATCHINGMEET THE EXPERTS (p.32)14:00HMETROBRANDINGWim Wenders, Ning Ying, Tata Amaral, DeyanSudjic. Moderated by Vinzenz Hediger. In cooperationwith Alfred Herrhausen Society(p.42).CALCULATING RISKS ANDTAKING CHANCESIain Smith, Sandy Lieberson.In co-operation with Skillset (p.42).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).12:30H LUNCH for East AsianTalents, sponsored by theManfred Durniok Foundation.15:30H MEET THE EXPERTS (p.32)17:00HVIRTUAL CINEMANoah Falstein, Kees Kasander, Tom Tykwer,moderated by Ian Christie. In co-operationwith Medienboard Berlin-Brandenburg (p.43)WE´LL GET BACK TO YOU – A CASTING WORKSHOPAnnette Borgmann, Violetta Buhl, Beatrice Kruger,Debbie McWilliams. Moderated by Nancy Bishop. Inco-operation with European Film Promotion (p.43).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43)19:00HHOME AFFAIRS – FILM PROGRAMMEThe filmmakers, Dorothee Wenner, Merle Kröger (p.43)PRE-PRODUCTION DAY MONDAY FEB 12HAU 1 HAU 2 HAU 22ND FLOORHAU 3 OTHERWWW.BERLINALE-TALENTCAMPUS.DEBLACK STAGEVENUES09:30HTICKETINGEARLY BIRD BREAKFASTPresented by Euromed Audiovisual II Programme(p.45).STOP BY, SHOOT FILM –DEMYSTIFYING CELLULOIDBart Durkin, Matthias Schulze. Inco-operation with Kodak (p.41).11:00HBY POPULAR DEMANDPeace Anyiam-Fiberesima, Khaled el Hagar, Onir,Jia Zhangke. Moderated by Jacques Bidou, VincenzoBugno. In co-operation with the World CinemaFund, Euromed Audiovisual II Programme (p.45).AVID XPRESS STUDIOBasic Editing Workshop.In co-operation with Avid (p.41).YOUR RIGHT TO MUSICMareile Büscher, MilenaFessmann. In co-operation withHogan Hartson Raue (p.45).VOLKSWAGEN SCORECOMPETITIONFinal mixing at the HFF “KonradWolf“ (p.19)12:30HLUNCHBREAKSPEED MATCHINGMEET THE EXPERTS (p.32)14:00HFILM CO-OPS –MAKING FILMS WITH FRIENDSBarbara Albert, Ulrich Gregor, AmirMuhammad, Eliane Raheb, Patrick Sobelman.Moderated by Marc Siegel (p.45).THE PITCHJudy Counihan, Eileen Quinn. In co-operation withSkillset (p.46).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).THE ABOUT-QUESTIONDavid Wingate. In co-operationwith SOURCES 2 (p.46).EXCURSION TO EUROPEANFILM MARKET (p.33)15:30H MEET THE EXPERTS(p.32)17:00HWHOSE SIDE IS IT ANYWAY?Gregory Nava, Raoul Peck, Jasmila Žbanić.Moderated by Peter Cowie (p.46).BUILDING HOMES FOR FILMSUli Hanisch (p.47)AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).15:30H EX ORIENTE PIXSimone Bitton, Dora Bouchoucha,Ferid Boughedir, Michel Khleifi, IritNeidhart. Moderated by CatherineBuresi, Bärbel Mauch. In co-operationwith Euromed Audiovisual IIProgramme (p.46).19:00HBTA – BECOMING A BERLINERWladimir Kaminer, Adrien Kennedy,Sebastian Schipper, Nikko Weidemann andBTA directors. In co-operation with MedienboardBerlin-Brandenburg (p.47).CAN SCRIPTWRITING BE TAUGHT?Dagmar Benke, Julian Friedmann (p.47).23:30H TALENT SHORT FILMNIGHT Andrew Amondson andfi l m m a k e r s ( p . 4 7 ) .36BERLINALE TALENT CAMPUS #5

TIMETABLEPRODUCTION DAY TUESDAY FEB 13HAU 1 HAU 2 HAU 22ND FLOORHAU 3 OTHERWWW.BERLINALE-TALENTCAMPUS.DEBLACK STAGEVENUES09:30HTICKETINGEARLY BIRD BREAKFASTPresented by Robert Bosch Stiftung (p.49).11:00HON BORDER CROSSING:GAEL GARCÍA BERNALGael García Bernal, interviewed by Peter Cowie.(p.49).AVID XPRESS STUDIOBasic Editing Workshop.In co-operation with Avid (p.41).AN INDIE FILMMAKER‘SGUIDE TO THE INTERNET Overviewof Online Opportunities.Sandy Lieberson, Liz Rosenthal. Inco-operation with Skillset (p.49).VOLKSWAGEN SCORECOMPETITIONFinal mixing at the HFF “KonradWolf“ (p.19)12:30HLUNCHBREAKSPEED MATCHINGMEET THE EXPERTS (p.32)14:00HTHE RADICAL WAY TO SUCCESS –JOHN WATERSJohn Waters, interviewed by Wieland Speck.In co-operation with Berlinale Panorama(p.50).EAST OR WEST – HOME IS BESTMarkus Halberschmidt, Stefan Kitanov, Riina Sildos,Ognjen Sviličič. Moderated by Nikolaj Nikitin. In cooperationwith Robert Bosch Stiftung (p.50).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).MEETING BERLIN ANGELS DAYIn co-operation with MedienboardBerlin-Brandenburg (p.24).EXCURSION TO EUROPEANFILM MARKET (p.33)15:30H MEET THE EXPERTS(p.32)17:00HIN THE LIMELIGHT: SARAH POLLEYSarah Polley. In co-operation with BerlinalePanorama (p.51).HAPPY TOGETHER? – WHAT YOU NEED FOR ASUCCESSFUL INTERNATIONAL CO-PRODUCTIONEsther Bannenberg, Roshanak Behesht Nedjad,Ernst Szebedits. Moderated by Ido Abram. In cooperationwith Berlinale Co-Production Market(p.51).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).PRESENTATION OF THECASTING WEBSITE E-TALENTABeatrice Kruger (p.51).15:30H EXCURSION TO THECOSTUME HOUSE THEATER-KUNST (p.33)19:00HFILMING IN THE EYE OF THE STORMThomas Gebauer, Bianca Jagger, Monique Phoba,Eyas Salman, Rakesh Sharma. Moderated by RalfFücks. In co-operation with the Heinrich Böll Foundation,Euromed Audiovisual II Programme (p.51).POST-PRODUCTION DAY WEDNESDAY FEB 14HAU 1 HAU 2 HAU 22ND FLOORHAU 3 OTHERWWW.BERLINALE-TALENTCAMPUS.DEBLACK STAGEVENUES09:30HTICKETINGEARLY BIRD BREAKFASTPresented by Kodak and Arri (p.53).11:00HON EYELEVEL WITH A VIEW-FINDERSławomir Idziak. In co-operation with Kodak(p.53).AVID XPRESS STUDIOBasic Editing Workshop.In co-operation with Avid (p.41).AN INDIE FILMMAKER‘SGUIDE TO THE INTERNET OnlineDistribution Case Studies. SusanBuice, Arin Crumley, Lance Weiler.Moderated by Liz Rosen thal. Inco-operation with Skillset (p.54).10:00H EXCURSION TO THEVOLKSWAGEN SCORECOMPETITIONat the HFF “Konrad Wolf“ (p.33)12:30HLUNCHBREAKSPEED MATCHINGMEET THE EXPERTS (p.32)14:00HFILM‘S FUTURE LABMichael Arias, James Fabricant, GrahameWeinbren. Moderated by Micz Flor (p.54).SHORT WAVESPhilip Ilson, Annette Kilzer, Deepak Nayar, RalitzaPetrova, Ken Wardrop. Moderated by Astrid Kühl. Inco-operation with Berlinale Short Film Competition,European Film Academy (p.54).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).EXCURSION TO EUROPEANFILM MARKET (p.33)15:30H MEET THE EXPERTS(p.32)17:00HSPARKLING TALESAlby James, Fred Roos, Rajendra Roy. In co-operationwith the Hamptons International FilmFestival (p.55).WE´LL FIX IT IN THE EDITSusan Korda (p.55).AVID XPRESS STUDIOAdvanced Editing Workshop.In co-operation with Avid (p.43).HANDS-ON HDWorkshop. In co-operation withJVC (p.55)19:00HBURNING STORIESHans-Robert Eisenhauer, Esther van Messel,Frederick Wiseman. Moderated by Dick Fontaine.In co-operation with the Berlinale Forum (p.55).BERLINALE TALENT CAMPUS #537

TIMETABLEPROMOTION DAY THURSDAY FEB 14HAU 22ND FLOOROTHERWWW.BERLINALE-TALENTCAMPUS.DEVENUES09:30HTICKETING11:00HSTEERING EMOTIONSIlja Coric, Costas Fotopoulos, Jan A.P. Kaczmarek,Guy Maddin, Titas Petrikes. Moderated byPeter Cowie. In co-operation with Volkswagenand Berlinale Forum (p.57).WORLD CINEMA FUND – HOW TO APPLYSonja Heinen, Vincenzo Bugno. In co-operation withWorld Cinema Fund (p.58).HAU 1 HAU 2 HAU 3 BLACK STAGE MEET THE EXPERTS (p.32)COMING SOON...MOVIE TRAILER WORKSHOPFraser Bensted. In co-operationwith Skillset (p.57).12:30HLUNCHBREAKSPEED MATCHING14:00HPRESENTATION OF THE GARAGE FLICKSJay Anania, Grahame Weinbren, Jia Zhangkeand the Garage Studio Talents. Moderated byDavid Thompson (p.58).AN INDIE FILMMAKER‘S GUIDETO THE INTERNETReinventing Distribution: Peter Buckingham, SusanBuice, Alfie Chubb, Arin Crumley, James Fabricant,Lance Weiler. Moderated by Sandy Lieberson, LizRosenthal. In co-operation with Skillset (p.58).HOW TO WORK THEBERLINALE CO-PRODUCTIONMARKETSonja Heinen. In co-operationwith the Berlinale Co-ProductionMarket (p.58).EXCURSION TO EUROPEANFILM MARKET (p.33)15:30H MEET THE EXPERTS(p.32)16:00HTHINGS TO TAKE HOMEBerlinale Talent Campus team and guests (p.59).20:00HFAREWELL CELEBRATIONModerated by Thomas Heinze, DorotheeWenner. In co-operation with Robert BoschStiftung, Volkswagen (p.59).20:30H FAREWELL PARTYRock the HAUs! (p.59).LOCATION HEBBEL AM UFER 1-3WWW.BERLINALE-TALENTCAMPUS.DEHAU 1HAU 2HAU 1HAU 3HAU 2HAU 338BERLINALE TALENT CAMPUS #5

ORIENTATION DAY SATURDAY 10 THORIENTATION DAYSATURDAY 10, 10:00 HAU 1TALENT REGISTRATIONOn Orientation Day, Talents will discover the various activitiesoffered in the programme, will get an overview of WorkingCampus projects, logistics, ticketing and, foremost, will getin touch with the other participants.At 10:00, the doors to HAU 1 will open for Talent registration.This is also where your travel expenses will be reimbursed.SATURDAY 10, 13:00 HAU 1TAKING OFF – ESSENTIAL BRIEFINGThe initial and absolutely essential Talent briefing willenlighten participants about the week to come. It gives anintroduction to the team members, to internet access, theuse of the Campus database and to the variety and cost ofmeals during lunch breaks. Above all, you will be introducedto the general programme with all its possibilities and thisyear’s Working Campus: the Garage Studio, the VolkswagenScore Competition, the Talent Press, the Script & Doc Clinicand the Talent Project Market.SATURDAY 10, 14:00 HAU 2GLOBAL SPEED MATCHINGJanine Marmot. In co-operation with Skillset.Networking, socialising and meeting your peers from aroundthe world are key elements of the Berlinale Talent Campus.To kick-start this crucial experience, come and participate inGlobal Speed Matching – our own professional version ofspeed-dating. All Talents are invited to come along to HAU 2to meet each other in a succession of rapid fire three minutemeetings. Exciting and hectic, this is your first chance tomeet each other, exchange details and break the ice withfellow Talent.More focussed and less frenetic Speed Matchings willcontinue every lunch time at 12:30 in HAU 2 where youwill have the opportunity to meet potential future workpartners.This year’s programme includes:Sunday: directors meet editorsMonday: directors/producers meet everyone elseTuesday: directors/producers meet writersWednesday: directors meet producersThursday: directors/producers meet everyone elseRegister at the Skillset booth in HAU 1 for the session thatsuits you.SATURDAY 10, 17:00 HAU 1OPENING NIGHT &BERLIN TODAY AWARD CEREMONYKirsten Niehuus, Dieter Kosslick, Sebastian Schipper. Moderated by PeterTwiehaus. In co-operation with Medienboard Berlin-Brandenburg.After a welcome address by Dieter Kosslick, Director of theBerlin International Film Festival, the Berlin Today AwardCeremony will open the Berlinale Talent Campus. KirstenNiehuus, Managing Director “film funding“ of MedienboardBerlin-Brandenburg, and director Sebastian Schipper, advisorof the this years Berlin Today Award, will announce thewinner, followed by the screening of his/her film (see p.20/21for further details on the Berlin Today Award). Afterwards,the Opening Party will rock the HAUs to celebrate not onlythe Berlin Today Award winner but the beginning of theCampus week as well. By invitation only.Rock the HAUs: the Opening Party.BERLINALE TALENT CAMPUS #539

