switzerland

www.equinoxe-europe.org13. INTERNATIONAL SCREENWRITERS´ WORKSHOP & MASTER CLASSES17. - 24. OCTOBER 2013 ZURICH CANTON, SWITZERLAND

13. International Screenwriters´ Workshop & Master ClassES 2013SWITZERLANDGerman: Schweiz, French: Suisse, Italian: Svizzera, Romansh: Svizraor officially the Swiss Confederation (Latin: Confoederatio Helvetica, hence its abbreviation CH), is a federalparliamentary republic consisting of 26 cantons, with Bern as the seat of the federal authorities. Switzerlandcomprises four main linguistic and cultural regions: German, French, Italian and the Romansh-speaking valleys.The Swiss, therefore, though predominantly German-speaking, do not form a nation in the sense of a commonethnic or linguistic identity. The strong sense of belonging to the country is founded on the common historicalbackground, shared values (federalism and direct democracy) and Alpine symbolism.«Unus pro omnibus, omnes pro uno» (“One for all, all for one”)«Einer für alle, alle für einen» «Un pour tous, tous pour un» «Uno per tutti, tutti per uno» «In per tuts, tuts per in»Swiss Tags1291 Alps Anthem Architecture Army Banks BaselBern Cantons CH Cheese Chocolate CompetitivityWith the support of the MEDIA 2007 Programme of the European UnionTABLE OF CONTENTSTable of Contents 1Foreword 2The Advisors 7 - 15The Selected Writers 17 - 26Switzerland at a glance 30The Cantons of Switzerland 31 - 35Switzerland at its best 36 - 37The legend of W. Tell and Heidi 40 - 41Historical figures and facts 42 - 45Arts and Culture 46 - 51Cinema of Switzerland 52 - 53Special Sessions and Master Classes 2013 55 - 57eQuinoxe Europe 58 - 59From Script to Screen: 2001 – 2012 60 - 61Financial Partners & Sponsors 63 - 78Correspondents and Workshop Staff 82 - 83Epilogue ...Coming Soon 85Masthead 87Confederation Cows Democracy Edelweiss Farmers Flag Future®FILM & TVGeneva Gentian Heidi Helvetians Interlaken Jura LandsgemeindeLausanne Lucerne Matterhorn Nanotechnology Neutrality OlympicsPermafrost Plateau Recycling Red Cross Research Rhine Rumantsch SnowTrains University Voting Watches ZurichFederal Department of Foreign Affairs / Presence Switzerland. www.swissworld.org1

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Uhrenmuseum Beyer (Watch Museum), ZurichFOREWORDWhen we initially started our workshops we wereconcentrated on the acute process - developmentsupport for the scripts and the writer/producer teamswe invited. Our 13. Intl. Screenwriters’ Workshop wasinconceivable when we were still in the single digits!In October 2013 the clock struck 13, we are holdingour 13. Workshop in Switzerland. Without planning, itmay appear that we have a certain precision being inSwitzerland. I immediately associate the word precisionwith that of the Swiss watch. To date, precisely, we willhave developed 125 projects from 24 countries; 125writers plus their producers, co-writers and directors;have achieved a 41% rate of production; and 1 projectreceived the Academy Award for Best Foreign Film.This year’s Austrian candidate for the Academy’s considerationis our project “The Wall” from Julian RomanPölsler, the third project from our program nominatedby Austria.All of these writers and their projects received creativeand emotional support from the unique and extraordinarygroup of advisors who support our program, ourcontinued and deepest gratitude goes to Claire Dobbin,Jim Hart, Laurie Hutzler, Mark O’Halloran,Stefan Rüll, Susanne Schneider, Martin Sherman,Michael West and Greg Widen, for joining usthis autumn.the watch precision and that is the financial support decisionof the MEDIA Programme 2007 of the EuropeanUnion, without which our program would not exist. Weare eternally grateful to MEDIA and the funding organizationswho have accompanied us these past yearsincluding the German Federal Ministry of Culture,the German Federal Film Board, the AustrianFilm Institute, Film and Creative Industries NovaScotia, BFI/Creative Skillset, Vestnorsk Filmsenter,Western Norway Film Commission and theMFG Filmfoerderung Baden-Württemberg. Allof our partners contribute to the whole, this programis only possible through their belief and trust in ourwork. We feel enormously fortunate to have such awonderful group of individuals behind us with thesepartners and wish to thank each and every one.A watch is a wonderful metaphor for our work andworkshops. The sponsors of our program provide thefinal watch casing and band. A warm thank you to ourSwiss sponsors Lindt & Sprüngli, Victorinox, ZürichFilm Büro and the Winterthur Tourist Büro for theirwelcoming support. For the many years of support fromJust Publicity’s Anke Zindler, Charles McDonald,Arri’s Angela Reedwisch and Dr. Hauschka’s JulianeSeidel we extend grateful thanks, as they wrap ourwatch as a gift with a beautiful ribbon.The spiralling continuum of projects, dependent onadvisors willing to without remuneration devote theirtime and energy, actually begins at an earlier point ormoment in time, that is the moment that partners decideon their involvement. This precise moment beginsthe mechanism that allows us to support Europeanfilmmakers and the film industry.On behalf of eQuinoxe Europe e.V., I would like toparticularly thank our Swiss partners who came onboard in 2013, particularly Daniel Waser – ZürcherFilmstiftung who invited us to hold a workshopin the Zurich Canton and Pierre Agthe and JacquelineSurch at of the Swiss Training Program – FOCALfor their support of us and Swiss screenwriters. Thispoint in time, however, also has an earlier movement inThe watch is complete, let’s wind it and get started!Welcome to Switzerland, delighted to have you here.Welcome to Zurich!Härzliche wöikomme!Herzlich willkommen!Cordial bainvegni!Bienvenue!Benvenuto!Ellen Winn WendlChairman, eQuinoxe Europe e.V.2 3

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Alphorn BlowersTHE ADVISORSClaire DOBBIN (Australia)James V. HART (USA)Laurie HUTZLER (USA)Mark O´HALLORAN (Ireland)Susanne SCHNEIDER (Germany)Martin SHERMAN (UK / USA)Michael WEST (Ireland)Gregory WIDEN (USA)THE SELECTED SCRIPTSNOTHING BUT HOPEBONITATHE CLEANERON A DAY LIKE THISMY GRANDPA IS AN ALIENUNDAUNTEDSTUPID YOUNG HEARTA HAND FULL OF STARSTHE DIRTY LITTLE BOOK OF STOLEN TIMEVicente ALVES DO ÓTom CONNOLLYMarkus HÜRSCHGeorg ISENMANNIrena KRCELICMichael RISLEYKirsikka SAARIMichael SCHÄFERNick WHITFIELDTHE SELECTED WRITERSVicente ALVES DO Ó (Portugal)Tom CONNOLLY (UK)Markus HÜRSCH (Switzerland)Georg ISENMANN (Switzerland)Irena KRCELIC (Croatia)Michael RISLEY (Canada)Kirsikka SAARI (Finland)Michael SCHÄFER (Germany)Nick WHITFIELD (UK)4 5

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013ZurichTHE ADVISORSClaire DOBBIN (Australia)James V. HART (USA)Laurie HUTZLER (USA)Mark O´HALLORAN (Ireland)Susanne SCHNEIDER (Germany)Martin SHERMAN (UK / USA)Michael WEST (Ireland)Gregory WIDEN (USA)6 7

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Zurich, BrunnenturmJAMES V. HART (J.V.) was born in Shreveport, Louisianaand grew up in Ft. Worth Texas on Drive-In Movies andSaturday Matinees. Soon after graduating from SMUin Dallas, he began producing films in the 1970’s. Hisfirst feature film, “SUMMER RUN”, opened the USA filmfestival at SMU in Dallas Texas.Claire DOBBINAustraliaScript ConsultantJames V. HARTUSAScreenwriter / ProducerHart settled in New York City with his wife, son anddaughter, and began his screenwriting career. Hiswriting/producing credits include; “HOOK”, directed bySteven Spielberg based on an idea by Hart’s then 6 yearold Son, Jake, “BRAM STOKER’S DRACULA”, directed byFrancis Ford Coppola, “MUPPET TREASURE ISLAND”,directed by Brian Henson, and “CONTACT”, directed byRobert Zemeckis.Claire Dobbin is an Australian script advisor/editor who works with development agenciesand filmmakers in Australia, New Zealand,Norway, Abu Dhabi, Yemen, UK and France.Claire is Deputy Chair of the international scriptdevelopment program eQuinoxe Europe e.V. andis a script advisor to international participants ofthe workshop. She has taught screenwriting atboth the Victorian College of the Arts Mastersprogram and RMIT Screenwriting Program.Claire has run script workshops in Australia, New Zealandand Abu Dhabi and has been a guest lecturer atthe Abu Dhabi film festival and at Royal Holloway, London.For 14 years she was the Senior Script Executiveat the Australian Film Commission and Director of theMelbourne office of the AFC. She has script consulted/edited Australian films including “CANDY” (Berlin 2006),“MALLBOY” (Cannes 2000), “ROAD TO NHILL”,(Best Film Thessaloniki Film Festival), “SMALLTREASURES” (Baby Lion Venice), “RABBIT PROOFFENCE” (AFI Award winner), “JAPANESE STORY”(Cannes 2003 and AFI Award winner), “BLAME”(Toronto 2010) and “HERMANO” (Venezuela’sentrant in the Academy awards 2010).Other writing/producing credits include:“MARY SHELLEY’S FRANKENTSEIN”, “TUCK EVERLAST-ING”, “SAHARA”, “JACK AND THE BEANSTALK: THE REALSTORY”, “LARA CROFT: TOMBRAIDER – THE CRADLEOF LIFE”, and “AUGUST RUSH”.Hart’s first novel, CAPT. HOOK – ADVENTURES OF ANOTORIOUS YOUTH, about the early days of JamesHook at Eton before his adventures with Peter Pan, waspublished by Laura Geringer Books for Harper Collinsand was named “Top Ten Young Adult Books” in 2006by the American Library Association.Hart is an Executive Producer and co-writer on theanimated feature, “EPIC”, with children’s book illustratorand home town friend, SMU graduate, William Joyce,and director-animator Chris Wedge, who created “ICEAGE” and “ROBOTS” with Joyce currently in release in2013.TV projects include “DEAN KOONTZ’S FRANKENSTEIN”for Lions Gate and Turner, with Hart collaborating withhis son, Jake; and “THE REPUBLIC OF PIRATES”, “AKACROSSBONES”, for NBC with Texas born writing partner,Amanda Welles, and Kurt Vonnegut Jr. series projects,“SIRENS OF TITAN”, and “PLAYER PIANO”, with his son,Jake Hart.For 7 years Claire was on the board of the MelbourneWriters´ Festival and is currently Chair ofthe Melbourne International Film Festival.Claire was president of the international juryof the 2012 Fajr Film Festival in Tehran.“STEELSKIN” is his new project in development atFox for Actor/Director, Andy Serkis, and August Rushproducer, Richard Lewis.“Go with Gravity” is Hart’s primary mantra for the writinglife.Never Grow Up! Never Give Up!8 9