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PHILOSOPHY DAY SUNDAY 11 THPHILOSOPHY DAYSUNDAY 11, 9:30 EXTERNAL VENUESTOP BY, SHOOT FILM –DEMYSTIFYING CELLULOIDBart Durkin, Matthias Schulze. Workshop. In co-operation with Kodak.In a time when camera work is done more and more on(digital) video format, it is crucial to rekindle the filmmaker’srelationship to celluloid and emphasise film’s intrinsic artisticproperties.The workshop will be led by Bart Durkin and MatthiasSchulze, two experienced camera instructors from Kodak,and will begin with a technical introduction about filmingon 16mm. Four sessions will be offered, on both Sunday andMonday. Each session will last 3,5 hours. After the one-hourintroduction, the groups will have a couple of hours to visitthe diverse locations around the Berlinale festival area inorder to experience and capture live the event’s manifoldsituations and to shape these impressions cinematically. Thefootage will be processed, edited and presented on PromotionDay. The workshop is geared towards those directors ofphotography who have only basic knowledge and experienceworking with celluloid.SUNDAY 11, 11:00 HAU 1IN THE LIMELIGHT: WALTER SALLESWalter Salles, interviewed by Peter Cowie and José Carlos Avellar.Discussion. In co-operation with the Berlin International Film Festival.Brazilian director Walter Salles won a Golden Bear at theBerlin International Film Festival in 1998 for CENTRAL DOBRASIL, a film also nominated for the Academy Award forBest Foreign Language Film. Recent films by Walter Sallesinclude the US-American production DARK WATER and THEMOTORCYCLE DIARIES about the young Ché Guevara.At today’s opening session, Walter Salles will confront youwith a personal and subjective view on some aspects of “privacy,films and politics“, the main subject of this year’s BerlinaleTalent Campus. In a conversation with Peter Cowie andJosé Carlos Avellar, he will reflect on the “Home Affairs” ofhis own career, his stories which succeeded not only in Brazilbut in cinemas around the globe.SUNDAY 11, 11:00 HAU 2 2ND FLOORAVID XPRESS STUDIOBASIC EDITING WORKSHOPWorkshop. In co-operation with Avid Technology.An in-depth introduction to the various techniques of nonlinearediting with the Avid Xpress Studio system, Avid’sall-in-one production suite. Video editing, audio editing,3D-animation, titling, visual effects and advanced DVD authoring.An unmatched palette of integrated software andhardware tools.For this workshop, basic or no knowledge in the field of nonlinearediting is assumed. Register for the workshops at theAvid booth in HAU 2.Sunday 11 to Thursday 14, daily at 11:00.THE MOTORCYCLE DIARIES by Walter Salles“MAGIC IS THE ELEMENTAL STUFF OF ART.“Sushma Joshi, Talent from NepalBERLINALE TALENT CAMPUS #541

PHILOSOPHY DAY SUNDAY 11 THCRUSADE IN JEANS, a time travelling film produced by Kees KasanderSUNDAY 11, 14:00 HAU 1METROBRANDING – THE CREATION ANDPRODUCTION OF CITY IMAGESTata Amaral, Deyan Sudjic, Wim Wenders and Ning Ying. Moderated byVinzenz Hediger. Discussion. In co-operation with Alfred HerrhausenSociety.There’s a whole lot of business behind the decision of a film’s“location“: the new world order demands that all major citiescreate an image which is easily distinguishable from itscompetitors. The “branding“ of nations and cities has becomea major “by-product“ of filmmaking with far reachinginfluences from the contemporary film industry. Thus, whatare the consequences for filmmaking in various parts of theworld?Directors from three continents – Tata Amaral (Brazil), WimWenders (Germany) and Ning Ying (China) – who havecreated character-like images of their cities São Paulo, Berlinand Beijing in their films, and urbanist Deyan Sudjic willdiscuss city branding.SUNDAY 11, 14:00 HAU 2CALCULATING RISKSAND TAKING CHANCESIain Smith, moderated by Sandy Lieberson. Discussion. In co-operationwith Skillset.Producer Iain Smith explores the themes of taking risks andthe balance between art and money. Using clips from selectedfilms, Iain will discuss how these issues apply to thefilms he has worked on and produced. He will examine thestudio system comparing it to the independent producerand will explain the lessons that apply to you as filmmakers.Smith, one of Europe‘s busiest producers, is currently preparingWANTED with Russian director Timur Bekmambetov,(NIGHTWATCH). Iain‘s credits include Academy Award winningCHARIOTS OF FIRE and KILLING FIELDS, Ridley Scott‘s1492, Jean-Jacques Annaud‘s SEVEN YEARS IN TIBET, LucBesson‘s FIFTH ELEMENT, Anthony Minghella‘s COLD MOUN-TAIN, Alfonso Cuarón‘s CHILDREN OF MEN and Darren Aronofsky‘sTHE FOUNTAIN. A Q&A session to follow.42BERLINALE TALENT CAMPUS #5

PHILOSOPHY DAY SUNDAY 11 THSUNDAY 11, 17:00 HAU 1VIRTUAL CINEMANoah Falstein, Kees Kasander and Tom Tykwer, moderated by Ian Christie.Discussion. In co-operation with Medienboard Berlin-Brandenburg.Be it the travel of cinema spectators into the ancient times ofhistorical films like Tom Tykwer’s PERFUME or time- travellingcharacters as in the Berlinale Generation Kplus contributionCRUSADE IN JEANS, produced by Kees Kasander or popularvideo games like MANIAC MANSION 2: DAY OF THE TENTA-CLE, designed by Noah Falstein: Fantasy and time-travel arethe most popular trends in today’s cinema and the internetmedia.This panel will debate the obvious and hidden analogies,moreover it will try to relate answers to the early years ofcinema where similar motives intrigued audiences to watchand interact emotionally with media products.SUNDAY 11, 17:00 HAU 2WE’LL GET BACK TO YOU –A CASTING WORKSHOPAnnette Borgman, Violetta Buhl, Beatrice Kruger and Debbie McWilliams.Moderated by Nancy Bishop. Workshop. In co-operation with EuropeanFilm Promotion.Five successful casting directors from five different Europeancountries will provide an insight into their practical experience.They will start by giving their views on casting andadvising young actors what they could do to get a start inthe film business. The panel will also address trends in casting,for example, how the image of the leading man/womanhas changed over the years, or on the differences in castingfor a comedy and a drama. Afterwards the discussion will beopened to the audience for questions.SUNDAY 11, 17:00 HAU 2 2ND FLOORAVID XPRESS STUDIOADVANCED EDITING WORKSHOPWorkshop. In co-operation with Avid Technology.An in-depth introduction to the various techniques of nonlinearediting with the Avid Xpress Studio system, Avid’sall-in-one production suite. Video editing, audio editing,3D-animation, titling, visual effects and advanced DVD authoring.An unmatched palette of integrated software andhardware tools.For this workshop, skills good familiarity with the AvidXpress Pro is necessary. Register for the workshops at theAvid booth in HAU 2.Sunday 11 to Thursday 14, daily at 14:00 and 17:00.SUNDAY 11, 19:00 HAU 2“HOME AFFAIRS“ – FILM PROGRAMMETalent directors in discussion with Merle Kröger and Dorothee Wenner.Presentation of 14 short films made by Talents from 12 countrieson this year’s focus. The programme offers an excitingjourney through all aspects of “Home Affairs“, from privacyto politics – and through all genres between video art andfiction film. In-between the screenings, Dorothee Wennerand Merle Kröger will introduce and interview the directors(see p.12 for further details on the film programme).“I WANT TO MAKE FILMS THAT MIGHT MAKE PEOPLE FEEL LESSLONELY.“Paz Fabrega, Talent from Costa RicaHABITÁCULOS by Gabriela Santos del Olmo, part of the “Home Affairs” filmsBERLINALE TALENT CAMPUS #543

HOGAN & HARTSON RAUE LLPLETYOUR MOVIESWINGAre you a producer, composer or director?Then don't miss our workshopat the BERLINALE TALENT CAMPUS 2007:Monday, February 12, 2007, 11:00 a.m. - 12:30 p.m., HAU 3YOUR RIGHT TO MUSICEverything you ever wanted to know about Music LicensingMilena Fessmann (Cinesong)Mareile Büscher (Hogan & Hartson Raue LLP)If you would like more information about howour film & entertainment law team can assist you, please contact :Prof. Dr. Peter Raue praue@hhlaw.comDr. Christoph Wagner cwagner@hhlaw.comChristiane Stützle cstuetzle@hhlaw.comDr. Mareile Büscher, LL.M. mbuescher@hhlaw.comBerlin OfficePotsdamer Platz 110785 BerlinGermanyphone: (+49-30) 726 115 - 0fax: (+49-30) 726 115 - 100Munich OfficeSchackstrasse 180539 MünchenGermanyphone: (+49-89) 205 08 88 - 0fax: (+49-89) 205 08 88 - 10BALTIMORE BEIJING BERLIN BOULDER BRUSSELSCARACAS COLORADO SPRINGS DENVER GENEVAHONG KONG LONDON LOS ANGELES MIAMI MOSCOWMUNICH NEW YORK NORTHERN VIRGINIA PARIS SHANGHAITOKYO WARSAW WASHINGTON DCWWW.HHLAW.COM

PRE-PRODUCTION DAY MONDAY 12 THPRE-PRODUCTION DAYMONDAY 12, 9:30 HAU 2EARLY BIRD BREAKFASTPresented by Euromed Audiovisual II Programme.The early bird catches the worm: Today’s Early Bird Breakfastis hosted by the Euromed Audiovisual II Programme andoffers you a relaxed and tasty start to a promising new Campusday. Meet representatives of today’s host organisationas well as fellow Talents and special guests for a comfortablechat while you enjoy hot coffee and breakfast.easy success abroad. This panel explores the challenges ofproducing local content for international markets. By discussingexamples, the goal is to encourage young filmmakersto search for “I-did-it-my-way“- solutions.MONDAY 12, 11:00 HAU 3, BLACK STAGEYOUR RIGHT TO MUSICMareile Büscher, Milena Fessmann. Workshop. In co-operation with HoganHartson Raue and Cinesong.Mareile Büscher, lawyer at Hogan & Hartson Raue focusingon press, media and copyright law, and Milena Fessmann,music supervisor and founder of Cinesong, will present thelegal aspects of using music in films. Both from a judicial andfrom a practical point of view, their session will provide anoverview on how to deal with the clearing of copyrights andon the formulation of a proper request for licensing musicin a movie.NONE BUT THAT! by Khaled el HagarMONDAY 12, 11:00 HAU 1BY POPULAR DEMANDPeace Anyiam-Fiberesima, Khaled el Hagar, Onir and Jia Zhangke. Moderatedby Jacques Bidou and Vincenzo Bugno. Discussion. In co-operationwith the World Cinema Fund, Euromed Audiovisual II Programme.If Hollywood is not in your backyard, as a filmmaker you mayalready have experienced a clash between the local audience’sdemands and requirements to go “international“ withyour projects. Even if based in countries with “big markets“,as the panelists from Nigeria, Egypt, India and China do, thefilms are not necessarily transferable to different culturalcontexts. Country-specific star systems, particular ways oftelling stories, even a possibly different humour avoid anPhoto: Ahmed RahalMONDAY 12, 14:00 HAU 1FILM CO-OPS –MAKING FILMS WITH FRIENDSBarbara Albert, Ulrich Gregor, Amir Muhammad, Eliane Raheb and PatrickSobelman, moderated by Marc Siegel. Discussion.On the long, winding road from the first idea for a film to itspremiere, all filmmakers know: you need to have a homebasewhich enables you to work, especially, when you areoperating independently, outside of film schools, studios orother established structures. Every filmmaker needs accessto equipment, funds, expertise, and not to forget: artistic debateand exchange throughout the making of a new film. Inrecent times, film co-ops have regained attention throughsuccessful projects produced in co-operative structures.Members of fairly new and established film co-ops from variousregions of the world will share their experiences withthe audience: What are the practical advantages/disadvantagesregarding production, fundraising and distribution?How much experience is required to start a new film co-op?Is it a model that would work equally well in all regions ofthe world? Is founding a film co-op a way to cope with thechallenges of an increasingly globalized film market?BERLINALE TALENT CAMPUS #545