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Historic Paddle Steamer, Lake ZurichMichael WESTGregory WIDENIrelandPlaywright / ScreenwriterUSAWriter / DirectorMichael West is a playwright with The Corn Exchange,the acclaimed Irish theatre company, with whom he hascollaborated on many productions including “MAN OFVALOUR”, “FREEFALL”, “DUBLIN BY LAMPLIGHT” and“FOLEY”. Their next production together will be astage version of James Joyce‘s “DUBLINERS”. He hastranslated or adapted many texts, among them“LOLITA” and “THE MARRIAGE OF FIGARO” for theAbbey and a version of “DEATH AND THE PLOUGHMAN”which has been directed by Christian Schiaretti of theTNP in Lyon, and Anne Bogart for SITI company in theUSA. He is currently under commission from theManhattan Theatre Club in New York. The Abbey willpresent his latest play “CONSERVATORY” next Spring.He is Adjunct Lecturer in Drama at Trinity CollegeDublin and is published by Methuen.Gregory Widen is a native of Laguna Beach, California.He holds a Master’s Degree from UCLA and onceworked as a firefighter. His feature film creditsinclude original screenplays for the motion pictures“HIGHLANDER”, “BACKDRAFT” and “THE PROPHECY”,which he also directed.He wrote and sold “Highlander”as a student as UCLA. His television credits includecreator of the WB series “RESCUE 77”, “TALES FROMTHE CRYPT” and the “MOW WEEKEND WAR”.He is also the author of the novel “BLOOD MAKESNOISE” which was released in summer 2013.His upcoming projects includewriting and directing the independently producedfeature “SEE HOW WE ARE” with Alec Baldwin.14 15

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Tuftern, old hamlet near Zermatt, at the bottom of the Matterhorn, Switzerland’s most famous mountain.THE SELECTED WRITERSVicente ALVES DO Ó (Portugal)Tom CONNOLLY (UK)Markus HÜRSCH (Switzerland)Georg ISENMANN (Switzerland)Irena KRCELIC (Croatia)Michael RISLEY (Canada)Kirsikka SAARI (Finland)Michael SCHÄFER (Germany)Nick WHITFIELD (UK)NOTHING BUT HOPEBONITATHE CLEANERon A DAY LIKE THISMY GRANDPA IS AN ALIENUNDAUNTEDSTUPID YOUNG HEARTA HAND FULL OF STARSTHE DIRTY LITTLE BOOK OF STOLEN TIME16 17

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013MY GRANDPA IS AN ALIEN (Synopsis)UNDAUNTED (Synopsis)Irena KRČCELIĆCroatiaScreenwriterIrena Krčelić is a Croatian screenwriter with a 12-yeartrack record in writing for television (sitcom & serialdrama) and her first feature film for children is currentlyin post-production.In 2003 she co-founded the annual scriptwritingworkshop “Palunko” under Croatian Film Associationin Zagreb, and is now proud to be celebrating its tenthanniversary.She studied history and indology at Faculty ofHumanities and Social Sciences and dramaturgy at theAcademy of Dramatic Arts, both in Zagreb.Apart from writing, Irena has a passion for chocolatecake, comics and guerrilla crochet.Twin brothers Bingo and Kliker (10) are passionatetechie inventors who share the same dream. Theywant to build a rocket that can fly to the stars.Then a strange old man (72) turns up on their doorstep, claimingto be their long-lost grandfather and a veteran space engineer.The boys are jubilant! They have just gained a grandfather and ascientific mentor who can help them make their dream a reality.However, it soon becomes clear that this is no ordinaryfamily reunion. This enigmatic stranger is not really theirgrandfather but a lonely shipwrecked alien who is stranded onEarth, trying to repair his spaceship in order to go home.While the boys try to assist „Grandpa“ track down the plutoniumhe needs to send his rocket back into outer space, they helphim to find something far more valuable. A sense of family.“Grandpa“ finaly finds a home on his adopted planet, and thetwin boys Bingo and Kliker get the grandfather they havealways longed for, but have never known – until now.Faced with the decision of whether to attempt to assassinate Hitler Churchill andRoosevelt decide instead to target Hitler’s most likely successor, ReinhardHeydrich, operational head of the SS and Reichsprotektor’s of the Czech Republic.Believing Hitler’s failures in Russia may lead to a mutiny within his own ranksthat could in the Fuhrer’s downfall, the Allies move quickly to eliminate the 34year old Heydrich. A team of Czech commandos led by Jan Kubis is sent into theirhome country to plan and execute the assassination. On landing theircommanding officer is killed forcing Jan to take charge and defend himself againsta suspicious resistance network that itself has been depleted. In spite of the odds,Jan and his men decide to continue the mission. During his reconnaissance Jandiscovers his ex-girlfriend Anna works for Heydrich and maybe romanticallyinvolved with him also suspecting her four year old child Pavo may be Heydrich’s.Facing an impossible task absent help from someone on the inside, Jansuppresses his emotions and enlists the help of Anna to carry out his mission.Heydrich, meanwhile, invites Anna to join him on his eventual move to Berlin. Shestalls asking for time to decide. At the same time, during mission preparations Janreconnects with Anna romantically discovering he is the father of her child Pavo.Without warning Heydrich packs up for Berlin forcing Anna to decide on the spotwhether she will join him. Not wanting to continue her relationship with Heydrichbut knowing Jan will miss his chance at killing Heydrich if she does not go, shejoins Heydrich in his car on the way to the airport. Before leaving she contactsJan and convinces Heydrich to follow a route, that unbeknownst to the SS General,will lead to an ambush. At the ambush point Heydrich’s car rounds the corner toface Jan who points his gun at Heydrich and freezes...seeing Anna in the car. Histeammate Josef manages to not hesitate and throws a grenade at Heydrichwounding him badly. Jan and his men get away while Heydrich is taken tohospital along with Anna. Jan and his men meet at a Church to plan their escape.Meanwhile Heydrich dies in the operating room while Anna is allowed to leave.Unknown to her she is followed by the SS.Back at the Church Jan decides to forego leaving with his buddies and insteadgoes back to find Anna. Jan meets up with Anna and Pavo at her house andproceeds to have an emotional reunion where Jan discovers Pavo is in fact hischild, (conceived four years before Jan was taken to a Gestapo prison beforesubsequently escaping to the UK.)Michael RISLEYCanadaScreenwiter / DirectorFollowing completion of the Neighborhood Playhouse’stwo year acting program in NY, Michael produced andstarred in “REVOLUTION#9” in 2001 along withAdrienne Shelly and Spalding Gray. The film debuted atboth the Telluride and Toronto Film Festivals to criticalacclaim. It went on to win “Best Film DepictingSchizophrenia” from the World Neurology Society andis seen today as a valuable reference for health careprofessionals specializing in the illness. In addition toother acting roles in theater and in films such as“BUTTERFLY ON A WHEEL” and “POKER CLUB”, Michaeldirected and produced numerous short films for theEuropean website BabelGum from 2009-2010.Michael is currently preparing to direct his screenplay,UNDAUNTED, the story of the Heydrich assassination inWW2. In addition, he hosts a website dedicated toForgotten Stories from WW2 where each month a newshort documentary is posted featuring a lost story.Glarus AlpsThe three of them make their way to the Church in the hopes of escaping and totheir surprise find Jan’s men waiting for them. The SS, who had followed themfrom Anna’s house, attack the Church. During the melee only Anna and Pavomanage to escape while Jan and his men face off against hundreds of SS troops.During the stand-off three of Jan’s men are killed leaving only himself and Josef tomove to the crypt and tunnel where Anna escaped. At this point the tunnel hascaved in leaving no choice for Jan and Josef but to fight to the end. As the crypt isflooded by fire hoses Josef asks Jan to take his life with his last bullet to which Janreluctantly agrees. Alone, Jan stays above the rising water and manages tocommunicate with Anna through the rubble. They exchange a few last words witheach other before Jan hands Anna a note, says goodbye, and drowns.Years later, Anna reads the note to Pavo it turns out Jan had written when he hadfirst met Pavo as a four year old. In the note Jan tells Pavo that while Jan is deadhis soul lives on in Pavo and Pavo must not forget that his father’s (Jan), actionswill define Pavo’s own character. These were the actions of a proud man thatfinally realized personal redemption. “Be true to yourself no matter the cost” areJan’s final words to his son.road along the shores of Lake Thun22 23