PRE-PRODUCTION DAY MONDAY 12 THMONDAY 12, 14:00 HAU 2THE PITCHJudy Counihan and Eileen Quinn. Workshop. In co-operation with Skillset.Does anybody like pitching their film project to a buyer?Most filmmakers will tell you that it is a part of the job theyhate and fear the most. After nearly twenty years each asproducers in the Film and TV industries, Eileen Quinn andJudy Counihan have devised a workshop to help filmmakersovercome their terror and transform them into professionalsin the art of pitching.The session will take the Talents through the film valuechain, expose them to the thinking and fears all buyers haveand most valuably provide them with the tools to turn theirstories into pitches that will have buyers sitting up in theirchairs. This session is a must for any film maker who wants tobe taken seriously by film industry professionals.MONDAY 12, 14:00 HAU 3, BLACK STAGETHE ABOUT-QUESTIONDavid Wingate. Workshop. In co-operation with SOURCES 2.“What‘s your film about?“ Strange question. Let me tellyou why it‘s strange – offers Script Advisor David Wingateto script writers and documentary directors. It‘s a questionfilmmakers are asked by people outside the filmmakingprocess – film critics, journalists, film academics and so on.And it‘s a question many people believe filmmakers shouldask themselves inside and during the filmmaking process.Wingate proposes that this assumption contains a misunderstandingof how filmmaking takes place. His lecture isboth a philosophical and yet a practical guide – what canyou as a filmmaker do when you get asked this question andhow can you turn the question into something fruitful foryourself, and the others within the filmmaking process.“I WRITE TO UNDERSTAND MY OWN THOUGHTS.“Donal Foreman, Talent from IrelandIn the 2007 Berlinale Competition: Gregory Nava’s BORDERTOWNMONDAY 12, 15:30 HAU 3, BLACK STAGEEX ORIENTE PIXSimone Bitton, Dora Bouchoucha, Ferid Boughedir, Michel Khleifi and IritNeidhart. Moderated by Catherine Buresi and Bärbel Mauch. Discussion. Inco-operation with Euromed Audiovisual II Programme.This panel examines the production chain within the MEDAregion (Algeria, Egypt, Israel, Jordan, Lebanon, Morocco,Palestinian Authority, Syria, Tunisia, Turkey) in order to geta clear view of the regional possibilities to finance, produceand market films. After discussing the role of local and internationalTV stations as well as state support and privatefunding, the panel will concentrate on local and globaldistribution of films and on perspectives for structuredintra-MEDA region co-operations.MONDAY 12, 17:00 HAU 1WHOSE SIDE IS IT ANYWAY?Gregory Nava, Raoul Peck and Jasmila Žbanić. Moderated by Peter Cowie.How does a film win the hearts of people? How do individualsdecide to love or hate a film? The answer lies in thepower of identification: a deeply private bond growing witha character, two lovers, a family or a set of equal-minded individuals.It’s their side to be taken, right or wrong.In recent years, audiences around the globe seem to haverediscovered the power of cinema as a platform for politicaldebate. Yet, what makes a film political? The panel invitesfilmmakers to discuss the relationship between their storiesand the power of cinema to change the world.46BERLINALE TALENT CAMPUS #5

PRE-PRODUCTION DAY MONDAY 12 THMONDAY 12, 17:00 HAU 2BUILDING HOMES FOR FILMSUli Hanisch. Workshop.Uli Hanisch started working with performance artist ChristophSchlingensief on some of his early films before he tookcare of the production design and art direction for successfulproductions such as HEAVEN and PERFUME, both directedby Tom Tykwer, THE MIRACLE OF BERN by Sönke Wortmannand Enki Bilal’s TYKHO MOON.In today’s workshop, Uli Hanisch will introduce his workingmethods, providing an insight into his selection of settingsand style to visually narrate the story. In effect, he will revealthe secret behind his successful sets.MONDAY 12, 19:00 HAU 1BERLIN TODAY AWARD:BECOMING A BERLINERWladimir Kaminer, Adrian Kennedy, Sebastian Schipper, Nikko Weidemannand the Berlin Today directors Andrew Friedman, Guillaume Giovanetti,Rhoda Kawinga, Katarzyna Klimkiewicz, Çagla Zencirci. In co-operationwith Medienboard Berlin-Brandenburg.Four creative Berliners, novelist Wladimir Kaminer, directorSebastian Schipper, musician Nikko Weidemann and performerAdrian Kennedy, will take you on a journey throughBerlin, beyond the festival venue: guidelines for lazytourists, festival guests and all those you may wish to comeagain. Afterwards the three short films nominated for theBerlin Today Award 2007 will be premiered. And again: Youwill witness three very personal and very special views onGermany’s metropole Berlin (see p.20/21 for further detailson the Berlin Today Award).Shooting of the BTA film WASSERSCHLACHT – THE GREAT BORDER BATTLEMONDAY 12, 19:00 HAU 2CAN SCRIPTWRITING BE TAUGHT?Dagmar Benke, Julian Friedmann. Lecture.A provocation by the editor of “ScriptWriter“, Julian Friedmann,and script consultant Dagmar Benke: Can scriptwritingbe taught effectively, or are the real beneficiaries thosewho do the teaching? The lecture will examine these questionsand argue that talent and not craft skills is how we cancompete with Hollywood.MONDAY 12, 23:30 CINEMAXX 3TALENT SHORT FILM NIGHTSeveral short film directors of the Berlinale Short Film Competition andGeneration, moderated by Andrew Amondson. Screening and discussion.In co-operation with Berlin Short Film Competition and Generation.A selection of the best short films from the Berlinale ShortFilm Competition and Generation will be screened at theCinemaxX 3, Potsdamer Platz. The Short Film Night is a specialprogramme for Campus Talents and for the short filmdirectors, including the films BLOOD SISTERS from Denmark(Louise N.D. Friedberg), the Turkish MY MOTHER LEARNSCINEMA (Nesimi Yetik), ROTTEN APPLE from UK (RalitzaPetrova) and the Ethiopian MENGED (Daniel Taye Workou),produced by 2007 Talent Meseret Argaw.Photo: © Peter HimselBERLINALE TALENT CAMPUS #547

PROFESSIONALDEVELOPMENT& TRAININGThree-month process coached by experienced script advisers forEuropean screenwriters and teams of writers, producers or directors!SOURCES 2 Script Development WorkshopsSeven-day session, coached development period, follow-up session.Requested: feature film projects + creative documentaries.Application dates1 st March 2007 for the workshop in Örebrö/Sweden, June 2007with the support of Filmpol Mitt.1 st July 2007 for the workshop in Graz/Austria, November 2007with the support of Cinestyria, the Province of Styria/Cultural Department,the Austrian Film Institute and in cooperation with uniT Graz.SOURCES 2 at BERLINALE TALENT CAMPUSConsultation – Analysis – Advice for selected projects!SOURCES 2 Script Check with Gaby Prekop at the Script Clinic andDavid Wingate at the Doc Clinic.Please visit the SOURCES 2 stand at BERLINALE TALENT CAMPUSor contact the SOURCES 2 office close to Potsdamer Platz!Köthener Strasse 44, D-10963 BerlinTel. + 49(0)30-88 60 211 • + 49(0)172-32 30 216 • Fax + 49(0)30-88 60 213info@sources2.de • www.sources2.de

PRODUCTION DAY TUESDAY 13 THPRODUCTION DAYTUESDAY 13, 9:30 HAU 2EARLY BIRD BREAKFASTPresented by Robert Bosch Stiftung.Today’s Early Bird Breakfast is hosted by the Robert BoschStiftung and offers you a relaxed and tasty start to a promisingnew Campus day. Meet representatives of today’s hostorganisation as well as fellow Talents and special guests for acomfortable chat while you enjoy hot coffee and breakfast.TUESDAY 13, 11:00 HAU 1ON BORDER CROSSING:GAEL GARCÍA BERNALGael García Bernal, interviewed by Peter Cowie. In co-operation with theBerlin International Film Festival.Although his acting career began at the age of eleven in aMexican TV series, the world didn’t become fully aware ofGael García Bernal until 2000, when Alejandro González Iñárritu’sAMORES PERROS entered international cinemas. Andafter Alfonso Cuarón’s Y TU MAMÁ TAMBIÉN – the secondextremely successful Mexican film starring Gael García Bernalwithin the period of a year – enthused global audiences,the film world found a new face to associate the South Americanfilm movement with. In the following years, he workedwith great film directors like Walter Salles (THE MOTORCY-CLE DIARIES), Michael Gondry (THE SCIENCE OF SLEEP) andPedro Almodóvar (LA MALA EDUCACIÓN). He will completehis directorial debut DÉFICIT in 2007, thereby entering newartistic territory, crossing yet another border. In conversationwith the film historian and publicist Peter Cowie, GaelGarcía Bernal, member of this year’s International Jury, willspeak about his experiences in crossing borders of all kinds.Gael García Bernal in Walter Salles’ THE MOTORCYCLE DIARIES“FASCINATED BY THE DIVERSENESS OF OUR WORLD, I WANT TOSUPPORT FILMMAKERS TO EXPLORE AND DEMONSTRATE THEIRPERSONAL PART OF IT.”Emmy Oost, Talent from BelgiumTUESDAY 13, 11:00 HAU 3, BLACK STAGEAN INDIE FILMMAKER’S GUIDE TO THEINTERNET –OVERVIEW OF ONLINE OPPORTUNITIESSandy Lieberson, Liz Rosenthal. In co-operation with Skillset.Filmmakers are harnessing the internet to market, distri buteand finance their work in novel ways. Learn how feature,documentary and short filmmakers are reaching globalaudiences online. Presenting a variety of websites and clips,this session with Liz Rosenthal (Digimart / Earthly DelightsFilms) will reveal how filmmakers can build loyal audiencesthat they can take with them to finance their futureprojects.BERLINALE TALENT CAMPUS #549

PRODUCTION DAY TUESDAY 13 THTUESDAY 13, 14:00 HAU 1THE RADICAL WAY TO SUCCESS:JOHN WATERSJohn Waters, interviewed by Wieland Speck. In co-operation withBerlinale Panorama.A filmmaker who became well known in the early 1970s forhis intentionally transgressive comedies, he pushed hard atthe boundaries of conventional propriety and movie censorshipwith his early films, PINK FLAMINGO, FEMALE TROUBLEand DESPERATE LIVING, which he labelled the “Trash Trilogy“.In recent times, his films have become less controversialand more mainstream although works such as HAIRSPRAY,CRY-BABY and SERIAL MOM still retain his trademark inventiveness.Waters‘ most recent film, A DIRTY SHAME, is a moveback toward his earlier, more controversial work. WielandSpeck, head of the Berlinale Panorama section, will strolldown the radical memory path together with the Americanfilmmaker discussing his controversial life and films as wellas THE FILTHY WORLD, a documentary on Waters which featuresin the Berlinale Panorama section this year.TUESDAY 13, 14:00 HAU 2EAST OR WEST – HOME IS BESTMarkus Halberschmidt, Stefan Kitanov, Riina Sildos, Ognjen Sviličič,moderated by Nikolaj Nikitin. In cooperation with Robert Bosch Stiftungand the Berlinale Forum.What filmmakers from Eastern European countries share,despite regional differences, is the experience of confrontingthe aftermath following dramatic changes that tookplace within their societies. The collapse of the former socialistregimes resulted in a major restructuring of filmschools, studios, festivals and film-related organisations. Althoughsome established institutions had to shut theirdoors, new ones opened up, amongst them big studios designedfor example, for shooting major US American productions.While it is rather easy to pinpoint the changes inworking conditions, distribution etc., the more tricky questionslie in answering how the past influences the presentwith regard to content. What compels the younger generationof filmmakers – 20 years down the line – to reflect onJohn Waters in THE FILTHY WORLD, a film from the Berlinale Panorama sectionthe times of changes, which many experienced only aschildren?The largest potential seems rooted in a historical paradox:changes create and trigger stories. Western producers seemincreasingly to find in the East what they lack in the West.How do they deal with the “burden” of the past in the lure ofa fresh start? Is there a New Wave of Eastern European storytellingand finally, what are the expectations of non-EasternEuropean audiences and do they clash with those of thelocal audience?ARMIN by Ognen Sviličič features in this year’s Berlinale Forum50BERLINALE TALENT CAMPUS #5