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013STUPID YOUNG HEART (Synopsis)A HAND FULL OF STARS (Synopsis)Kirsikka SAARIFinlandScreenwriterKirsikka Saari is a screenwriter living in Helsinki. Shehas written a miniseries “PARADISE FOR YLE”, whichwas chosen for the Prix Europa, and a feature film“KORSO” (together with Jenni Toivoniemi), currently inpost production, directed by Akseli Tuomivaara. Herother works include scripts for short films “DO I HAVETO TAKE CARE OF EVERYTHING?”, “GORILLA” (withJenni Toivoniemi) and “GIRLS’ NIGHT”, which havebeen awarded e.g. in Aspen Shortsfest, Tampere FilmFestival, Helsinki Short Film Festival and Hamedan InternationalFilm Festival for Children and Young Adults.She graduated from Helsinki University and is now do-LENNI, 15, wants to be a man, but he is tiny and skinny and bullied by olderboys in school. He doesn’t have much of a luck with girls neither. He is inlove with KIIRA, 16, who has a lot of guys, but thinks that Lenni is a kid.Once Lenni hears that some somali guy has raped Kiira and gets furious.He ends up breaking the local mosque’s windows. Even the revenge isnot so glorious and later Lenni finds out that no one really raped nobody,Lenni’s reputation grows. Kiira is flattered, the older boys in the school areinterested and also JANNE, 36, contacts Lenni. Janne is a member of a localgroup of national-socialists and anti-immigrationists.Lenni and Kiira start to go out, and soon Kiira is pregnant. She has hadseveral abortions before, and this time she decides to keep the baby. Lennitries to be a man of honor. It’s difficult, since his friends laugh at the accident,adults don’t take teenage parents seriously, Kiira’s friends don’t appreciateLenni and Kiira herself is unsatisfied all the time. Lenni thinks thatparenthood is series of humiliations: you should talk about your feelings ina parent training and talk about suitable music for birthgiving. And eventhis was not bad enough, Kiira moves to Lenni’s and his mother’s place,after breaking up with her own mother. All Lenni really wants to do is justhang around with his friends MYLDE, LARI and JOONAS, 15, and he ends upbreaking his promises to Kiira.Lenni finds a man’s model in Janne, with whom he is practicing self-defence.Janne is giving small tasks for Lenni and his friends. The boys deliverflyers of Janne’s organization and irritate Lenni’s neighbors, an immigrantfamily originally from Africa, taxi driver ABDI and his wife CHARLENE.Lenni and his friends watch Janne’s favorite film Fight Club, and end upbeating each other and shaving their heads. The bold heads shut mouthsat school. But when Kiira sees Lenni, she can’t take it anymore. After a fightLenni tells that he can’t do this. Kiira and Lenni split up.RAFIK (14), son of a baker, lives in the maze of the Old Town of Damascus, togetherwith his friends MAHMUD (15), JOSEF (14) and the old coachman and storytellerUNCLE SALIM (75). Life is hard for Rafik. Although top of the class and fitted witha remarkable talent for writing poetry, Rafik’s father ILIAS wants his son to followin his footsteps, becoming a baker, and takes him out of school. It is Rafik’s dreamthough to become a journalist, travelling the world, using his pen to fight injustice.He takes a first step towards his goal when he and his two friends start a gang, theBlack Hand. Their first target is the father of Rafik’s girlfriend NADIA (14), a mannew to the neighbourhood who works for the Syrian secret service. A threateningletter proves effective: Nadia’s father suspects a dangerous undergroundorganisation behind the letter: he is furious. Rafik realises how mighty a weaponthe written word can be.When delivering his father’s bread to his customers, Rafik meets HABIB (42), areal journalist ! Habib who started his career full of hope and idealism has cometo realise journalism in a country like Syria is a hopeless case. He drowns hisdisappointment in alcohol. Then one day, for no reason Rafik’s father gets arrested.He is tortured and abused. Rafik has to experience Firsthand what it means tolive under a repressive regime that doesn’t bother about the law. To Rafik andthe Black Hand it’s clear – they have to Fight back ! Further threatening notesare written. When Habib gets to know Rafik is the one behind the letters, he isimpressed and opens up towards the boy. He teaches his friend what it needs tobe a journalist. They meet every evening, Rafik having to prepare articles andconduct interviews. Nonetheless, how is proper, critical journalism supposed towork where there are no independent newspapers, where openminded journalistsare tortured?Rafik has an idea. He, Mahmut and Habib begin an underground newspaper anduse it to stuff socks with which they sell in the bazaar. The Sock Newspaper isborn. Rafik has taken a huge step towards his goal and the success of their paperseems to have its positive effects even on Habib.Michael SCHÄFERGermanyScreenwriter / DirectorMichael Schäfer is a very tall actor, scriptwriter anddirector living in Cologne, Germany.Born and raised ina family devoted to the theatre, from a very early ageon he had strong bonds with theatre and film. Aftertaking his A-levels, Schäfer became a drama studentand graduated from Wiesbaden Drama School. In fact,being raised in the world of theater and film doesn’tgive you much of a different choice.He had various acting jobs at theatres all over Germany,among them the Komödie am Kurfürstendamm Berlin,the Theater Görlitz and the Clubtheater Berlin.Further, he performed in TV series, short films andcommercials.ing her Masters of Arts in screenwriting and directingin ELO Film School, Helsinki. She is the co-founder ofTuffi Films Ltd.Seealpsee, lake in the Appenzell AlpsAlso Janne is a disappointment. Lenni takes his friends to a meeting ofJanne’s organization, but it’s held in a bar and Lenni and his friends are tooyoung to get in. Lenni is frustrated. He ends up boozing with his friends,they listen to aggressive music and get empowered by it. Instead of playingFight Club again they go to search for real action. They pump into Abdi,who is working. They end up traveling in Abdi’s taxi and refuse to pay forride. Lenni and Abdi end up fighting. It looks bad, but police arrives andtake Lenni to a drunk tank. Lenni’s friends are furious. Later they see Abdi’staxi car in a parking area close to Lenni’s house and break it’s windows andkick it’s doors.When Lenni returns home next morning, his mother tells him that Kiira isin the hospital, the the birth has begun. Lenni has no other option than togo there. The birth is slow and difficult. Finally after a long night Kiira givesbirth to a baby. It’s a girl and handicapped. Girl’s other hand is crippled.Lenni leaves Kiira and the baby.However, the secret service has its eyes and ears everywhere. Nadia’s father leavesno stone unturned to find the ones behind the Sock Newspaper. Thus it does nottake long before the secret police almost gets hold of Mahmud and Rafik, thetwo boys escaping only by the skin of their teeth. Now the three undergroundjournalists have to find a new way of distributing their newspaper. Balloons arechosen to do the job, and the three succeed in spreading their paper all over thecity. One edition after the other goes to print and even Le Monde spreads the newsof the Syrian guerilla newspaper.However, the Sock Newspaper’s success has its negative sides, too. The policearrest an ever increasing number of people, putting them into prison if there isonly the slightest suspicion they are in any way connected with the subversivepaper. The love between Nadia and Rafik is severely put to the test.Nadia’s father, the secret service agent, takes his anger out on his daughter andoppresses her more and more. Then Uncle Salim dies and for Rafik his whole worldseems to collapse; it’s time to say good-bye to his best friend. In spite of a curfew,the whole neighbourhood joins the funeral procession.Michael Schäfer started making his own short filmsand in 2001 he set up Filmweide e.V., an interest groupgiving young filmmakers a platform.From 2008 to 2010 he worked with Banu Davrak in thescriptwriters’ group KURZ & LANG Filmwerkstatt.Schäfer’s short films were screened in numerousfestivals worldwide and his film MARIES LÄCHELN /DISTANT MEMORY was awarded the F. W. Murnau Kurz-Filmpreis 2006.“A HAND FULL OF STARS” will be his feature film debut.Abdi has found out what has happend to his car. He is furious and doesn’tknow what to do. When he sees Lenni returning home, he attacks him.Lenni is not able to fight back, instead he collapses totally and ends upcrying on Abdi’s shoulder like a child. After that he tells about the baby.Abdi drives Lenni to the hospital with his smashed car. Lenni is afraid, forthe first time he says that I’m a child, I don’t know what to do. They sit in acar for a while. After that Lenni is ready to meet Kiira and their daughter.He goes to the hospital room and sees both of them. He goes closer to thebaby’s cot and looks at her. Then he starts to sing an old lullaby to hisdaughter.When Rafik goes over to Habib’s to work on their paper, he has to witness howhis journalist friend is marched off by the police. Habib faces the death penaltyfor treason. Since it is forbidden to defend political prisoners, no barrister can befound for the journalist. The Sock Newspaper seems to be finished, the regimehas exerted all its power. But as Uncle Salim said: “Everything grows, except forcatastrophe. It is largest at birth and then it shrinks from day to day.“Rafik comes to a decision. With Mahmud and Nadia, he will continue the SockNewspaper. Habib needs the paper as does the whole country – not although onecan be put into prison and be tortured for it, but because this is so!24 25

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Station of the Montreux–Oberland Bernois railway, MOBTHE DIRTY LITTLE BOOK OF STOLEN TIME (Synopsis)Charlotte lives with her mother, Fru Schleswig, in a Victorian slum. She is a streetgirl – con-woman, prostitute, chancer. They cheat their way into the service ofMrs. Crack, and Charlotte starts stealing valuables from her. The house seemsto be haunted, and Charlotte’s curiosity leads to them discovering a strangemachine in the basement. Fru Schleswig sets it off and they find themselves in21st Century Chicago.Nick WHITFIELDUKScreenwriter / DirectorProfessor Crack leads a band of displaced Victorians there, living in a warehouse.He takes them in, promising to send them back home ASAP. Charlotte decidesthat she’d rather stay here and make her fortune, though she’s unsure how. Shedecides she must get some money, so she seduces local man, Wes, and arrangesto meet him again later. He is under the mistaken impression that their couplingis romantic, not financial.Nick started his career as a professional actor, studyingcomedy and drama with French theatre legend PhilippeGaulier. He began writing his own one man shows,which played all over the UK. He wrote and directedhis first short film “SKELETONS”, starring Ed Gaughanand Andrew Buckley and followed this with EM Mediafunded short film “REBECCA” which screened at EIFF2008. He then adapted his first short film into a featurefilm, also called “SKELETONS”, which was produced byForward Films / Edge City Films and finance by EMMedia and Scottish Screen. The feature adaptionstarred Gaughan and Buckley, Jason Isaacs, TuppenceMiddleton and Paprika Steen and became a cult hit inthe UK and abroad. “SKELETONS” has shown atfestivals all over the world and won the New BritishBest Film at EIFF 2010 and a BAFTA nomination forNick. He is now adapting Liz Jensen´s “MY DIRTYLITTLE BOOK OF STOLEN TIME” for Forward Films,supported by the BFI and Creative England.Working on a market stall, selling books with Victorian woman, Mrs. Jacobs,Charlotte sees the value of things from home, and plans to go back for her sack ofloot. Mrs. Jacobs alerts her to the fact that Wes may not understand their deal.She goes to him, finds this to be true and she’s furious. She steals a valuableantique comb in lieu of payment and leaves.Wes goes to find her and takes her on a date. She learns more about the 21stCentury and decides she will become a model, which sounds easy and fun. TheVictorians discover that Mrs. Crack is about to sell her house, endangering theirTime Machine, so they decide they must buy it. They don’t have enough moneybut Charlotte says she can convince her to take less by scaring her, which shedoes with cheap Halloween costume and a silly voice. Wes and his adopteddaughter Josie have accidentally ended up in the 19th Century with them. Wesand Charlotte have fallen out, him having discovered her theft of the comb.Before they can go back, Mrs. Crack send thugs to take the house back off themand the machine breaks in their hurry to escape, eventually leaving Charlotte andJosie in Chicago, The Professor and Fru Schleswig in Victorian London and Wesstranded alone in the past, the Time Machine smashed to pieces.He looks for the Professor’s lost book, thinking he will make a Time Machine ofhis own. Charlotte does the same, travelling my air to 21st Century London tovisit the British Library. They both find the book, in their different time zones, butfind that it’s illegible, having been defaced. Despondent, Charlotte takes Josie toher old house, now an art gallery. She searches under the floorboards of her oldroom and finds her mother’s box of precious things. In it she finds an intact copyof the book. She takes the book back to the Professor’s assistant in Chicago andhe sets about building the machine.They travel back in time and are reunited with Wes, Fru Schleswig and theProfessor. They travel back to Chicago. Charlotte travels back to her childhoodand gives Fru Schleswig the copy of the book that she recently found. TheProfessor decides that the Time Machine must be decommissioned.Charlotte has to choose where to live. She chooses to go back home, to help girlslike herself, sacrificing her relationship with Wes.A year later, after working out how the technology works, Wes travels back to bewith her.26 27

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Lake Zurich28 29

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013AarauTHE 26 CANTONS OF SWITZERLANDAppenzellHerisauBaselLiestalBernFribourgArgovia, AargauCapital: Aarau, German-speakingAppenzell Inner-Rhodes, Appenzell InnerrhodenCapital: Appenzell, German-speakingThe buildings in the village core, the parishchurch, the 1563 town hall, the Salesis house, theruins of Castle Clanx and the state archives with theadministration building are listed as heritage sites ofnational significance.Appenzell Outer-Rhodes, Appenzell AusserrhodenCapital: Herisau, German-speakingThe central hamlet and the houses around the centralsquare, the Protestant church of 1580, the houses Wetterand zur Rose (both 1737), the hamlet Schwänbergand the government building with the state archive arelisted as heritage sites of national significance.Basle-City, Basel-StadtCapital: Basel, German-speakingSwitzerland’s third most populous city with about166,000 inhabitants. Located where the Swiss, Frenchand German borders meet, Basel also has suburbs inFrance and Germany. Basel functions as a major industrialcentre for the chemical and pharmaceutical industry.The Basel region, culturally extending into GermanBaden-Württemberg and French Alsace, reflects theheritage of its three states in the modern Latin name:“Regio TriRhena”. It has the oldest university of theSwiss Confederation (1460).Basle-Country, Basel-LandschaftCapital: Liestal, German-speakingIt is an industrial town with a cobbled-street Old TownBerne, BernCapital: Bern, German-, French-speakingThe Canton of Bern is the second most populous ofSwitzerland’s cantons. The city of Bern or Berne is theBundesstadt (federal city, de facto capital) of Switzerland,and is the fifth most populous city in Switzerland.The metropolitan area had a population of 660,000 in2000. The official language of Bern is German, but themain spoken language is the Alemannic Swiss Germandialect called Bernese German. In 1983 the historic oldtown in the centre of Bern became a UNESCO WorldHeritage Site and Bern is ranked among the world’s topten cities for the best quality of life (2010).Friburg, FribourgCapital: Fribourg, has two official languages, andFrench clearly outweighs German.Fribourg is an important economic, administrative andeducational center on the cultural border betweenGerman and French Switzerland (Romandy). Its Old City,one of the best maintained in Switzerland, sits on asmall rocky hill above the valley of the Sarine.GenevaCapital: Geneva, French-speakingGeneva is the second most populous city in Switzerland (after Zurich).The canton (République et Canton de Genève, which includesthe city) has 472,530 residents. Geneva is a global city, a financialcentre, and worldwide centre for diplomacy due to the presence ofnumerous international organizations, including the headquartersof many of the agencies of the United Nations and the Red Cross.Geneva is the city that hosts the highest number of internationalorganisations in the world. It is also the place where the GenevaConventions were signed, which chiefly concern the treatment ofwartime non-combatants and prisoners of war. Geneva was rankedas, respectively, the fourth and fifth most expensive city in theworld.Glaris, GlarusCapital: Glarus, German-speakingGlarus lies on the Linth River at the foot of the Glärnisch foothillsin the Glarus Alps. Very few buildings built before the fire of 1861remain. Wood, textile, and plastics, as well as printing, are thedominant industries. The symbol of the city is the neo-romanesquecity church.Grisons, GraubündenCapital: Chur, German-, Romansh- and Italian-speakingChur is situated at the right shore of the Rhine-River and is knownas the oldest town of Switzerland.JuraCapital: Delémont, French-speakingThe area of the municipality is largely given to intensive cultivation.At the south end of the valley is the Montchaibeux, anisolated hill.Lucerne, LuzernCapital: Lucerne, German-speakingLucerne is the most populous city in Central Switzerland, and anexus of transportation, telecommunications, and government ofthis region. The city’s urban area consists of 17 cities and townslocated in three different cantons with an overall population ofabout 250,000 people. Due to its location on the shore of LakeLucerne (der Vierwaldstättersee), within sight of Mount Pilatusand Rigi in the Swiss Alps, Lucerne has long been a destination fortourists. One of the city’s famous landmarks is the Chapel Bridge(Kapellbrücke), a wooden bridge first erected in the 14th century.NeuchâtelCapital: Neuchâtel, French-speakingAlthough the city is sometimes referred to historically by the Germanname Neuenburg, which has the same meaning, since it originallybelonged to the Holy Roman Empire and later Prussia ruledthe area until 1848.Neuchâtel is a pilot of the Council of Europeand the European Commission Intercultural cities programme.Nidwald, NidwaldenCapital: Stans, German-speakingNidwalden is located in the centre of Switzerland. Because of itsmountainous geography, tourism is important in Nidwalden. Thelake and the mountains attract many tourists, both during thewinter and the summer.GenevaGlarusChurDelémontLucerneNeuchâtelStans32 33

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013THE 26 CANTONS OF SWITZERLANDSarnenSchaffhausenSchwyzSolothurnSt. GallenFrauenfeldObwald, ObwaldenCapital: Sarnen, German-speakingSarnen is situated on the shores of Lake Sarnen (Sarner See), Switzerland.It has a population of just under 10,000 and is surrounded by countrysideand mountains. Sarnen is located 20 km south of Lucerne.Schaffhouse, SchaffhausenCapital: Schaffhausen, German-speakingThe old portion of the city has many fine Renaissance era buildingsdecorated with exterior frescos and sculpture, as well as the impressiveold canton fortress, the Munot. A train runs out of town to the nearbyRhine Falls in Neuhausen am Rheinfall, Europe’s largest waterfall, a touristattraction.SchwyzCapital: Schwyz, German-speakingSchwyz is a canton in central Switzerland between the Alps in the south,Lake Lucerne to the west and Lake Zurich in the north, centered aroundand named after the town of Schwyz. It is one of the founding cantons ofSwitzerland; Switzerland’s Standard German name,Schweiz, is derived from the name of the canton, and the flag of Switzerlandfrom its coat of arms.Soleure, SolothurnCapital: Solothurn, German-speakingUp to the 19th century agriculture was the main economic activity in thecanton. Agriculture is still of importance, but manufacturing and the serviceindustry are now more significant. The industries of the canton arespecialized in watches, jewellery, textiles, paper, cement and auto parts.St. Gall, St. GallenCapital: St. Gallen, German-speakingThe main tourist attraction is the Abbey of St. Gall, a UNESCO WorldHeritage Site. Its renowned library contains books which date back to the9th century.The canton is located in the north east of Switzerland. It is bounded tothe north by Lake Constance (Bodensee). The altitude above the sea-levelvaries from 398 m (1,306 ft) (the lake of Constance) to 3,251 m (10,666ft) (the Ringelspitz). The mountains of the canton include part of a thrustfault that was declared a geologic UNESCO world heritage site, under thename Swiss Tectonic Arena Sardona, in 2008.Thurgovia, ThurgauCapital: Frauenfeld, German-speakingIt is named for the Thur River, and the name Thurgovia was historicallyused for a larger area, including part of this river’s basin upstream of themodern canton. The area of what is now Thurgau was acquired as subjectterritories by the cantons of the Old Swiss Confederacy from the mid 15thcentury. Thurgau was first declared a canton in its own right at the formationof the Helvetic Republic in 1798.Uri, UriCapital: Altdorf, German-speakingUri is a founding member of the Swiss Confederation. It is locatedin Central Switzerland. The legendary William Tell is said to havehailed from Uri. The historical landmark Rütli lies within thecanton of Uri..Wallis, ValaisCapital: Sion (German Sitten), French-, and German-speakingSion has an airfield for civilian and military use and which servesas a base for countless life-saving air rescue missions.The canton is one of the drier parts of Switzerland in its centralRhône valley. Paradoxically, it is also one of best-watered parts,having large amounts of snow and rain up on the highest peaksfound in Switzerland. The canton of Valais is probably best knownfor the Matterhorn and ski resorts such as Zermatt and Verbier.Vaud, VaudCapital: Lausanne, French-speakingVaud is the third largest of Swiss cantons by population and fourthby size. The capital Lausanne, officially designated “OlympicCapital”by the International Olympic Committee and host to manysport organizations. Lausanne is situated on the shores of LakeGeneva (French: Lac Léman). It faces the French town of Évian-les-Bains, with the Jura mountains to its north-west. .Zug, ZugCapital: Zug, German-speakingThe name ‘Zug’ originates from fishing vocabulary; in the MiddleAges it referred to the right to ‘pull up’ fishing nets and hence tothe right to fish. The Canton of Zug is located in central Switzerlandand with 239 km² the canton is one of the smallest of thecantons in terms of area. It is not subdivided into districts.Zurich, ZürichCapital: Zurich, German-speakingAs a lifestyle capital on the water, Zürich offers the unique mixof discovery, pleasure, nature and culture. The finest culinaryhighlights, unlimited shopping pleasure, over 50 museums andmore than 100 galleries, Switzerland’s liveliest nightlife, numerousevents and countless green oases in the center of the citytempt guests to linger and enjoy. The local Swiss German dialectcalled Züritüütsch is commonly spoken. In English the name of thecanton is often written without an umlaut.The canton can be roughly divided into the city and lake, theUnterland in the northwest, the Oberland in the southeast, theWeinland and Winterthur in the northeast, and the Knonaueramtsouthwest of the Albis. Greater Zurich Area extends beyond thecantonal borders.AltdorfSionLausanneZugZurichBellinzonaTessin, TicinoCapital: Bellinzona, Italian-speakingBellinzona is famous for its three castles (Castelgrande, Montebello,Sasso Corbaro) that have been UNESCO World Heritage Sites since 2000.34 35

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Jungfrauenjoch, Bernese Alps38 39