PRODUCTION DAY TUESDAY 13 THTUESDAY 13, 17:00 HAU 1IN THE LIMELIGHT:SARAH POLLEYSarah Polley. In co-operation with Berlinale Panorama.One of the first cinematic experiences for Canadian actress,singer and film director Sarah Polley was working with TerryGilliam in THE ADVENTIRES OF BARON MUNCHAUSEN. Later,she starred in such films as THE SWEET HEREAFTER, for whichshe also contributed several songs as lead vocalist, GUINEV-ERE and GO, MY LIFE WITHOUT ME. She was nominated forBest Actress by the European Film Academy for her role asHanna in the 2005 THE SECRET LIFE OF WORDS. Her directorialdebut, the feature film AWAY FROM HER, is based on theAlice Munro short story “The Bear Came Over the Mountain”.Sarah Polley will talk about the twists and turns in her filmiccareer, her entry into the directorial arena and last but notleast, her first feature AWAY FROM HER.TUESDAY 13, 17:00 HAU 2HAPPY TOGETHER?WHAT YOU NEED FOR A SUCCESSFULINTERNATIONAL CO-PRODUCTIONEsther Bannenberg, Roshanak Behesht Nedjad, Ernst Szebedits, moderatedby Ido Abram. In co-operation with the Berlinale Co-Production Market.What makes a project suitable for an international co-production?What gives it international appeal and marketability?What strategies are right for which projects? What arethe possibilities of co-producing with other countries? Whatare the obstacles, what are the advantages?Three experienced industry professionals with backgroundsin independent production, distribution and sales offer theiradvice. Selected projects from the Talent Project Marketwill be analysed in public in order to illustrate internationalstrategies and discuss their potential. You are welcome toask experts about your own projects as well.AWAY FROM HER, Sarah Polley’s directorial debut features in the Berlinale PanoramaTUESDAY 11, 17:00 HAU 3, BLACK STAGEPRESENTATION OF THE CASTING WEBSITEE-TALENTABeatrice Kruger.Rome-based FBI Casting and the UK casting directory, TheSpotlight, recently founded the web portal e-Talenta. Onthis platform, European actors as well as European castingagents and directors can present themselves and easily contacteach other with the aid of several interactive elements.The reliability of this internet project is guaranteed by aprominent Europe-wide board of casting experts. FounderBeatrice Kruger will present www.e-talenta.eu to all Talentsinterested in acting.TUESDAY 13, 19:00 HAU 2FILMING IN THE EYE OF THE STORMThomas Gebauer, Bianca Jagger, Monique Phoba, Eyas Salman,Rakesh Sharma.Moderated by Ralf Fücks. In co-operation with the Heinrich BöllFoundation and Euromed Audiovisual II Programme.This panel highlights and debates the situation of filmmakersin troubled and politically unstable areas, representedby examples from the Congo, Palestine and India. How dofilmmakers survive artistically and economically without becomingpart of the conflict?The panel will discuss the role of non governmental organisations(NGOs) and how their relationship to film communitiesworldwide function.BERLINALE TALENT CAMPUS #551

POST-PRODUCTION DAY WEDNESDAY 14 THPOST-PRODUCTION DAY“I THINK GREAT FILMS HELP US TO UNDERSTAND THOSE FEELINGSWE OFTEN FIND HARD TO DEFINE WITHIN OURSELVES. WHEN WECONNECT WITH THOSE FEELINGS ONSCREEN I THINK IT’S MAGIC.“Veialu Aila-Unsworth, Talent from New ZealandWEDNESDAY 14, 9:30 HAU 2EARLY BIRD BREAKFASTPresented by Kodak and Arri.Today’s Early Bird Breakfast is hosted by Kodak and Arri andoffers you a relaxed and tasty start to a promising new Campusday. Meet representatives of today’s host organisationas well as fellow Talents and special guests for a comfortablechat while you enjoy hot coffee and breakfast.WEDNESDAY 14, 11:00 HAU 1ON EYELEVEL WITH A VIEW-FINDERSławomir Idziak. Workshop. In co-operation with Kodak.Polish-born Sławomir Idziak, one of Europe’s most acclaimeddirectors of photography, stands in the long tradition ofsuccessful and influential Polish cameramen. He started hiscareer in the late 1960s and quickly began working with themost important Polish directors of their time: With AndrzejWajda he shot THE CONDUCTOR while his working relationshipwith Krzysztof Zanussi lasted more than two decades inwhich they made 16 films together. For Krzysztof Kieslowskifinally, perhaps the most prominent of Polish film directors,he shot outstanding films like A SHORT FILM ABOUT KILLINGand THREE COLOURS: BLUE.In the 1980s, he also started working in other countries, firstin Germany with the directors Hark Bohm (YASEMIN) andDetlev Buck (MÄNNERPENSION), later also in England and inthe US where indie film icon John Sayles asked him to shoothis film MEN WITH GUNS. In 1998, Sławomir Idziak receiveda Special Mention at the Berlin International Film Festival forhis “haunting images“ at Michael Winterbottom’s I WANTYOU, and in 2002 his spectacular photography for RidleyScott’s BLACK HAWK DOWN earned him an Academy AwardNomination for best cinematography. His latest production,HARRY POTTER AND THE ORDER OF THE PHOENIX, is currentlyin post-production.In today’s session Sławomir Idziak will talk about futuremodels of cinema making in Europe and the variety of hisexperiences working in different countries with directorsfrom diverse backgrounds.“I WANT MY MOVIES TO REPRESENT THE CULTURE OF MY COUNTRYWHILE CONVEYING MEANINGS WHICH ARE UNIVERSAL.“Ilango Ramanathan, Talent from Sri LankaMichael Winterbottom’s I WANT YOU, photographed by Sławomir IdziakBERLINALE TALENT CAMPUS #553

POST-PRODUCTION DAY WEDNESDAY 14 THWEDNESDAY 14, 11:00 HAU 3, BLACK STAGEAN INDIE FILMMAKER’S GUIDE TO THEINTERNET –ONLINE DIY DISTRIBUTION CASE STUDIESSusan Buice, Arin Crumley, Lance Weiler, moderated by Liz Rosenthal. Inco-operation with Skillset.Hear from pioneering filmmakers about trail-blazing onlinedistribution strategies. Through detailed case studies,they will cover methods used to target and build an onlinefanbase through personal and social networking websitesand podcasts and other web “events“. Learn how to createdynamic websites, keep in touch with your audience, dealwith digital rights issues and plan and profit online from theatricaltours, DVDs, downloads and working with new onlinedistribution services..WEDNESDAY 14, 14:00 HAU 1FILM’S FUTURE LABMichael Arias, James Fabricant and Grahame Weinbren. Moderated byMicz Flor. Discussion.A new generation of filmmakers and cinephiles enter today’stheatres: those who also frequent the internet as a source ofentertainment, distraction and education. Cinema andtraditional filmmaking have a strong, new competitor. Thispanel will debate the co-existence of “traditional“ and “newmedia“ on various levels. Accepting this new co-existenceposes many challenges for filmmakers who need to startmaking the best use of the very distinct requirements formedia production – beginning with the differences betweena reception on private monitors at home and the classicalway of consuming films on big public screens in darkenedcinemas.“ONLY THE EDITOR CAN TRAVEL IN TIME.“Christoph Rainer, Talent from AustriaUNDRESSING MY MOTHER, European Film Award winning short film by Ken WardropWEDNESDAY 14, 14:00 HAU 2SHORT WAVESPhilip Ilson, Annette Kilzer, Deepak Nayar, Ralitza Petrova and KenWardrop. Moderated by Astrid Kühl. In co-operation with Berlinale ShortFilm Competition and the European Film Academy.Most of the young filmmakers at the Berlinale Talent Campusare currently working on short films. A first step on thestairway to heaven? A condensed version of the first “real“film? Lately, the short films seems to be riding a new wave asa vibrant genre – no doubt thanks to DV technology and recentweb-developments. Yet, to watch short films with otherpeople – outdoors, at clubs, in curious places, is a growingculture worldwide. Struggling cinemas in small towns reportthat the only way to get young people before a big screen isby showing shorts.Astrid Kühl from the Hamburg Short Film Agency will discussthis New Wave with experts and directors like alumnusand European Film Award winner Ken Wardrop, questioningthe “low tech“ label of short films, analysing the themesand issues, taking a glimpse at the conditions of productionand distribution. The Berlin International Film Festival has alwaysbeen offering the big screen to shorts, this year withina fresh frame. In this tradition, the Berlinale Talent Campuswould like to speak about the future of this genre.54BERLINALE TALENT CAMPUS #5

POST-PRODUCTION DAY WEDNESDAY 14 THWEDNESDAY 14, 17:00 HAU 1SPARKLING TALESAlby James, Fred Roos and Rajendra Roy. Presentation. In co-operationwith the Hamptons International Film Festival.This presentation allows a unique glimpse into the castingprocess for feature films and how they are made. Festival directorRajendra Roy (Hamptons International Film Festival)will talk with producer and casting director Fred Roos (THEGODFATHER, LOST IN TRANSLATION) about the crucial momentwhen a written character becomes a real person. Thecasting process is teamwork, involving all film professions:producers, casting directors, actors, -writers and directors.For actors, one script reading can decide their entire future,while at the same time it is their daily business and they haveto improve, day by day, their ability to translate a script into avisual experience in body and mind.11 scripts have been selected for the Script Clinic of theCampus, to be discussed with international experts likescript writer and teacher Alby James (London MetropolitanUniversity). As a successful format of the Berlinale TalentCampus, selected scenes from these Sparkling Tales will bepresented for the first time in public – written, directed andperformed by Talents.WEDNESDAY 14, 17:00 HAU 2WE’LL FIX IT IN THE EDITSusan Korda. Lecture.The workshop will delve into the magic of the editor’sprocess seeking to inspire producers, writers, directors andeditors to discover cinematic solutions to their storytellingproblems.The editing room has saved many a film (including BONNIEAND CLYDE, THE CONVERSATION, JAWS and ANNIE HALL),from missing script pages, single-shot scenes which throwthe rhythm off-track to simply a wafer thin story. The workshopwith Susan Korda, teacher at NYU Tisch School of theArts and writer, director, and editor on documentary andnarrative films, will also address the most common stumblingblocks – from the writing of a script all the way to thepost – that lead to the lack of coverage, an uninterestingstory and boring exposition and rhythm. These inputs andfeedback tutorials are meant to convey and deepen the storyteller’sunderstanding of how to merge filmed moments –shot by shot, scene by scene – into rich cinematic experiences.WEDNESDAY 14, 17:00 HAU 3, BLACK STAGEHANDS-ON HDWorkshop. In co-operation with JVC.This workshop gives a hands-on introduction to High Definition(HD) technics. In a practical as well as critical approach,Talents will have the opportunity to learn both technic andartistic possibilities of HD filmmaking. With a JVC High Definitioncamera at hand, film exerpts will be shown and toolscan be tested on the spot.WEDNESDAY 14, 19:00 HAU 2BURNING STORIESHans-Robert Eisenhauer, Esther van Messel, Frederick Wiseman.Moderated by Dick Fontaine. In co-operation with the Berlinale Forum.“Can young filmmakers change the world? How to make thepersonal political and the political personal – are these theonly questions that matter?“, asks Dick Fontaine, head of thedocumentary department at NFTS as an introduction to adiscussion on a genre which has become as complex as realityitself. A reality more and more staged to raise mediaattention. A reality constructed by new hierarchial systemswhich reach out around the globe, replacing the formersetup of North and South, rich and poor, right and wrong.Especially in times of political and cultural controversies, independentdocumentaries become interfaces for the invisibleand the ambiguous, for voices and faces who will neverappear in the flashing lights of fast forward history.12 young filmmakers have been invited to join the Doc Clinicduring the Talent Campus, to develop their documentaryprojects with experienced producers, distributors and mentors.Two of them will present their „work in progress“ onstage, giving an insight into the vibrant future of the documentarygenre.BERLINALE TALENT CAMPUS #555

PROMOTION DAY THURSDAY 15 THPROMOTION DAYTHURSDAY 15, 11:00 HAU 1STEERING EMOTIONSIlja Coric, Costas Fotopoulos, Jan A.P. Kaczmarek, Guy Maddin and TitasPetrikes. Discussion. Moderated by Peter Cowie.In co-operation with Volkswagen and Berlinale Forum.Film scores are a crucial, yet chronically underestimated keyto understanding and steering an audiences’ reaction to afilm. Strangely enough, music can also serve as a means ofcreating distances to the visuals on screen. The panel seeksto highlight the potential of film scores within the contemporarydiscourse on cinema, and does this from differentexciting perspectives. On the one hand, the perspective ofthe composer: Jan Kaczmarek, winner of the AcademyAward for the filmscore of FINDING NEVERLAND and mentorof this year’s Volkswagen Score Competition, and the threecomposing Talents Ilja Coric, Costas Fotopoulos and TitasPetrikes whose competition scores will be presented duringthe discussion.Another is that of filmmakers: Guy Maddin whose new filmTHE BRAND UPON THE BRAIN! – a silent movie – will bepresented in a live narrated and orchestrated spectacle aspart of this year’s Berlinale Forum and made possible byVolkswagen.THURSDAY 15, 11:00 HAU 3, BLACK STAGECOMING SOON...MOVIE TRAILER WORKSHOPFraser Bensted. In co-operation with Skillset.How to sell an independent film in a commercial world.Learn to balance spirit and marketability, examining creativeconsiderations from production all the way to exhibition.Help your film make an impression and get aheadof the competition. This workshop will be run by PictureProduction Company, also known as PPC, based in Soho,London. For the last twenty years PPC has been a producerof audio-visual marketing materials for the major US studios,UK and international film distributors, smaller independentsand numerous other media. They are the leading Europeanproduction company in the creation of trailers, televisionand radio commercials, as well as documentaries, salespromos, junkets, DVD value-added material and electronicpress kits for the film industry. Fraser Bensted has worked asa professional editor for over 10 years. Since joining PictureProduction in 1995, he has edited countless trailers, promosand TV commercials for films as diverse as EAST IS EAST,MONSTER, BODY SONG and most recently, MRS. HENDER-SON PRESENTS. In 2001, he won the Golden Trailer Awardfor the international trailer for BILLY ELLIOT.“I LIKE FILMMAKING BECAUSE IT SHAPES MY PERSONALITY ANDTHAT IS AN ENDLESS PROCESS.“Amir Masoud Aghababaeian, Talent from IranTHE BRAND UPON THE BRAIN by Guy Maddin runs in the Berlinale ForumBERLINALE TALENT CAMPUS #557