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013WHAT WAS THAT AGAIN WITH THE APPLE?WHERE DOES HEIDI ACTUALLY LIVE?No other Swiss person is so widely known as Wilhelm (William) Tell, theSwiss National Hero of Liberty - thanks to the German poet Friedrich vonSchiller and his drama Wilhelm Tell. William Tell’s picture can be seenon the back of coins worth 5 Swiss Francs (largest coin in Switzerland,approximately 4 US $) - but there is reasonable doubt whether WilhelmTell ever has lived at all. However, the verylegend of William Tell itself did have an enormousinfluence on the history of Switzerlandand of other countries. It is set in the periodof the original foundation of the Old SwissConfederacy in the early 14th century. Accordingto the legend, Tell—an expert marksmanwith the crossbow—assassinated Gessler, a tyrannical reeve of HabsburgAustria positioned in Altdorf, Uri. Along with Arnold Winkelried, Tellis a central figure in Swiss patriotism as it was constructed during theRestoration of the Confederacy after the Napoleonic era.“Peter! Peter! everything is on fire! All the rocks are burning,and the great snow mountain and the sky! O look, look! thehigh rock up there is red with flame! O the beautiful, fierysnow! “It is always like that,” said Peter; “but it is not reallyfire.” “What is it then?” cried Heidi, as she ran backwards andforwards to look first one side and then the other, for she feltshe could not have enough of such a beautiful sight. “What isit, Peter, what is it?” she repeated. “It gets like that of itself,”explained Peter. “Look, look!” cried Heidi in fresh excitement,“now they have turned all rose color! “O how beautiful, lookat the crimson snow! “It will come again to-morrow,” saidPeter. “Is it like that every day, shall we see it every day whenwe bring the goats up here?” asked Heidi. “It is like that mostdays,” he replied.“Heidi” is a delightful story for children of life in the Alps, one of manytales written by the Swiss authoress, Johanna Spyri. The record of theearly life of this Swiss child amid the beauties of her passionately lovedmountain-home and during her exile in the great town has been formany years a favorite book of younger readers in Germany and America.Maienfeld in the Swiss canton of GraubündenJohanna Spyri (1827 – 1901) was a Swiss author of children’s stories, andis best known for her book Heidi. Born in the rural area of Hirzel, Switzerland,as a child she spent several summers in the area around Chur inGraubünden, the setting she later would use in her novels.The Legend of William Tell and in which Swiss town did William Tell shoot an apple off his son’s head?The legend as told by Tschudi (ca. 1570) goes as follows: William Tell,who originally came from Bürglen, was known as a strong man, mountainclimber, and an expert shot with the crossbow. In his time, theHabsburg emperors of Austria were seeking to dominate Uri. Albrecht(or Hermann) Gessler, the newly appointed Austrian Vogt of Altdorf,raised a pole in the village’s central square, hung his hat on top of it,and demanded that all the townsfolk bow before the hat.On 18 November 1307, Tell visited Altdorf with his young son andpassed by the hat, publicly refusing to bow to it, and so was arrested.Gessler—intrigued by Tell’s famed marksmanship, yet resentful of hisdefiance—devised a cruel punishment: Tell and his son would be executed,but he could redeem his life by shooting an apple off the head ofhis son, Walter, in a single attempt. Tell split the apple with a bolt fromhis crossbow. But Gessler noticed that Tell had removed two crossbowbolts from his quiver, not one. Before releasing Tell, he asked why. Tellreplied that if he had killed his son, he would have used the secondbolt on Gessler himself. Gessler was angered, and had Tell bound.Tell was brought to Gessler’s ship to be taken to his castle at Küssnachtto spend his newly won life in a dungeon. But, as a storm broke onLake Lucerne, the soldiers were afraid that their boat would founder,and unbound Tell to steer with all his famed strength. Tell made useof the opportunity to escape, leaping from the boat at the rocky sitenow known as the Tellsplatte (“Tell’s slab”) and memorialized by theTellskapelle.Local tradition says that a first chapel had been constructed in 1388 atthe place where William Tell is said to have escaped from boat of thebailiff Gessler. The oldest documents mentioning a chapel there dateback to 1516/1530, however. Tell’s chapel became a place of pilgrimagefrom the 16th century on. The current chapel was constructed in 1879.WELCOME TO HEIDI`S VILLAGEVisitors from all over the world will find themselves transported back tothe time of the story of Heidi when they come to Johanna Spyri’s “Heidihaus”(Heidi’s house), in Heidi’s Village (Heididorf) at Maienfeld.The theme of Heidi’s Village is “Heidi: yesterday - today - tomorrow”. Itis an experience that is likely to warm the hearts of children and pleaseadult Heidi fans as well. Heidi’s Village takes visitors on an emotionaljourney back through time to the Swiss alpine landscape of the late 19thcentury. Here they can get an authentic picture of the area that inspiredJohanna Spyri’s world famous Heidi story. The village comprises Heidi’shouse, a museum , a souvenir shop and post office.Maienfeld is a municipality in the district of Landquart in the Swiss cantonof Graubünden. It is a tourist destination in the Alps, both because ofthe local wine and because it was the setting of the story Heidi.Johanna Spyri’s classic book Heidi is largely set in Maienfeld.Heidi’s houseTell’s Chapel near Sisikon (Lake Lucerne, Switzerland)40 41

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 201318TH CENTURY MOVERS AND SHAKERSNOBEL PRIZESJohann Heinrich Pestalozzi (1746–1827)Born in Zurich, Johann Heinrich Pestalozzi was an educational reformer and a fatherof orphans. His dream was to provide education for everyone, both rich and poor, andhe devoted his life to achieving this goal. His motto was “Learning with the head,hand and heart” – and everyone knows that it is much easier to take in things throughemotions than by simply learning them off by heart.The inscription on his grave is “Everything for others, nothing for oneself”, a maximthat he himself lived by and that has become famous all over the world. Even today,many schools, from Buenos Aires to Germany, are named after this great man.In 1899, the Lucerne sculptor, Hans Siegwart, erected a monument to Pestalozzi onthe only green area along the Bahnhofstrasse in Zurich, in front of the present-dayGlobus department store. It stands – it could hardly be more fitting – on what used tobe a schoolyard.The Pestalozzi Children’s Village was created in response to the horrors of World WarII. War orphans from all over Europe came to Trogen in the idyllic canton Appenzellto learn how to live together peacefully. Our overriding goal is peaceful cohabitationby way of international understanding, and education in the spirit of Johann HeinrichPestalozzi is our key to achieve it.Since 1982, the Pestalozzi Children’s Foundation has been working in developmentcooperation as a Swiss non-profit organisation focusing on education.Today, the Pestalozzi Children’s Foundation operates in three programme domains:Integration, Intercultural Exchange and Development Cooperation.Leonhard Euler (1707 – 1783) was a pioneering Swiss mathematician and physicist.He made important discoveries in fields as diverse as infinitesimal calculus andgraph theory. He also introduced much of the modern mathematical terminology andnotation, particularly for mathematical analysis, such as the notion of a mathematicalfunction. He is also renowned for his work in mechanics, fluid dynamics, optics, andastronomy. Euler spent most of his adult life in St. Petersburg, Russia, and in Berlin,Prussia. He is considered to be the pre-eminent mathematician of the 18th century,and one of the greatest mathematicians ever to have lived. He is also one of the mostprolific mathematicians ever; his collected works fill 60–80 quarto volumes.Pestalozzi monumentPestalozzi village TrogenWhen it comes to Nobel Prize winners per capita, Switzerlandis head and shoulders above the competition– but on closer inspection all is not as it seems.Since 1901, when the first prizes were awarded forphysics, chemistry, physiology or medicine, literatureand peace, 24 Swiss have been honoured – a fact notlost on politicians and business leaders.And according to the Lausanne “talent incubator” IMD,Switzerland boasts 1.111 Nobel Prizes per millioninhabitants, awarded between 1950 and 2001 for physics,chemistry, medicine and economics (the SverigesRiksbank Prize in Economic Sciences, commonly identifiedwith the Nobel Prize). This “Nobel factor” compareswith 0.840 for Britain, 0.713 for the United States,0.341 for Germany and a mere 0.187 for France. So intotal more than a hundred Nobel winners have a closeconnection to Switzerland. Is this just a coincidence?Yes, says Werner Arber, an Aargau-born microbiologistand geneticist who shared the 1978 Nobel Prize inPhysiology or Medicine for the discovery of restrictionendonucleases, which led to the development ofrecombinant DNA technology.Richard Ernst, a chemist from Winterthur who wasawarded the 1991 Nobel Prize in Chemistry for his worktowards the development of Fourier Transform nuclearmagnetic resonance spectroscopy, is not so sure. Hesees two reasons for the Nobel boom in Switzerland:first, the country sat on the fence during the two worldwars and as a result attracted many of the best brainsfrom across Europe. Second, “the support and environmentin Switzerland over the past 50 years has beenextremely good. That doesn’t happen overnight – that’sthe fruit of lengthy development”. “The attraction forworld-class people remains high – and I don’t see thischanging,” he said.The 24 “real” Swiss Nobel Prize winners1901 Jean Henri Dunant: Nobel Peace Prize1902 Elie Ducommun and Charles Albert Gobat: Nobel Peace Prize1909 Emil Theodor Kocher: Physiology or Medicine1913 Alfred Werner (citizen of Zurich from 1894): Chemistry1919 Carl Friedrich Georg Spitteler: Literature1920 Charles-Edouard Guillaume (lived in France from 1883): Physics1921 Albert Einstein (citizen of Zurich from 1901-1955): Physics1937 Paul Karrer: Chemistry1939 Leopold Ruzicka (citizen of Zurich from 1917): Chemistry1946 Hermann Hesse (citizenship of Basel and of Bern): Literature1948 Paul Hermann Müller: Physiology or Medicine1949 Walter Rudolf Hess: Physiology or Medicine1950 Tadeus Reichstein (citizen of Zurich from 1916): Physiology or Medicine1951 Max Theiler (from 1922 in the US): Physiology or Medicine1952 Felix Bloch (from 1934 in the US): Physics1957 Daniel Bovet (from 1947 in Italy): Physiology or Medicine1975 Vladimir Prelog (citizen of Zurich from 1959): Chemistry1978 Werner Arber: Physiology or Medicine1986 Heinrich Rohrer: Physics1987 Karl Alexander Müller: Physics1991 Richard Robert Ernst: Chemistry1992 Edmond Henri Fischer (citizen of Geneva from 1947): Physiology or Medicine1996 Rolf Zinkernagel: Physiology or Medicine2002 Kurt Wüthrich: ChemistryA statement attributed to Pierre-Simon Laplace expresses Euler’s influence on mathematics:“Read Euler, read Euler, he is the master of us all.”“For since the fabric of the universe is most perfect and the work of amost wise Creator, nothing at all takes place in the universe in whichsome rule of maximum or minimum does not appear.”Leonhard EulerPortrait of Leonhard Eulerby Emanuel Handmann44 45