PROMOTION DAY THURSDAY 15 THTHURSDAY 15, 11:00 HAU 2WORLD CINEMA FUND – HOW TO APPLYSonja Heinen, Vincenzo Bugno. Discussion. In co-operation with WorldCinema Fund.In co-operation with the German Federal Cultural Foundation,the Berlin International Film Festival has set up theWorld Cinema Fund to support filmmakers from transitioncountries in realising projects which otherwise would not beproduced. Successful examples of funded films are PARADISENOW by Hany Abu-Assad, winner of a 2006 Golden GlobeAward, and the 2007 Berlinale Competition film EL OTRO byAriel Rotter. Up to 2007, the geographical focus will be onLatin America, Africa, the Middle East and Central Asia.Talent directors and producers from these regions are invitedto attend today‘s event to get to know all facts aboutthe application rules. Fund Manager Sonja Heinen and FundAdvisor Vincenzo Bugno will offer all important informationand will open up for a Q&A.THURSDAY 15, 14:00 HAU 1PRESENTATION OF THE GARAGE FLICKSJay Anania, Grahame Weinbren, Jia Zhangke and the Garage StudioTalents. Moderated by David Thompson.During the past Campus days four film crews have each produceda “Garage Flick“. Conceived exclusively for an internetrelease, today will be the exception: The four flicks will bepresented on the big screen. Subsequently, the Garage StudioTalents will report on their experiences on shooting instantlyfor the internet medium. Together with their mentorsJay Anania and Graham Weinbren and based on this specialGarage Studio adventure, they will try to develop some personalguidelines for what it means to serve the digital productionchain from casting, to shooting and distribution ona completely independent level (see p.18).The “Garage“ before the Talents have shot their flicksTHURSDAY 15, 14:00 HAU 2AN INDIE FILMMAKER’S GUIDE TO THEINTERNET –REINVENTING DISTRIBUTIONPeter Buckingham, Susan Buice, Alfie Chubb, Arin Crumley, JamesFabricant, Lance Weiler, moderated by Liz Rosenthal and Sandy Lieberson.In co-operation with Skillset.The rapid growth of online distribution services is changingthe way that films are being financed and distributed. Afteran introduction by Peter Buckingham from the UK FilmCouncil, leading digital pioneers, filmmakers and companieswill discuss a range of new opportunities and services availableto filmmakers. Hear how the Internet is fundamentallytransforming the relationship between filmmaker, audienceand distributor and will change the kind of distribution dealsyou make in the future.“MY WORK REFLECTS WHERE I COME FROM – I’M A MIRROR OF MYCOMMUNITY.“Farai Darlington Munharira, Talent from Zimbabwe58BERLINALE TALENT CAMPUS #5

PROMOTION DAY THURSDAY 15 THTHURSDAY 15, 14:00 HAU 3, BLACK STAGEHOW TO WORK THE BERLINALECO-PRODUCTION MARKETSonja Heinen. In co-operation with the Berlinale Co-Production Market.The Berlinale Co-Production Market is the Berlin InternationalFilm Festival’s platform for producers, financiers, distributorsand sales agents who work in the field of internationalco-production. Around 30 projects from around theworld are presented each year in order to find co-productionpartners and move forward on their way to realisation.Since its formation four years ago, many Co-ProductionMarket projects have already been shot and screened atinternational festivals and in cinemas.Sonja Heinen (head of the Berlinale Co-Production Market)will explain the application and selection process and isavailable for questions.THURSDAY 15, 16:00 HAU 2THINGS TO TAKE HOMEBerlinale Talent Campus team and guests. Presentation.“Home is where the heart is. – On the bus!”, Frank Zappa oncestated in a song. And before this year’s Talents enter busses,trains and planes to leave Berlin and swarm the world againwe would like to give you some useful tools and informationabout maintaining the Campus spirit. Apart from the factsto the short film competition “Why Democracy?” and to thesupporting plans of film co-ops, Campus director DorotheeWenner and Campus online editor Marcus Forchner willpresent new concepts and ideas concerning the Campuswebsite to strengthen the international Talent network andto intensify its utility for current and former Talents (see p.31for further details on sustainability).THURSDAY 15, 20:00 HAU 1 / HAU 2FAREWELL CELEBRATION &FAREWELL PARTYModerated by Thomas Heinze and Dorothee Wenner. In co-operation withRobert Bosch Stiftung and Volkswagen.At the Farewell Ceremony, the Campus team will say goodbyeand bring to a close the last common Talent event of thisyear’s Campus. Central to the Ceremony is the announcementof the winner of the Volkswagen Score Competition2007. The jury will declare the name of the finalist who willwin the Dolby sponsored journey to the best sound studiosin Los Angeles.But as all participants are in reality winners, the ensuingFarewell Party in the HAU 2 will be a celebration for all andwill demand the last bit of your reserve energy, topping offan exciting Campus week.Funded by the World Cinema Fund and part of this year’s Berlinale Competition: EL OTRO by Ariel Rotter“I WANT TO MAKE MOVIES ABOUT PEOPLE WHO INTEREST ME INORDER TO UNDERSTAND WHAT INTERESTS ME ABOUT THEM.”Fellipe Barbosa, Talent from BrazilBERLINALE TALENT CAMPUS #559

NIPKOWPROGRAMMScholarships for EuropeanAudiovisual MediaProfessionals in BerlinFurther studies for qualified applicants in the fields of Film, television and video financing, production, marketingand distribution New technologies (multimedia, interactivity) TV computer design and computer graphicsDeadline for applications 31th of Marchand 30th of September 2007ContactKurfürstendamm 225D - 10719 Berlinphone: +49 30 614 28 38fax: +49 30 614 28 26e-mail: nipkow-programm@t-online.devisit: www.nipkow.deWITH THE SUPPORT OFWith the support of the MEDIA PLUS PROGRAMME of the European CommunityBeauftragter der Bundesregierungfür Angelegenheiten der Kultur und der Medien60 A programme of the EUBERLINALE TALENT CAMPUS #5

INDEX OF EVENTSINDEX OF EVENTSA LIST OF ALL BERLINALE TALENT CAMPUS EVENTS INCLUDING THE PAGE NUMBERS WHERE YOU FIND FURTHER INFORMATION.About Question, The 29, 46Avid Xpress Studio Workshop 41, 43Becoming A Berliner 47Berlin Angels Day 24Berlin Today Award 20, 21, 39, 47Burning Stories 16, 55By Popular Demand 14, 45Calculating Risks and Taking Chances 42Can Script Writing Be Taught? 47Coming Soon – Movie Trailer Workshop 57Early Bird Breakfast 45, 49, 53East or West – Home Is Best 50Ex Oriente Pix 46Excursion to European Film Market 33Excursion to Volkswagen Score Competition 33Excursion to Theaterkunst 33Farewell Party 59Film Co-ops – Making Films With Friends 10, 45Film’s Future Lab 18, 54Filming In the Eye of the Storm 10, 51Global Speed Matching 39Hands-On HD 55Happy Together 51Home Affairs – Film Programme 12, 43How to Work the Berlinale Co-Production Market 58In the Limelight: Walter Salles 28, 41In the Limelight: Sarah Polley 51Indie Filmmaker’s Guide to the Internet 49, 54, 58Meet the Experts 32Metrobranding 42Museum For Film and Television 33On Crossing Borders: Gael García Bernal 49On Eyelevel with a View-Finder 53Opening Night 39Pitch, The 46Presentation of e-Talenta 51Presentation of Garage Flicks 18, 58Radical Way to Success, The – John Waters 50Regional Conference Euromed 31Short Waves 54Sparkling Tales 16, 55Speed Matching 39Steering Emotions 15, 19, 57Stop By, Shoot Film – Demystifying Celluloid 41Taking Off – Essential Briefing 39Talent Short Film Night 47Things to Take Home 31, 59Virtual Cinema 10, 43We’ll Fix It In the Edit! 22, 55We’ll Get Back to You! 43Whose Side Is It Anyway? 10, 23, 46World Cinema Fund – How to Apply 59Your Right to Music 45BERLINALE TALENT CAMPUS #561

INDEX OF EXPERTSINDEX OF EXPERTSABRAM, IDO (p.17, 32, 51) Head of the Amsterdam-based Binger Filmlab,he is the former director of CineMart, the co-production marketof the International Film Festival Rotterdam. Binger Filmlab offersproject-specific coaching programmes for screenwriters, directors,script editors and producers.ALBERT, BARBARA (p.45) Austrian writer, producer and director, she ismost known for NORTHERN SKIRTS, FREE RADICALS and THE FALL-ING and is co-founder of the production company Coop99, whichproduced the 2006 Golden Bear winner GRBAVICA.AMARAL, TATA (p.42) Brazilian director of tv programmes, short filmsand videos, her debut feature was A STARRY SKY, followed byTHROUGH THE WINDOW. ANTONIA, her most recent film will openK14 competition of the Berlinale in the section Generation.ANANIA, JAY (p.18, 58) Director of award-winning documentaries oncultural and political subjects, some of his recent features includeHER NAME IS CARLA, THE VISITORS and DAY ON FIRE, part of thisyear’s Berlinale Special Programme. He teaches directing at the NYUGraduate Film Programme.ANYIAM-FIBERESIMA, PEACE (p.45) Founder and CEO of Africa MovieAcademy Awards, which she created to encourage the growth of thefilm industry in Africa. She is also executive director, Global MusicMovies and More and on the jury of the 2007 Berlinale Short FilmCompetition.ARIAS, MICHAEL (p.54) Producer of ANIMATRIX, he is said to be the firstforeign director to enter Japan’s cult domain. His film TEKKON KINK-REET, an animation adapted from a comic book, features at this year’sBerlinale in the section Generation.AVELLAR, JOSÉ CARLOS (p.41) Film critic with essays in anthologies andcollective works, he has six books on Brazilian and Latin AmericanCinema to his name. He was cultural director of Embrafilme from1985 – 1987, director president of Riofilme and distributor for Brazilianfilms from 1994 – 2000.BANNENBERG, ESTHER (p.17, 51) Freelance consultant with an extensivebackground in worldwide sales, festivals and markets, her companyToto Cinema independently consolidates the development of newprojects and existing markets.BEHESHT NEDJAD, ROSHANAK (p.17, 51) German producer, she founded thecompany Flying Moon which focuses on feature films and documentarieswith an emphasis on international co-productions and thedevelopment of new talent. Flying Moon films include KHAMOSHPANI and SUMMER PALACE.BENKE, DAGMAR (p.47) Script consultant at Berlin-based Script Houseand author of the book “Freestyle“, she taught dramaturgy at theBerlin Film and Television Academy. Presently, she is a board memberof VEDRA, the German association of dramatic advisors.BENSTED, FRASER (p.32, 57) Professional editor who works with PictureProduction in London, he has edited countless movie trailers. Hewon a Golden Trailer Award for his BILLY ELLIOT trailer.BERNAL, GAEL GARCÍA (p.49) Mexican actor, he starred in some ofMexico‘s most celebrated films like AMORES PERROS and Y TU MAMÁTAMBIÉN. Most recently, he was in the internationally celebrated filmBABEL. Gael García Bernal is member of this year’s Berlinale InternationalJury.BIDOU, JACQUES (p.45) Producer and founder of JBA Productions, heproduced 130 fiction and documentary films between 1987 to 2005.SALVADOR ALLENDE, FEATHERS IN MY HEAD and CHRONIQUES SUD-AFRICAINES are some of his productions.BISHOP, NANCY (p.43) Casting director and founder of Nancy BishopCasting, she has worked on CASINO ROYALE, FRENCH BEAN, FUGI-TIVE PIECES and PU-239 and her latest project is PSYCH 9.BITTON, SIMONE (p.46) Moroccan director, she has made over 20 documentarieson the Israeli-Palestinian peace process. Her film creditsinclude STORY OF A LAND, THE BOMBING and the most recent: WALL.BORGMANN, ANNETTE (p.43) Casting director and founder of Casting AnnetteBorgmann, she has been an independent casting director andproduction assistant, production manager and writer for film andtelevision. Her portfolio includes CASINO ROYALE, V FOR VENDETTAand MISSION IMPOSSIBLE.BOUCHOUCHA, DORA (p.46) Tunisian producer, her titles include THEASSASINATED SUN, SATIN ROUGE and THE SEASON OF MEN underher name. Founder and head of the Project’s Workshop of theCarthage Film Festival and the SUD ECRITURE workshops.BOUGHEDIR, FERID (p.46) Director of Carthage Film Festival, and film directorbest known for CHILD OF THE TERRACES and A SUMMER INLA GOULETTE (Berlinale Competition 1996), he became a celebrated62BERLINALE TALENT CAMPUS #5

INDEX OF EXPERTSfilm critic and theoretician. He was a member of the Berlinale InternationalJury in 1997.BUCKINGHAM, PETER (p.58) Former deputy chief executive of FilmFour,he is the head of distribution and exhibition at the UK Film Council,tasked with increasing the breadth and diversity of cinema-goingacross the UK.BUGNO, VINCENZO (p.45, 59) Film critic and journalist, he is an advisor toa long list of film festivals, curator of numerous retrospectives, andthe initiator and Fund Advisor of the Berlinale’s World Cinema Fund.BUHL, VIOLETTA (p.43) Casting director, she has worked on numerousfilms for cinema and television. Her most recent, TYLIKO MNIE KO-CHAJ, is a Polish comedy.BUICE, SUSAN (p.32, 54, 58) Co-writer, co-director, co-producer and actor,she made the short film FISCHERCHICKS before her first featuredebut, FOUR EYED MONSTERS. The editing and animation skills shedeveloped during the film have further evolved in the creation of aseries of video podcasts.BÜSCHER, MAREILE (p.45) Berlin-based lawyer, she focuses on press andmedia law and intellectual property, telecommunications, mediaand entertainment litigation. She is also a specialist in copyright lawand a lecturer at the Humboldt University, Berlin.CHRISTIE, IAN (p.43) Anniversary Professor of Film and Media History,School of History of Art, Film and Visual Media, he co-produced atelevision series for BBC2, THE LAST MACHINE, part of which dealswith the uncanny. Co-curator of the exhibition, “Spellbound: Art andFilm”, he is the co-founder of the new review “Film Studies”.CHUBB, ALFIE (p.58) Acquisitions Manager, Arts Alliance Media, he is responsiblefor working with distributors to bring their content onlinefor Download-to-Rent and Download-to-Own through Arts AllianceMedia online platforms.COUNIHAN, JUDY (p.46) Producer and former director of Film at Skillset,she was responsible for driving forward “A Bigger Future – The UKFilm Skills Strategy”. Her films ANTONIA’S LINE (1995) and NO MAN’SLAND (2001) received Foreign Language Oscars. She is a member ofthe 2007 Berlinale Best First Feature Jury.COUSTON, JEREMY (p.16) Film critic with Télérama since 1997, a Frenchweekly cultural magazine, he has been a freelance journalist writingon cinema and the segment “Sortir“ since 2003.COWIE, PETER (p.16, 41, 46, 49) Long-time International Publishing Directorof Variety magazine, he has written some 30 books on film, and has contributednumerous commentaries to Criterion DVDs of classic movies.CRUMLEY, ARIN (p.32, 54, 58) Co-writer, co-director, co-producer, actor,BUSH was his first film after which he made FOUR EYED MONSTERSwith Susan Buice. Through video podcasts of the film, he plans topush the creation of interactive experiences using film and the web.DURKIN, BART (p.41) Cinematographer and producer at Kodak, he hasbeen testing new motion picture emulsions, shooting demonstrationfilms and teaching and creating content for Kodak CinematographyWorkshops globally.EISENHAUER, HANS-ROBERT (p.16, 55) Head of the Berlin Film Fund, he wasresponsible for founding the European Film Academy and later asdeputy programme director of ARTE, he coordinated about 2,000theme evenings and international co-productions such as BUENAVISTA SOCIAL CLUB and NACH SAISON.EL HAGAR, KHALED (p.45) Egyptian-born director and screenwriter, hemade ROOM TO RENT and a comedy drama GIRL’S LOVE, which hasbeen screened at festivals worldwide. His latest film is NONE BUTTHAT!FABRICANT, JAMES (p.54, 58) Head of marketing and content at MySpaceUK and Ireland, he founded a company producing content for multiplatformdistribution. He is also co-founder of a leading UK eventmarketing company organising high profile events in London, Milanand Tokyo.FALSTEIN, NOAH (p.43) Freelance game designer/producer, was the 7themployee at Lucasfilm Games, and the 3rd at Dreamworks Interactive.He contributed to the design of “Maniac Mansion 2: Day of theTentacle“, a classic adventure game about time travel. Among othergames that he has designed or co-designed are “Indiana Jones andthe Last Crusade“, “Indiana Jones and the Fate of Atlantis“, “SecretWeapons of the Luftwaffe“ and “Freedom Fighter 56“.FESSMAN, MILENA (p.45) Music supervisor and founder of Cinesong,who offer a range of services related to music and filming, she hasworked as a radio DJ and presently hosts a show called “Free Falling”on RadioEins in Berlin.FLOR, MICZ (p.54) Media producer, content developer and theoreticianfrom Berlin, he started working with online streaming media in themid 90s with a special interest in independent media in Eastern Europeand Asia. Flor has been involved in various international NGOprojects as a consultant.FONTAINE, DICK (p.17, 55) Head of Documentary, NFTS, London, he hasmade over 40 films for television and for independent media as wellas having produced a wide range of music films with John Cage,Sonny Rollins and Art Blakey.FRIEDMANN, JULIAN (p.16, 47) Editor of “Scriptwriter“ magazine and aleading consultant for film and TV scriptwriting, he is the author of“How to Make Money Scriptwriting” and has lectured widely on thesubject.BERLINALE TALENT CAMPUS #563

INDEX OF EXPERTSFÜCKS, RALF (p.51) Board member of the Heinrich-Böll Foundationsince 1996, the focus of his work lies on sustainable development,migration, the future of Europe and international politics.GANZERT, ERNST LUDWIG (p.32) Producer and CEO of EIKON Media inBerlin, an independent production company, his latest releaseZORES is a TV feature. Other films include UNDER THE ICE andCOMETS.GAZDAG, GYULA (p.16) Editor, screenwriter and director of feature filmsincluding A HUNGARIAN FAIRY TALE, BANQUET, PACKAGE TOUR andTHE RESOLUTION, his latest film COBBLESTONE will be released thisyear. He is a member of the Faculty of Film, Television and DigitalMedia at UCLA.GEBAUER, THOMAS (p.51) Managing director of Medico Internationaland co-founder of the international campaign to prohibit land mineswhich was awarded the Nobel Peace Prize in 1997.GOETTE, AELRUN (p.17) Director, screenwriter and actress, her documentaryTHE CHILDREN ARE DEAD received the Deutscher Filmpreisin 2004. Her debut fiction film, UNDER THE ICE, premiered at the InternationalFilm Festival Hof, Germany in 2005 and has since beenshown at numerous festivals around the world.GREGOR, ULRICH (p.45) Film critic and promoter of independent, internationalcinema, he is the chairperson of Friends of German Cinemaand the former director of the Berlinale Forum.HALBERSCHMIDT, MARKUS (p.50) Founder of B-Team film productionin Cologne, he has produced the award-winning short films SULO,BURNT and VITA REDUCTA. He is co-founder of Busse & Halberschmidt,which produced the film ARMIN (in the Berlinale Forum2007).HANISCH, ULI (p.47) Production designer and art director for films suchas Tom Tykwer’s HEAVEN and PERFUME – THE STORY OF A MURDER-ER, Sönke Wortmanns THE MIRACLE OF BERN and Enki Bilal’s TYKHOMOON. He won a German Film Award for his production design ofOliver Hirschbiegel’s THE EXPERIMENT.HAYASHI, KANAKO (p.32) Festival director, TOKYO FILMeX InternationalFilm Festival, which showcases the best contemporary independentcinema from Asia, she was a member of the 2002 Berlinale InternationalJury and is on this year’s jury for the Manfred Salzgeber Prizeof the Panorama section.HEDIGER, VINZENZ (p.42) Film critic for a major Swiss newspaper duringthe 90s, he is presently a professor of film and media studies at theRuhr University Bochum, Germany. Until the end of 2004, he was onthe board of trustees of the Swiss cultural foundation Pro Helvetia,responsible for visual arts and the cinema.HEINEN, SONJA (p.58, 59) Head of the Berlinale Co-Production Marketand of the World Cinema Fund, both initiatives of the Berlinale anddedicated to international co-productions.HONG, SANG–SOO (p.18) Korean writer and director who, since his debutfilm in 1996 – the award-winning THE DAY A PIG FELL INTO THE WELL– has established himself as one of Asia‘s most original and talenteddirectorial voices. WOMAN ON THE BEACH (2006), his latest work is inthe Berlinale Panorama 2007.IDZIAK, SŁAWOMIR (p.53) Cinematographer, he has made movies withdirectors such as Krzysztof Kieslowski, Ridley Scott and MichaelWinterbottom. He was nominated for an Academy Award for BestCinematography for BLACK HAWK DOWN. He teaches at film schoolsin Berlin, London and Copenhagen.ILSON, PHIL (p.54) Co-founder and co-director of the Halloween ShortFilm Festival, UK, he co-programmed and co-ordinated the BritishCouncil‘s Sensurround multi-media club extravaganza which touredEurope and South America.JAGGER, BIANCA (p.51) Social and political activist, she has collaboratedwith numerous humanitarian organisations such as Amnesty Internationaland Human Rights Watch (USA), to name just a few. Theformer actress is on the Executive Board of Amnesty International.JAMES, ALBY (p.16) Academic leader for media and performance in theDepartment of Humanities, Arts and Languages, London MetropolitanUniversity, he is also a script development consultant and leadsprogrammes for project development, policy formulation and trainingdevelopments for the South African film and television industry.KACZMAREK, JAN A.P. (p.15, 19, 33, 57) Composer of music for over 30feature films and documentaries, he is the winner of the 2005 Oscarfor the music score in FINDING NEVERLAND.KAMINER, WLADIMIR (p.47) Russian-born German short story writer,columnist, and disc jockey, he became a prime mover in Berlin‘s artand literature scene through the reopened Kaffee Burger where heholds regular readings. He also DJs at his “Russendiskos“ and openeda new club called “Rodina”.KASANDER, KEES (p.43) Producer and founder of Kasander Film Company,he has numerous films to his credit including WILD INNOCENCE,HOOVER STREET and KEN PARK. His latest production CRUSADE INJEANS features in the 2007 Berlinale Generation.KENNEDY, ADRIAN (p.47) Television actor, stand-up comedian and moderatorof the short film festival Interfilm, he has acted in a number offilms, the latest one – A GOOD THIEF.KHLEIFI, MICHEL (p.46) Palestinian filmmaker, he is regarded as the chroniclerof the Palastinian experience. He won 10 awards for WEDDING INGALILEE, CANTICLE OF THE STONES and TALE OF THREE JEWELS.64BERLINALE TALENT CAMPUS #5