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013LIVING HISTORYVOICES OF RUMANTSCHThe Romansh languageRumantsch (sometimes also transcribed as Romansh, Romantsch Rhaeto-Romanceor Rheto-Romanic) is Switzerland’s fourth national language. Its native region is thecanton of Graubünden (Grischuns in Rumantsch).The Rumantsch language has developed from Latin (like Italian, Spanish or French).There are five regions with different dialects of Rumantsch and they are separatedfrom each other by regions with German speaking population that has immigrated inthe late middle ages:* Vallader is spoken in Engiadina bassa (low Engadin region around Scuol)* Puter is spoken in Engiadina ota (high Engadin region around St. Moritz - Pontresina)* Surmerian is spoken in central Grisons around Tiefencastel - Savognin* Sutselvan is spoken in Rein posteriur (Rhine valley around Thusis), almost extinct* Surselvan is spoken in Rein anteriur (Rhine valley around Disentis/Mustér - Sedrun),the most numerous groupAbout half of the people that speak Rumantsch as their mother tongue do not livein these regions any longer but have emigrated towards the industrialised cities ofGerman speaking northern Switzerland. In this sense, Zurich has become the biggestRumantsch speaking town - but Rumantsch is in the same situation there as any otherlanguage of immigrants: There is hardly ever a group in public consisting of peoplethat all understand and speak this language and so they have to communicate in theofficial regional language German.Though Rumantsch has been an official language in canton Grisons for centuries, ithas not been officially recognized as a national language of Switzerland until 1938.The sudden recognition was motivated by Switzerland’s will to resist the ideologyof incorporation of all ethnic Germans and Italians into Hitler’s German Reich orMussolini’s fascist Italy. So the exotic fourth national language was very welcome todemonstrate that Switzerland is different from its neighbours ...While a majority of the official federal documents are available in German, French andItalian, only a small portion are being translated into Rumantsch, however. As soon asRumantsch-speaking people leave their region (or make a phone call outside) theyhave to be able to communicate in another language. That’s the reason why they areall bilingual and speak (Swiss) German perfectly, too.About this sound Stai si, defenda,Romontsch, tiu vegl lungatg,Risguard pretendaPer tiu patratg! (help·info)Stand up, defend,Romansh, your old language,demand respectfor your thought!Giachen Caspar Muoth, Al pievel romontschMario PacchioliMario Pacchioli is a singer-songwriter. Since he was sixyears old he performed on stage and music became animportant part of his life.At the age of 22 he got his first gold-award in Switzerland.After that he visited the Musicians Institute ofTechnology in Hollywood, and in 2009 he decided tomove to Paris and to learn the “métier” of the actor.With a deep respect for music, Mario Pacchioli composesand harmonizes with the modesty of the greatcomposers.Tier teiUss par’il temps a mi sco sefermausEd en quel cuort mument da spir ruausLess jeu dir a ti che jeu sesentel beinSche ti eis cun meiBy your sideYou teach me love and make me feel so highShow me the blue sky and I’ll learn to flyEverything apears to be so reachable,when I’m by your sideCorin CurschellasHer song La Pura has become a cultural asset of theSwiss nation.Born in Chur in 1957, Corin Curschellas writes songs inthe genres of world music, chanson, pop, rock, ancientmusic, ethno, experimental songs, jazz and free music.She plays five instruments and sings in six languages,The extremely rare mineral Grischunit is coloured atonce brilliant copper and rather pedestrian metallicgrey. The mineral, buried in the earth of Graubünden(Grisons) for millions of years, was discovered only afew decades ago: a singular mystery of Rhaetian Switzerlandto be found nowhere else on the planet.That singer Corin Curschellas has named her albumafter this mineral gives rise to a compelling symbolism:her art is deeply rooted in the earth, and its discovery isexciting. And – last but not least – the stone’s patronagehighlights the unique nature of her songs: usingone of its least-spoken languages, she boldly bridgesthe gap between central Europe and the Hudson River.Conventional job descriptions aren’t much use for thiswoman: singer-songwriter, musician, composer, theatreand film actor – all find their place on Corin Curschellas’artistic resume. In conjunction with two musiciansfrom Senegal, the singer and her band members, somewho have been with her for many years, have producedworks that are difficult to slot into one of the currentstyles. Although African rhythms and harmonies area basic element, in combination with local folk songsthat sound like pop and jazz, a new organic entity iscreated. Everything blends and merges as if it werethe most natural thing in the world – for instance, theold Swiss «Sapünerstäg» folk song accompanied bytraditional Griot instruments. A remarkable fusion thatis extremely catchy and potentially addictive!Corin CurschellasSinaErika StuckySinaSwiss pop/rock singer Sina is generally classified asa Mundartrocksängerin, signifying that she sings ina dialect distinctly different from standard German.While this no doubt affected her crossover potentialin Germany and Austria, where her music goes mostlyunheard, it helped endear her to Swiss listeners —particularly those from her region of the country, thecanton of Valais — who could relate to her culturally.Sina’s popular breakthrough came in 1994 with anadaptation of “Son of a Preacher Man,” and though shenever scored many national hit singles, her albumsregularly sold well in Switzerland, often charting in theTop Five. In fact, her second album, Wiiblich (1995), wasa number one hit, earning her a Prix Walo in 1995.http://www.sina.chErika StuckyErika Stucky has been nicely described as “a Swisspost-modern jazz singer and yodeller”. Truly a nationaltreasure who sticks out like a welcome sore thumb in acountry only too well-known for quiet, order, efficiency,occasional dullness and no toilet flushing after 10pm.Hippie picnics in San Francisco’s Golden Gate Parkto a flowery soundtrack of the Monkees, Donovanand Nancy Sinatra. Then suddenly the scene changesabruptly to mountain valleys, yodelling choruses andpolka folk in traditional Swiss costume with the ValaisAlps looming on the horizon.Much has been written about this crazy transatlantic biographythat whisks a young maiden away from the S.F.Bay Area to “Valais in Wonderland”. How Erika Stuckynot only therapied her childhood culture shock at theC.I.M. Jazz School in Paris with voice training, but actuallytransformed it, making a powerful entrance ontothe jazz floor with George Gruntz and Ray Anderson.And how she finally did a neat job of performing thefull intercontinental splits with her very own project“Bubbles & Bones”. Amorphously to metamorphic. Theamazed press described it like this at times: “Schimmeringbetween alpine girly and jazz lady – more heartrendingthan seriously avant-garde. “Serious fun“ (RollingStone). „Vocal action art between Laurie Anderson,Meredith Monk and Tom Waits“, discovered Stereoplay.And FAZ states soberly: „There aren´t many vocalists ofErika Stucky’s kind.” What a noble understatement.http://www.erikastucky.ch46 47

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013DEEP ROOTED AND ECCENTRICArno CamenischBorn in Graubünden in 1978, Arno Camenisch writesin both Rhaeto-Romanic and German – and débutedin 2005 with Ernesto ed autres Manzegnas (written inRhaeto-Romanic). He is best known for his awardwinningnovels, Sez Ner (2009) and Hinter demBahnhof (2010) – the first two parts of a trilogy whichhave thrilled critics and readers alike. Camenisch is arecent graduate of the Swiss Literature Institute in Biel.A brilliant performer of his own work, with links to theSpoken Word scene in Switzerland, he has also beenpublishing poetry in literary magazines and anthologies.In 2010, he was awarded both the ZKB Schillerpreisand the Berner Literaturpreis for Sez Ner.Martin SuterMartin Suter (b. February 29, 1948, Zürich) is a Swiss author. He became known forhis weekly column Business Class in the Weltwoche newspaper (1992–2004), nowappearing in the Tages-Anzeiger, and another column appearing in “NZZ Folio”. Suterhas published nine novels, for which he received various awards.Until 1991 he worked as a creative director in advertising, before deciding toconcentrate exclusively on writing. His novels (most recently ›The Time, the Time‹)have enjoyed huge international success. In 2011 the first two titles of his crimeseries, ›Allmen and the Dragonflies‹ and ›Allmen and the Pink Diamond‹, have beenpublished. Martin Suter lives with his family in Spain and Guatemala. Martin Suter’sbooks are published in 31 languages. “Christoph MarthalerBorn in 1951 in Erlenbach near Zurich. Studied musicin Zurich and mime training under Jacques Lecoq inParis. In the 1970s and 1980s he was employed as atheatre musician at various German-speaking stagesand developed his first small music theatre projectsin Switzerland. Frank Baumbauer then brought himto Basel Theatre in 1989 where he gave his first songevenings and presented his first productions. There,met the set designer Anna Viebrock and the literarymanager Stefanie Carp, with whom he has formed aproduction team ever since.In 2011 Christoph Marthaler was honoured with themost important prize in Switzerland for theatre makers,the Hans-Reinhart-Ring.Christoph MarthalerPortrait: Christoph MarthalerMelancholic people are lost in nostalgic spaces, time passes and then they sing. Whenthey speak texts, they lack fire, only in the silence and the music does an honestopinion of life light up in them. Then time passes again.Something about the human animal, something aboutnature, a little something for everyone. Camenischreduces all of his observations — and that’s what thesevignettes come across as, more snapshot or lightly connected(prosaic) prose poems — down to this essential“something,” and it’s not a bad read. It’s consistent intone, at least, and uses what seems like a Europeanconvention, in which certain objects are described witha second-person familiarity: “The length of your lowerarm, the projectiles are, all twisted and bent, somewith, some without heads.” Is it a short story or not,given that it is disinterested in direction or momentum(i.e., such is country life)?UstrinkataThe third of Camenisch’s Grisons-Trilogy. As the villagersdrink on the final night before their local, Helvezia,shuts forever, wave upon wave of history, myths, legendsand anecdotes is washed in with the rain outsideand the drinks inside.»As reader, you are entirely in Suter’s hands, which are the hands of a skillful magicianwho handles the game of illusions as masterfully as few other contemporaryauthors.« Süddeutsche ZeitungSmall World, novel, 1997Beresina, or the Last Days of Switzerland, screenplay, 1999Business Class, collected columns, 2000The Dark Side of the Moon, novel, 2000A Perfect Friend, novel, 2002Violet, Violet, novel, 2004Huber relaxes, collected columns, 2005A Deal with the Devil, novel, 2006The Last Weynfeldt, novel, 2008The Cook novel, 2010Allmen and the Dragonflies, novel, 2010Allmen and the Pink Diamond, novel, 2011Abschalten, 2012Die Zeit, Die Zeit, 2012Allmen and the Dahlias, novel, 2013Christoph Marthaler’s production style is so different from any other directorialhandwriting that he has acquired hardly any imitators in fifteen years. Just like otherexceptional artists – such as Einar Schleef, Frank Castorf or Christoph Schlingensief– Marthaler’s theatrical art is the expression of such an unmistakable personalitythat it fails as a model and teaching opinion. Anyone who uses Marthaler’s methodsimmediately becomes guilty of plagiarism.In spite of the tremendous sympathy that Marthaler extends to his mostly male losers,and that make his productions so heart-warming, his style often was initially agreat provocation. His very first evening of songs in Basel, where the theatre musiciantook his first directorial steps, ended in a major row. The project on the Swiss military,whose title mocked the national anthem (“When the Alpine Mind Reddens, Kill, FreeSwiss, Kill”), almost led to his manager Frank Baumbauer being thrown out of his job.In their new project, Christoph Marthaler and Anna Viebrock will address the fearsand obsessions of Central European end-of-line humans as well as their paranoidcraving to protect their property and privileges. One more time, we may throw a lookon our past culture of consumption in the minimalist edition of Riesenbutzbach.AnnaViebrock will create the set for Riesenbutzbach, whose interior is to hold a singlefamilyhome, a company, a bank, a shopping mall, a dormitory – practically everythinga Central European has or needs, plus a few odd garages. Riesenbutzbach is constantlychecked and rechecked by security experts and boasts burglar alarms, securitygates and surveillance cameras. A paterfamilias uses a camera to watch his wifeclean the house. Since nobody knows what precisely should be protected or watched,all inhabitants watch and spy on each other. Hierarchies are highly developed andstabilised by intrigue and scheming. The informers have set up their own company.(The informers stand in line to proclaim who said what about whom.) Material wealthand privileges are protected. In their nightmares, the inhabitants have already losteverything. Their fears would motivate each of them to condone horrific crimes. Theinhabitants of Riesenbutzbach consider themselves representatives of an importantculture. The performance questions the foundations and practice of this culture.48 49