INDEX OF EXPERTSKILZER, ANNETTE (p.54) Film critic for over twenty years, she has numerousessays on film for books and catalogues to her name. Three yearsin London, representing the Berlinale in UK and Ireland, she is nowback in Berlin as curator of the Short Film Competition.KITANOV, STEFAN (p.50) Director of Sofia International Film Festival, heis also a producer. His most recent production GUCHA will be presentedin this year’s Berlinale Panorama.KORDA, SUSAN (p.22, 55) Teacher at NYU Tisch School of the Arts, shehas worked as a writer, director, and editor on documentary and narrativefilms including FOR ALL MANKIND, TREMBLING BEFORE G-Dand her own ONE OF US. She is currently in pre-production for hernarrative short MAZEL, A DOG’S STORY.KRUGER, BEATRICE (p.43, 51) Founder and casting director of FBI Casting,she has worked on such films as CASINO ROYALE, THE LIFE AQUATICWITH STEVE ZISSOU and OCEAN’S TWELVE. Her latest projects areSILK and MEMOIRS OF HADRIAN.KÜHL, ASTRID (p.54) Managing director, Short Film Agency and co-head,International Short Film Festival, Hamburg, since 2002, she is a memberof the commission that awards the Cinema Programme Award ofthe German State Ministry for Culture and the Media (BKM).LEVINE, SYDNEY (p.33) Co-founder of FILM FINDERS, she served asVice President, Acquisitions for Republic Pictures having previouslyworked for Lorimar. Her contacts have resulted in acquisitions such asMY BEAUTIFUL LAUNDRETTE, LETTER TO BREZHNEV and TAMPOPO.LIEBERSON, SANDY (p.32, 42, 49, 58) Chairperson, Film London, he hasbeen a major figure in the film industry in Europe and America sincethe 1960s. He was first vice president of International Pictures andMarketing and later president of production at 20th Century Fox.Sandy is an advisor and contributor to the Berlinale Talent Campus.MADDIN, GUY (p.57) Writer and director of both short and feature films,his career spans over 2 decades and 25 films. His latest work THEBRAND UPON THE BRAIN! (2006) is presented at this year’s BerlinaleForum.MALCOLM, DEREK (p.16) Film critic with The Guardian for several decades,he currently writes a column “Pass the Popcorn“ and is authorof “The Century of Films“. He is an Honorary President of FIPRESCI(The International Federation of Film Critics).MARMOT, JANINE (p.32, 39) Director of Film at Skillset, she has producedfilms such as BODYSONG, I COULD READ THE SKY and INSTITUTEBENJAMENTA. At Hot Property Films, she has produced numerousfilms with partners such as FilmFour and the UK Film Council.MAUCH, BÄRBEL (p.46) Producer and founder, Bärbel Mauch Film, sheproduced LE MALENTENDU COLONIAL and was in charge of public relationsfor MEMORIES OF RAIN, a German-South-African production.MCWILLIAMS, DEBBIE (p.43) Casting director who has cast 6 James Bondmovies including the last 3, she was also casting director for DIRTYROTTEN SCOUNDRELS, amongst others.MUHAMMAD, AMIR (p.45) Malaysian director, screenwriter, producer andcinematographer, he has been part of numerous short, feature anddocumentary films in different capacities. He is currently in productionwith SUSUK and his film, VILLAGE PEOPLE RADIO SHOW, featuresin the Berlinale Forum.NAVA, GREGORY (p.46) Film director, producer and screenwriter, he wonBest First Feature Award at the Chicago International Film Festivalfor THE CONFESSION OF AMANS. His films include EL NORTE and SE-LENA, and BORDERTOWN, which he produced, wrote, and directed,is being presented as world premiere in Competition at the Berlinale2007.NAYAR, DEEPAK (p.54) Independent producer, he began his career collaboratingwith the Merchant Ivory group on HEAT & DUST and THEDECEIVERS and went on to produce award-winning films such asLOST HIGHWAY, THE END OF VIOLENCE, THE BUENA VISTA SOCIALCLUB and BEND IT LIKE BECKHAM, amongst others.NEIDHART, IRIT (p.46) Co-founder and programme director (until 1999)of Israelische und Palästinensische Filmtage Münster, she has taughtat the School for Oriental and African Studies (SOAS) and at MorleyCollege. She is head of the German distribution company “mec film“which focuses on cinema from the middle-east.NIKITIN, NIKOLAJ (p.50) Founder of Schnitt Magazine, he is also the Berlinale’sforeign delegate to Eastern Europe. He served as the artisticdirector for LOST AND FOUND, which premiered at the Berlinale Forumin 2005.ONIR (p.45) Indian director, editor, screenwriter, he started his careerediting films of acclaimed Indian directors until his own feature filmhad its debut: MY BROTHER NIKHIL, which deals with social stigma inthe face of HIV AIDS. More recently, he made BAS EK PAL, a take onurban relationships.PECK, RAOUL (p.23, 46) Award-winning documentary and feature filmdirector, THE MAN BY THE SHORE and LUMUMBA are some of hismost well-known works. Peck’s SOMETIMES IN APRIL was screenedin the 2005 Berlinale Competition.PETERSEN, NIKOLAI (p.32) Head of programme at the Goethe-Institut Johannesburg,he was crucial in the cooperation between the Berlinaleand the Sithengi Film and Television Market and responsible for theInstitute’s grant programme for the BTC in Cape Town in 2006.PETROVA, RALITZA (p.54) Bulgarian director, her short film ROTTEN AP-PLE features in the Berlinale Competition this year. Her graduationfilm DON‘T GIVE UP was at the Berlin and New York Film Festival.BERLINALE TALENT CAMPUS #565

INDEX OF EXPERTSPHOBA, MONIQUE (p.51) Congolese director, she made TWO LITTLETRICKS AND THEN THEY WERE GONE about the 1996 presidentialcampaign in Benin. Her filmography includes the video ANNA FROMBENIN and a documentary UN RÊVE D’INDEPÉNDENCE.POLLEY, SARAH (p.51) Canadian actress, singer and film director, she hasstarred in such films as THE SWEET HEREAFTER, GUINEVERE and THEADVENTURES OF BARON MUNCHAUSEN. AWAY FROM HER, her featurefilm debut is in the 2007 Berlinale Panorama.PREKOP, GABY (p.16) Long-time script-editor for legendary Hungariandirector István Szabó, associate producer of SUNSHINE and MEET-ING VENUS, she is currently script advisor and board member ofSOURCES 2.QUINN, EILEEN (p.46) Head of drama, IWC Media Ltd, she is a partner atThe Script Factory where she also functions as a trainer for pitch workshops.She has co-authored the book “The Pitch“, a guide to pitchingstories within the film and TV industry in Britain and beyond.RABARTS, MARTEN (p.16) Artistic director, Binger Filmlab, he entered thefilm industry as an assistant editor on the Oscar winning short MOL-LY‘S PILGRIM. He is a producer, screenwriter, script editor, and wasresponsible for the Binger Partnership in the production/trainingincentive “Project 10 – real stories from a free South Africa“.RAHEB, ELIANE (p.45) Director and scriptwriter of the two short filmsTHE LAST SCREENING and MEETING, she has been organising theFilm Festival for Beirut DC since 1999. She has also directed two documentaries:SUICIDE and SO NEAR YET SO FAR.RODENKIRCHEN, FRANZ (p.16) Head of the dramaturgy department of theBerlin-based Script House, script editor, tutor and writer; he is oneof three script editors of the CineLink co-production market at theSarajevo Film Festival, he has worked as a script consultant on thefilms SUZHOU RIVER, HOTEL and GRBAVICA.ROOS, FRED (p.55) Co-producer of APOCALYPSE NOW and THE GOD-FATHER parts II and III, he was the executive producer of LOST INTRANSLATION and is currently working on STREET OF DREAMS andYOUTH WITHOUT YOUTH.ROSENTHAL, LIZ (p.32, 49, 54, 58) Programme director of Global DigitalDistribution Summit, she is the founder of “Earthly Delights Films”.She set up and ran the UK office of “Next Wave Films” and has lecturedat EAVE and BAFTA, amongst others.ROY, RAJENDRA (p.55) Director of programming at the HamptonsInternational Film Festival, he is also the Film and Media Arts ProgramManager at the Guggenheim where he has organised seasonal filmexhibitions and programmes in New York as well as at the museum‘sother facilities overseas.SALLES, WALTER (p.28, 41) Brazilian director of the famed CENTRAL STA-TION and THE MOTORCYCLE DIARIES, he co-produced CITY OF GOD.His first Hollywood venture is the thriller DARK WATERS. His latestfilm ON THE ROAD is currently in production.SALMAN, EYAS (p.51) Co-director and editor of the documentary THEEDGE OF HOPE, for which he received the Katrin Cartlidge Foundationaward, his other films include BED AND BREAKFAST and DIS-PLACED.SCHIPPER, SEBASTIAN (p.47) German actor and director, he made twoshort films before his feature directorial debut GIGANTIC and mostrecently EIN FREUND VON MIR. His acting credits include MAJA, WIN-TERSLEEPERS and RUN LOLA RUN.SCHULZE, MATTHIAS (p.41) Running his own business as camera/steadicamoperator/2nd unit DoP, he has worked for tv productions, advertisingcompanies and motion pictures.SHARMA, RAKESH (p.51) Director of the hard-hitting documentary FI-NAL SOLUTION (2003), he won the Wolfgang Staudte & Special JuryAward (Netpac) at the Berlinale 2004. AFTERSHOCKS: THE ROUGHGUIDE TO DEMOCRACY (2002), his previous film, won 10 internationalawards. Sharma uses novel campaigns like “Pirate and Circulate”to distribute his films.SHIRI, KEITH (p.32) Director, “Africa at the Pictures”, an organisationthat exists to enhance the exhibition and distribution of African filmin the UK and Europe, Shiri has made an outstanding contribution tothe promotion and understanding of African cinema. He is a memberof the jury for the Berlinale World Cinema Fund.SIEGEL, MARC (p.45) Film scholar, artist and activist, he is a part-timelecturer at the Seminar for Film Studies, Freie Universität Berlin andalso runs a performance co-op in Berlin called “Cheap Klub”.SILDOS, RIINA (p.50) Co-founder of the Tallinn International Film Festival– the Black Nights Film Festival, her film, MAT THE CAT, was a localbox-office success and LOTTE FROM GADGETVILLE premieres at theGeneration section of the 2007 Berlinale. She is one of the foundersand organisers of BALTIC EVENT Co-production Market.SMITH, IAIN (p.42) Producer of more than a dozen feature films, includingSEVEN YEARS IN TIBET and ALEXANDER, his latest productionCHILDREN OF MEN was released in 2006.SOBELMAN, PATRICK (p.45) French producer of Agat Films, he producedTHE LATEST MITTERAND, which ran in the Berlinale Competition in2005. His most recent films, both produced in 2006, are THE PREMO-NITION and The RIGHT OF THE WEAKEST.SPECK, WIELAND (p.50) Former actor, director, professor of film studiesand art-house cinema manager, he has been the head of the Berlinale’sPanorama section since 1992.66BERLINALE TALENT CAMPUS #5

INDEX OF EXPERTSSUDJIC, DEYAN (p.42) Director at Design Museum, London, he is also an architecturecritic for The Guardian. He works on “The Changing World:Making Cities Work“, a radio series produced by the BBC World Service.He is also active with the Alfred Herrhausen Gesellschaft.SVILIČIĆ, OGNJEN (p.50) Croatian filmmaker, he won the best CroatianMotion Picture Award at the national film festival for WISH I WERE ASHARK. His second film SORRY FOR KUNG FU had its world premiereat the 55th Berlinale Forum and his latest work, ARMIN, will be showcasedat this year’s Berlinale Forum.SZEBEDITS, ERNST (p.17, 51) German independent producer and formerdistributor, he was most recently involved in BAB AZIZ, DARSHANand WRONG SIDE UP. He is a consultant for national and internationalfilm projects and organisations.THOMPSON, DAVID (p.58) Head of BBC Films, the Corporation’s cinematicarm involved with high profile British films of recent years includingthe hugely successful BILLY ELLIOT, MANSFIELD PARK, MAYBE BABYand DIRTY PRETTY THINGS.TYKWER, TOM (p.43) Director of the critically acclaimed RUN LOLA RUN,his other award-winning films include WINTER SLEEPERS, HEAVENand the recent PERFUME – THE STORY OF A MURDERER.VAN MESSEL, ESTHER (p.16, 55) CEO of First Hand Films, Zurich and Berlin,for world sales of documentaries and fiction films, she has also beenthe head of distribution at Warner Bros. Israel. She is a lecturer andconsultant to various organisations such as EAVE Brussels, IDFA Forum,Eureka Warsaw, amongst others.VOGEL, SABINE (p.16) Editor of Literature and Arts at the Berliner Zeitungsince 2001, she has a 20-year career as a journalist and film criticbehind her. She has written numerous articles and essays on art,popular culture, literature, music, film and media in daily and weeklynewspapers, in journals and magazines.WARDROP, KEN (p.54) Irish director and writer, he won the EuropeanFilm Award for DRESSING MY MOTHER. His last directorial work is ashort film BONGO BONG. He is an alumnus of the Berlinale TalentCampus 2004.WATERS, JOHN (p.50) American filmmaker, famous for his Trash Trilogyfilms: PINK FLAMINGO, FEMALE TROUBLE and DESPERATE LIVING.He is currently a professor of Cinema and Sub-cultural Studies at theEuropean Graduate School. THIS FILTHY WORLD, a documentary onWaters, is in the Panorama section of the Berlinale 2007.music for the films MEIN TOD IST NICHT DEIN TOD, HAPPY FAMILYand NAH AM WASSER.WEILER, LANCE (p.54, 58) Co-writer, director and producer, his digitalfeature, THE LAST BROADCAST, has been distributed in over 20countries. Lance is recognized as a digital pioneer for the way hemakes and distributes his work. His last feature, HEAD TRAUMA, hadits world premiere at the 2006 Los Angeles Film Festival.WEINBREN, GRAHAME (p.18, 54, 58) Experimental filmmaker, his documentariesand experimental films and interactive cinema installationshave been screened at festivals, on television, and in museumsand cinemas. He has published and lectured internationally on cinema,interactivity, and new technology.WENDERS, WIM (p.24, 42) Director of WINGS OF DESIRE, THE END OFVIOLENCE, and PARIS TEXAS, all of which won the Golden Palm atCannes, his most recent film release is DON’T COME KNOCKING.WINGATE, DAVID (p.17, 46) Board member and a SOURCES 2 script advisorfor feature and documentary projects, he currently works as aconsultant and dramatic advisor, script editor and tutor in several Europeancountries. Latest dramaturgy credits: FUCKING ÅMÅL, LUCKYPEOPLE CENTRE INTERNATIONAL and LEVA.WISEMAN, FREDERICK (p.55) One of US-America’s most important andmost influential documentary filmmaker whose works are highly acclaimedbeginning with his first production in 1967, TITICUT FOLLIES.He is a guest professor at numerous universities in the USA.YING, NING (p.42) China’s premier woman director, she is also a screenwriter,producer, editor and cinematographer, thus donning numerouscaps. Her films include WU QIONG DONG, RAILROAD OF HOPEand I LOVE BEIJING. She is a member of this year’s Berlinale ShortFilm Jury.ŽBANIĆ, JASMILA (p.29, 46) Bosnian director and artist, her first featureGRBAVICA won the Golden Bear at the 2006 Berlinale. She is the directorof BIRTHDAY, one of the six short films of LOST AND FOUND,which premiered at the Berlinale Forum in 2005.ZHANGKE, JIA (p.14, 18, 45) Director of 7 films and winner of the GoldenLion at the Venice Film Festival in 2006 for STILL LIFE, he is regardedas the central figure of a new, independent and innovative generationof filmmakers in China. In 1998, he was awarded the WolfgangStaudte Forum Prize at the Berlin International Film Festival for hisdebut film PICKPOCKET.WEBER, MICHAEL (p.32) Managing Director of The Match Factory, hisline-up of films bagged a number of awards: they include GRBAVICA,EL CUSTODIO and TOUGH ENOUGH.WEIDEMANN, NIKKO (p.47) German singer and songwriter, he has workedwith such diverse artists as Nick Cave and Nena. He has composedBERLINALE TALENT CAMPUS #5 67