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013CINEMA OF SWITZERLANDCINEMA OF SWITZERLANDSwitzerland does not have a large film industry, and, like other small European countries,is heavily dependent on state support. Film support has the potential to makea decisive contribution to the cultural identity of the country. However, the subsidiesare not high enough to maintain an industry that produces films in French, Germanand Italian, and output has lagged behind that of other European countries.Swiss films are not well known around the world, except perhaps to a handful ofmovie buffs. Of course, there is the question of defining what makes a film Swiss - is aHollywood film by a Swiss director as “Swiss“ as a film set in Switzerland, using Swissactors and focussing on life in Switzerland?In the 1970s, mainly French-speaking Swiss directors such as Alain Tanner and Jean-Luc Godard helped to put Swiss films on the cinematographic map. Godard, born to aSwiss family in Paris, spent his early years in Switzerland but later returned to Franceand was very much influenced by the French cinematic tradition. Swiss film-makerssuch as Rolf Lyssy, Daniel Schmid, Fredy Murer and Yves Yersin, on the other hand,have taken Swiss life as the basis for their films.The most succesful Swiss film is Lyssy‘s DIE SCHWEIZERMACHER (THE SWISS-MAKERS), made in 1978, a satirical comedy that deals with the difficulties facingforeigners who want to become Swiss citizens. Schmid‘s Beresina, or the Last Days ofSwitzerland, which appeared in 1999, is a comedy which also did fairly well outsideSwitzerland. One of Murer‘s best-known films is HÖHENFEUER (ALPINE HEIGHTS),about incest in a remote Alpine setting. And Yersin‘s Les Petites Fugues (THE WILDOATS), made in 1979, was voted best Swiss film of all times by a panel put togetherby the national SonntagsZeitung newspaper in 2001. The film tells the story of a farmhand who buys himself a motorcycle and embarks upon a discovery of the world andhimself.JOURNEY OF HOPE, directed by Xavier Koller, won the Oscar for the best foreignlanguage film in 1991. The film tells the tale of three members of a Kurdish family insearch of a better life in Switzerland.About SWISS FILMSThe SWISS FILMS Foundation is the promotion agencyfor Swiss filmmaking. As a partner to Swiss filmmakers,it reinforces the visibility and positive awareness ofSwiss filmmaking at home and abroad. The foundation’sprimary tasks include distribution, networking andcultural promotion of Swiss filmmaking. SWISS FILMSdirects its activities towards film distributors, mediaprofessionals, special-interest groups, cultural institutionsand sectors of the general public interested infilm. The foundation has a performance-based contractwith the Federal Office of Culture. Further support isprovided by public as well as private funds.SWISS FILMS is the ambassador for Swiss film productionsand assists in creating a distinctive mark forthe film productions as regards cultural diversity andregional forms of expression. It offers film directorsand producers promotional services and facilitatesinternational distribution of their film productions. Thefoundation works together with its national and internationalnetwork and organises retrospectives and filmprogrammes all over the world. It serves as the sourceand publisher of reliable information on independentSwiss film productions. SWISS FILMS identifies currentdevelopments on the film scene and organises itsactivities accordingly.The organisation was initiated approximately fortyyears ago by the film industry. In 2004 the Swiss FilmCenter joined forces with the film service department ofPro Helvetia, the Swiss Arts Council and the Swiss ShortFilm Agency to form SWISS FILMS, the film promotionagency. The foundation’s board of trustees is comprisedof nine members representing the various stakeholdergroups. SWISS FILMS is a non-profit organisation basedin Zurich, with an office in Geneva as well.SWISS FILMS is one of the ten founding members ofthe European Film Promotion (EFP), the network forEuropean film promotion agencies.Festivals & MarketsSWISS FILMS supports Swiss filmmaking at major international film festivals inSwitzerland and abroad. Financial contributions and subtitled copies can be providedfor participation at the world’s most important festivals: Annecy, Amsterdam, Berlin,Cannes, Karlovy Vary, Montreal, Rotterdam, San Sebastian, Sundance, Toronto, Venice.Swiss films win over the worldSwiss film productions are regularly invited to the major A-category festivals in Venice,Sundance, Berlin, Cannes and Locarno – and these films have the best chances ofbeing screened in cinemas beyond the Swiss border and on television. In 2011/2012this proved to be true with such films as “Abrir puertas y ventanas” (Back To Stay),“Summer Games”, “Sister”, “Die Kinder vom Napf” and “The Substance.” Almost twothirds of the fiction films were coproductions with neighbouring countries, including“Der Verdingbub” (The Foster Boy), which went forth to become the most popular filmamong audiences in Swiss cinemas for the past five years. Max Hubacher, who starredin the title role of the film, was celebrated as Shooting Star 2012 in Berlin. The year’sbest film productions were awarded the Swiss Film Prize «Quartz» – which has bynow become an internationally recognised brand for films made in Switzerland. Thethree-time «Quartz» winner – “Summer Games” – was selected as the Swiss candidatefor the Oscars 2012.SWISS FILMS facilitates worldwide intermediation and promotion by providingdistribution support and compiling film programmes in collaboration with renownedfestival and event organisers. More insight into the combined film promotion providedby SWISS FILMS can be found in the essay “More film culture!“52 53

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Zurich, River LimmatMASTER CLASSES 2013SPECIAL SESSIONSMASTER CLASSES 2013James V. HART, Screenwriter / Producer, USA“DECONSTRUCTING DRACULA”17. October 2013 - ZurichLaurie HUTZLER, Media Consultant / Screenwriter, USATHE EMOTIONAL TOOLBOX: Get to the heart of the story®24. October 2013 - ZurichSPECIAL SESSIONSDr. Stefan RÜLL, Media Lawyer, GermanyWriters´ Rights21. October 2013Co Producing22. October 201354 55

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013MASTER CLASSES 2013SPECIAL SESSIONSMASTER CLASS StuttgartMASTER CLASS ZurichDeconstructing DraculaMASTER CLASS ZurichThe Emotional Toolbox: Get to the heart of the story!®Writers´ RightsCo Producingby Dr. Stefan RüllJames V. HARTScreenwriter / ProducerUSALaurie HUTZLERMedia Consultant / ScreenwriterUSADr. Stefan RÜLLMedia LawyerGermanyJAMES V. HART (J.V.) was born in Shreveport, Louisianaand grew up in Ft. Worth Texas on Drive-In Movies andSaturday Matinees. Soon after graduating from SMUin Dallas, he began producing films in the 1970’s. Hisfirst feature film, SUMMER RUN, opened the USA filmfestival at SMU in Dallas Texas.Hart settled in New York City with his wife, son anddaughter, and began his screenwriting career. Hiswriting/producing credits include; HOOK, directed bySteven Spielberg based on an idea by Hart’s then 6 yearold Son, Jake, BRAM STOKER’S DRACULA, directedby Francis Ford Coppola, MUPPET TREASURE ISLAND,directed by Brian Henson, and CONTACT, directed byRobert Zemeckis.Other writing/producing credits include: MARYSHELLEY’S FRANKENTSEIN, TUCK EVERLASTING,SAHARA, JACK AND THE BEANSTALK: THE REAL STORY,LARA CROFT: TOMBRAIDER – THE CRADLE OF LIFE,and AUGUST RUSH.Hart is an Executive Producer and co-writer on theanimated feature, EPIC, with children’s book illustratorand home town friend, SMU graduate, William Joyce,and director-animator Chris Wedge, who created ICEAGE and ROBOTS with Joyce currently in release in2013.TV projects include DEAN KOONTZ’S FRANKENSTEINfor Lions Gate and Turner, with Hart collaborating withhis son, Jake; and THE REPUBLIC OF PIRATES, AKACROSSBONES, for NBC with Texas born writing partner,Amanda Welles, and Kurt Vonnegut Jr. series projects,SIRENS OF TITAN, and PLAYER PIANO, with his son,Jake Hart.STEELSKIN is his new project in development at Fox forActor/Director, Andy Serkis, and August Rush producer,Richard Lewis.“Go with Gravity” is Hart’s primary mantra for thewriting life.Laurie Hutzler assists entertainment industry professionals develop feature filmsand television program formats for both the domestic and international markets.She created the Emotional Toolbox®, a unique method that offers a set of specifictechniques, exercises and tools to create and strengthen emotion-based creativecontent.Laurie has worked as a story and character consultant to the BBC, Channel 4, ITV,talkbackTHAMES, Mersey Television/Lime Pictures and Aardman Animation Studio(UK), for Pixar University, Disney and Dreamworks (US), Endemol Netherlands (NL),RTL, Weidemann Berg and Grudy UFA (Germany), GloboMedia (Spain) and TNT (Russia)among others.She is a consultant for Endemol and for FremantleMedia across a variety of scriptedand entertainment formats in the UK, Europe and Australia.Laurie Hutzler has had several plays produced in theaters across the US, winning twoMadoline Cervantes Awards at Lincoln Center in New York City. She was a staff writerand story consultant on Oscar-winner Paul Haggis’ NBC series, The Black Donnellys.She also worked with Haggis on his films: In the Valley of Elah and Quantum ofSolace. She consulted on two Oscar-winning foreign language films; as a storyadvisor on Tsotsi (South Africa) andon The Counterfeiter (Austria), as an eQuinoxescript advisor.Stefan Rüll is an attorney and mediator, active inthe film and television industry for 20 years, havingserved as Managing Director and Corporate Counselof the Polyphon Television Production Group inHamburg and at Senator Film Production andDistribution in Munich and Berlin. His Law Officein Berlin focuses on the legal consultation andrepresentation of national and international producersmainly regarding co-productions, and of authors,directors, and other artists from film and television.He has worked on feature film projects from directorsPeter Greenaway, Leander Haussmann, WernerHerzog, Mike Hodges, Jeanine Meerapfel, HansWeingartner, and Wim Wenders, as well as Oscarwinners Kevin McDonald and Marleen Gorris.Hart’s first novel, CAPT. HOOK – ADVENTURES OF ANOTORIOUS YOUTH, about the early days of JamesHook at Eton before his adventures with Peter Pan, waspublished by Laura Geringer Books for Harper Collinsand was named “Top Ten Young Adult Books” in 2006by the American Library Association.Never Grow Up! Never Give Up!Laurie taught screenwriting in the MFA program at the UCLA Film School for 10 years,and was served as an Artist-in-Residence in Television and Digital Entertainmentat Southern Methodist University in Dallas. She has taught for the Royal LiteraryFund in Cambridge, England; The Sorbonne in Paris, France; Royal Holloway College,University of London, London England; DFFB film school in Berlin, Germany and IFSfilm school in Cologne, Germany.56 57