NOTE OF THANKSHOME BASE CAMPUSThis year’s Campus focus “Home Affairs – Privacy, Films andPolitics” inspired many young filmmakers to send us wonderfulfilms with a remarkable range of interpretations ofthis subject. For us, it was the overriding theme in puttingtogether the programme: reflecting on the relevance, vulnerabilityand opportunities a true home has for filmmakersin practically every aspect of movie making. The focus on“Home Affairs” made us even more aware of our sincere ambitionto make the Campus a home for Talents and alumni, aswell as for experts and patrons, supporters, advisers, guestsand friends. We are very grateful to all who have contributedin creating a network which, throughout the brief history ofthe Campus, has developed a distinctive life of its own. TheCampus network is fuelled by the individual devotion ofmany artistic minds, it lives off the friendship, professionalpassion and versatile interests of the ideas and projects ofothers. We are very happy and proud that the Campus hasdeveloped a truly international spirit that binds people ofdiverse cultural backgrounds. Many of them have been activelyinvolved in shaping a support system that has by nowcreated surprising survival strategies and artistic niches inthe highly competitive environment of the globalised filmindustry. This is best reflected in the Talent success stories,in the many films being produced and presented by Talentsand alumni internationally and the countless contacts andfriendships that have resulted.This gives us reason to look into the future with confidence:we are hoping that the fifth edition of the Berlinale TalentCampus offers buzzing days and nights full of plans, dreamsand discussions on films of the past, present and the future.This is our idea of the Campus as a “home”: a temporaryvenue with its doors open to anyone who loves cinema andis eager to meet soulmates and film-minded people fromaround the world who are equally devoted, crazy, serious,determind and motivated to live a life in and for cinema. Inthat sense, we hope that the Berlinale will also become aplace to which all participants will hopefully return with asense of belonging.Thank you – to everyone who made this year’s Campuspossible.Dorothee WennerDirector Berlinale Talent CampusPhoto: Holger KrischkeTHANK YOU:ALFRED HERRHAUSEN SOCIETY Wolfgang Nowak, Ute Weiland, JessicaBarthel. APPLE Germany Sabine Gross, Stephan Buchmannand Gerald Golisch. ARRI Fritz Sammer. AVID MichaelDalock-Schmidt and Veronica Lode. BACCOS Mario and Ante.BERLINER PILSNER Bettina Pöttken, Harro Fischer and HansGeltner. BOXFISH FILMS Christiane Steiner, Philipp Graf, KarenRudolph, Christine Busch, Ricarda Disla, Yasmine Gallus, KerstinHeckenrath and Julia Dubois. BRITISH COUNCIL Paul Howson,Gil Satwant and Elke Ritt. CARPE DIEM Fabienne Kemper. DAAD –GERMAN ACADEMIC EXCHANCE SERVICE Dorothea Fitterling and68BERLINALE TALENT CAMPUS #5

NOTE OF THANKSAndrea Köhler. DEUTSCHE WELLE Rainer Traube, Melanie Matthäus,Bettina Kolb, Fred Oelschlegel and the DEUTSCHEWELLE Trainees for the Campus dailies. DEUTSCHES FILM-ORCHESTER BABELSBERG Klaus-Peter Beyer, Anja Bause, GünterJossek and the musicians. DFFB – GERMAN FILM AND TV ACADEMYHartmut Bitomsky, Bodo Knapheide. DOLBY Graham Edmonsonand Hubert Henle. DOUBLE STANDARDS Chris, Andreas & Pierre.EUROPEAN FILM ACADEMY Marion Döring, Bettina Schwarz andPascal Edelmann. EUROMED AUDIOVISUAL II PROGRAMME CatherineColomb-Nancy, Safaa Kaddoui, Catherine Buresi, ArianeVaughan. EUROPEAN FILM MARKET thanks to Beki, Karen, Michael,Faysal, and Sydney. EUROPEAN FILM PROMOTION Renate Rose andKarin Dix. FFA – GERMAN FEDERAL FILM BOARD Peter Dinges andKatja Jochum. FEDERAL FOREIGN OFFICE Ludwig Linden, WilfriedGrolig and Michael Kröner. FIPRESCI Klaus Eder and JosephSchnelle for The Talent Press. FRENCH EMBASSY and BUREAU DUCINEMA Chantal Colleu-Dumond, Anne Schesch, ElianeHerment and Julien Lamy. GOETHE INSTITUTE Prof. Dr. Jutta Limbach,Dr. Hans-Georg Knopp and Detlef Gericke-Schönhagen.GOETHE INSTITUTE JOHANNESBURG Nikolai Petersen. GAHRENS &BATTERMANN Michael Kugel. GOROL & PARTNER Stephan, Anne &Ronald. HAMPTONS INTERNATIONAL FILM FESTIVAL Rajendra Roy.HEINRICH BÖLL FOUNDATION Barbara Unmüßig, Ralf Fücks, PeterSiller, Albert Eckert, Jan Engelmann, Simone Schmollack andMonica Reddig. HEBBEL AM UFER (HAU 1-3) Matthias Lilienthal,Sonja Hildebrandt, Elisabeth Knauf, Kirsten Heymeyer,Matthias Schäfer and the entire HAU team for their cool locationand their patience. HFF – ACADEMY FOR TV AND FILM “KONRADWOLF“ Prof. Dieter Wiedemann, Prof. Martin Steyer, Holger Lochauand Prof. Lothar Holler. HOGAN HARTSON RAUE BERLIN Prof.Peter Raue and Dr. Mareile Büscher. HOUSE OF WORLD CULTURESDr. Bernd Scherer, Shaheen Merali and Doris Hegner. HUGOBOSS Claudia Schmidt. JVC Peter Nicolaus. KODAK Thierry Peronnetand Klaus-Georg Hafner. MANFRED DURNIOK FOUNDATIONMichiko Teramoto. MALLORCA FILM ACADEMY Petra Schulz. MEDIATRAINING PROGRAMME OF THE EUROPEAN UNION Aviva Silver, CostasDaskalakis, Arnaud Pasquali and Pauline David. MEDIENBOARDBERLIN-BRANDENBURG Kirsten Niehuus, Petra Maria Müller, RangeenHorami, Inga von Staden, Florian von Hennet and AnneBochmann. MIRAMAX FILMS Julie Daccord. NIPKOW PROGRAMMEUta Ganschow. ROBERT BOSCH FOUNDATION Frank Albers. SCRIPTHOUSE BERLIN Dagmar Benke, Franz Rodenkirchen & JürgenSeidler. SERVE-U Phillip Sünderhauf and Andreas Buchholz.SKILLSET Janine Marmot, Gary Townsend, Emily Bullock,Natasha Williams, Rachel Duke, Claire Doughty and SandyLieberson. SPECIAL THANKS TO: Peter Cowie, Christine Dorn,Thomas Struck, Adrienne Goehler, Frank Stehling, Tom Korr,Dr. Harald Eichsteller, Verena von Beckerath, Solveig Claasen,Vinzenz Hediger and Alexandra Schneider, Micz Flor, NollBrinckmann, Ulrich and Erika Gregor. SOURCES 2 Renate andMarion Gompper. TELLURIDE FILMFESTIVAL Tom Luddy. TALENTPROJECT MARKET Kathi and Sonja. TOP-IX Torino e Piemonte InternetExchange Silvano Giorelli. TYPE FACE Anja Joos. U.S. EM-BASSY BERLIN Peter Claussen and Wolfgang Brandt. VOLKSWA-GEN Cord Dreyer, Cornelia Schneider, Christiane Krebs-Hartmann,Maren Weißner and Christian Heubner. WAVE-LINE MatthiasBehrens, Beate Hetényi, Kai Hoffmann, ChristophOertel. 20SEC.NET Jens Rietdorf. KBB – KULTURVERANSTALTUNGENDES BUNDES IN BERLIN GMBH Dr. Thomas Köstlin, Charlotte Sieben,Johannes Emig, Marianne Bialek and Petra Hemprich. BERLININTERNATIONAL FILM FESTIVAL Dieter Kosslick and his team – Johanna,Karin & Daniela, Bernadette & Hendrike. Johannes &Wolfgang for… Everything! Dagmar, Jolanda, Alex, Kathrin,Tim and Nina for handling our industry sponsors. The sectionheads Alfred, Christoph, Thomas and Wieland with theirteams. Markus Hönle and Annette Kilzer; Alexis Grivas andNikolaj Nikitin for strategic expert approach; Anne Marburger &Melanie, Sabine Buske for the good communication, Fraukefor being with us at even odd hours, Jo for recording thetele-lectures, Rainer Chemnitius, 123-easy 24hours worldwideIT support: Jochen, Jörg and Alex. André and Ronaldfor their open ears. CAMPUS TEAM 2007 Anna, Andrew & Birge,Christina, Christine, Cima-Nadja, Jana, Janne, Judith, Kathi,Lira, Maria, Marcie, Marcus, Marjorie, Maya, Merle, Oli, Rubaica,Suse and Stefan.BERLINALE TALENT CAMPUS #5 69

TEAM AND IMPRINTTEAMBERLINALE TALENT CAMPUS 2007DirectorFinance & Administration ManagerProgramme AssistantAssistant SponsorshipAssistant Finance & AdministrationTrainee Event ManagementTalent AdministrationSelection CommiteeWorking CampusGuest ManagerOnline EditorMagazine Editor/ The Talent PressPress CoordinatorEvent AgencyIT Project ManagementIT TechnologyGraphic DesignConsultantsDorothee WennerChristine TröstrumBirge OhlerJudith Hehne, Anna SchnabelChristina JanitzCima-Nadja SamadiMarjorie Bendeck, Maria Casas, Maya Dalinsky, Lira Lousinha, Marcus ForchnerMarjorie Bendeck, Andrew Amondson, Marcie Jost, Stefan Pethke, Merle KrögerKathi Bildhauer, Sonja Heinen (Talent Project Market), Merle Kröger (Doc & Script Clinic),Andrew Amondson, Susanne Mann (Garage Studio), Marcie Jost, Janne von Busse(Volkswagen Score Competition)Jana DaedelowMarcus ForchnerOliver Baumgarten, Rubaica Jaliwalaboxfish films – Christiane Steiner, Philipp Graf, Christine BuschGorol & Partner – Stephan Gorol, Anne Reckmann20sec.net – Jens Rietdorfserve-u – Phillip SünderhaufDouble Standards – Andreas Vitt, Pierre BeckerPeter Cowie, Sandy Lieberson, Christine Dorn, Thomas StruckTHE BERLIN INTERNATIONAL FILM FESTIVALDirectorDieter KosslickFestival ManagerJohannes WachsHead of SponsorshipDagmar ForelleIMPRINTCirculation 5.000 Advertising Berlinale Talent Campus Judith HehneEditorial Office Oliver Baumgarten, Rubaica Jaliwala, DorotheeWenner Cartography Runze & Casper, Berlin Photography Berlin InternationalFilm Festival, David von Becker, Andreas Böhmig,Peter Himsel, mai.foto – Ute Langkafel, Filmarchiv SchnittVerlag, Köln, and all co-operation partners, distributors, filmproductions Design Double Standards Print Office DMP DigitalundOffsetdruck GmbH Publisher Berlinale Talent Campus,Potsdamer Straße 5, 10785 Berlin, phone: +49 30 25 92 05 15,fax: +49 30 25 92 05 19, e-mail: info@berlinale- talentcampus.de, www.berlinale-talentcampus.de, an initiative of theBerlin International Film Festival, a business division of theKulturveranstaltungen des Bundes in Berlin GmbH.The Berlinale Talent Campus Team 2007 (from left to right):Front Row: Maria Casas, Cima-Nadja Samadi, Maya Dalinsky, Marcus Forchner. Second Row: ChristineTröstrum, Marjorie Bendeck, Stefan Pethke, Rubaica Jaliwala, Christine Busch, Anne Reckmann. ThirdRow: Dagmar Lange, Lira Lousinha, Dorothee Wenner, Christiane Steiner, Birge Ohler, Andrew Amondson.Fourth Row: Merle Kröger, Christina Janitz, Judith Hehne, Anna Schnabel, Jana Daedelow, KathiBildhauer, Oliver BaumgartenPhoto: Holger Krischke70BERLINALE TALENT CAMPUS #5

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