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013eQuinoxe EUROPE e.V.eQuinoxe EUROPE e.V.Our goals to provide a comprehensive program, to createbridges between cultures, to empower writers byremoving them from their isolation to discuss storytellingwith international bona fide industry professionals,to improve cinema screenwriting skills, to improvewriter-producer communication, to promote co-productions,to preserve cultural stories for a global audience,and to create awareness of EU talent continue to be ourengine. We wish to extend these goals globally to exposeEU writers to the other continents and vice versa.Our comprehensive program has no rewritingduring the workshop, employs intensive 1-on-1advisor/writer meetings, features “Special Sessions”for writers and producers: Writers’ Rights;Co producing with the host country; a “CountryFocus” with 4-5 participants from host country.2001-2009 yielded a 50% production rate for Germanspeakingprojects: 2008 Oscar Best Foreign Film–“THE COUNTERFEITERS”; 2008 Audience Prize forCompetition Film for “FOR MY FATHER” at the MoscowIntl. Film Festival, 2007 German Film Prize-Best Script“SIERRA” and in 2006 the German Film Prize-BestScript / MEDIA New Talent Award “DR. ALEMAN”.eQuinoxe EUROPE will hold two screenwriters’workshops and master class events in 2014 – inAustria in spring and in October 2014 in Germany2001 – 20122001 eQuinoxe EUROPE e.V. founded in Berlin2001 - 2011 102 writers and their producers have participated in theScreenwriters’ Workshops.2002 - 2003 SALONS: READINGS, SCREENINGS & PANEL DISUSSIONS02/2002 Panel Discussion - Intl. Berlin Film Festival06/2002 Screenings - Munich Intl. Film Festival09/2002 Reading: “PEAS AT HALF PAST FIVE” - Hamburg Film Festival02/2003 Panel Discussion: Opening Event Talent Campus- Intl. Berlin Film Festival07/2003 Reading: “WHO IS ANNA W.?” - Stuttgart Film Festival2004 - 2012 INTL. SCREENWRITERS´ WORKSHOPS:2004 1. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2005 2. eQuinoxe EUROPE Screenwriters’ Workshop, Austria2007 mini-Screenwriters´ Workshop, Berlin, Germany2008 3. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2009 4. eQuinoxe EUROPE Screenwriters’ Workshop, Norway5. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2010 6. eQuinoxe EUROPE Screenwriters’ Workshop, Ireland7. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2011 8. eQuinoxe EUROPE Screenwriters’ Workshop, Hungary9. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2012 10. eQuinoxe EUROPE Screenwriters’ Workshop, Norway11. eQuinoxe EUROPE Screenwriters’ Workshop, Germany2013 12. eQuinoxe EUROPE Screenwriters’ Workshop, Spain13. eQuinoxe EUROPE Screenwriters’ Workshop, Switzerland2004 - 2012 MASTER CLASSES:2004 Master Classes - IFS Cologne,Film Academy of Baden Wuerttemberg, Germany2005 Master Classes - Film Academy of Vienna,Austria2007 Master Classes - Berlin, Germany2009 Master Classes - Bergen, NorwayMaster Class - Munich, Germany2010 Master Class - Flora, NorwayMaster Classes - Galway / Dublin, IrelandMaster Classes - Munich, Germany2011 Master Class - Budapest, HungaryMaster Class - Vienna, Austria2012 Master Class - Balestrand, NorwayMaster Class - Stuttgart, GermanyMaster Class - Mumbai, India2013 Master Class - Vienna, AustriaMaster Class - Budapest, HungaryMaster Class - Cardona, SpainMaster Class - Mumbai, IndiaMaster Class - Stuttgart, GermanyMaster Classes - Zurich, SwitzerlandTHE MISSIONThrough its focus on rigorous and effective script development, eQuinoxe Europe iscommitted to:• Enhancing the opportunities for the work of participating EU filmmakers to succeedboth creatively and commercially.• Raising the profile and affirming the importance of script development in thecreative process.• Establishing stronger links between European filmmakers and the eQuinoxe Europeinternational network.• Presenting Europe‘s creative talent to an international forum.HISTORYThe independent, non-profit association eQuinoxe EUROPE was founded in Berlin in2001 and understands itself as an ambassador and supporter of European filmmakerson an international level.PROGRAMOur comprehensive program includes a seven day Screenwriters´ Workshop forwriters and producers as well as Master Classes for the local film community.RESULTS2001-2013 yielded a 41% production rate.ASSOCIATION• Ellen Winn Wendl, Chairman• Susanne Schneider (Screenwriter/Director), Board of Directors• Susan Schulte (Director, Drama Department, German Federal Ministry, Culture and Media)• Claire Dobbin (Chair, Melbourne International Film Festival), Board of Directors• Bela von Raggamby (partner, Lippert von Raggamby)• Dr. Martin Heller (Heller & Partner Law Office)• Alfred Holighaus (German Academy of Motion Pictures)58 598. screenwriters´ workshop and masterclasses 2011

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Alpine hutFINANCIAL PARTNERSThe 13. eQuinoxe EuropeInternational Screenwriters´ Workshop & Master ClassMEDIA Programmeec.europa.eu/information_society/media/training/German Ministry for Culture and Media,www.filmfoerderung-bkm.deZürcher Filmstiftungwww.filmstiftung.chFFA Filmförderungsanstaltwww.ffa.deCreative Skillset & The National Lotterywww.creativeskillset.org/filmFOCAL Stiftung Weiterbildung Filmwww.focal.chAustrian Film Institutewww.filminstitut.atFilm Nova Scotiawww.film.ns.caWestern Norway Film Centrewww.vestnorskfilm.noMFG Filmförderung Baden-Wüerttembergwww.mfg.de/film/Western Norway Film Commissionwww.wnfc.no62 63

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013MEDIA Programme of the European UnionGERMAN FEDERAL MINISTRYfor Culture and Media (BKM)Xavier TROUSSARDHead of UnitEuropean Commission -Directorate General “Education and Culture”MEDIA is a programme of the European Union to strengthen the competitiveness of theEuropean film, TV and new media industries and to increase international circulation of Europeanaudiovisual product.MEDIA supports professional training (screenwriting, business and new technologies), projectdevelopment (single/slate), and the distribution and promotion of European audiovisual works inthe form of grants and interest free loans.Independent European production and distribution companies can apply for development ordistribution funding. Financial assistance is available for training providers and organisers ofmarkets and festivals. Individuals may also benefit from subsidised places on training coursesand international markets. Practitioners in the audiovisual industry such as producers of film,television, animation, new media companies, distribution and sales companies and also “enabling‘“organisations such as training bodies or film schools, promotional events or festival organiserscan apply for support of the MEDIA programme.In all European countries, so-called MEDIA Desks and Antennae inform about the MEDIAprogramme. They consult the applicants and provide with application forms. The MEDIA Desksand Antennae are closely linked to the funding institutions and the film industries of the particularregions. Some of them organize their own events. In Norway, the MEDIA Desk is establishedwithin the Norwegian Film Institute.Bernd NEUMANNFederal Government Commissionerfor Culture and the MediaThe Federal Film Funding Department (BKM) is under the direction of Mr. BerndNeumann, Federal Government Commissioner, Cultural & Media Affairs. The objectiveof the broad, multi-faceted BKM film funding activities is to strengthen and improve theposition of German film as a cultural and economic asset domestically and abroad.The BKM is most well-known nationally for the German Film Awards which havebeen awarded since 1951 and in 1999 was christened the „Lola“. The German FilmAwards are the highest endowed cash prizes in the cultural arena. Awards in thecategories of feature film, documentary, acting, directing, writing, children’s film andoften for an extraordinary/special achievement are presented in June each year at theaward ceremony. Additional award ceremonies subsidized by the BKM include filmachievements in distribution, cinema programming, short films and innovation.Notwithstanding the individual phases of filmmaking, BKM subsidizes film productionand script development. In their interest to support projects at an early stage, BKMestablished in 2002 the Drama Department which provides dramaturgical support fromthe department director for all projects which receive script development funding.For worthy projects which are related and relevant to their funding schemabut fall outside of the distinct categories, BKM awards financial supportto projects as part of their „Special Measures / Projects Funding”.www.filmfoerderung-bkm.deMEDIA supports the eQuinoxe Europe Screenwriters´ Workshop as one of their European trainingactivities within the framework of MEDIA Training.“I have high expectations for the forthcoming Creative Europe Programme. MEDIA has achievedsolid and impressive results over the years. But the sector also needs to address new challengesand opportunities, to test new approaches and business models and to open up to newpartnerships to reach new and wider audiences. The Creative Europe programme shall focus onareas of strong European added value and contribute to adaptation and innovation wherever it isneeded”, comments Xavier Troussard, the new Head of the MEDIA Unit in the Commission.On June 1, 2013 Xavier Troussard began his new position taking over from Aviva Silver, whoheaded the MEDIA Unit the past seven years. Xavier Troussard did not come from very far. In hisprevious position as Head of Unit for “Culture, Policy and Intercultural Dialog” in the same DG,he already triggered policy development for cultural and creative sectors which contributed toshape the context in which the new Creative Europe programme was proposed. He was alreadyprofessionally familiar with the MEDIA and the Culture programmes, having been Director aditerim twice covering both sectors in the last years.He joined the European Commission in 1989 to contribute to the creation and development of theEuropean Audiovisual policy. He became Deputy Head of this audiovisual policy Unit in 2002.As Adviser, Xavier Troussard notably represented the European Commission in the negotiationsleading to the adoption of the 2005 UNESCO Convention on the protection and promotion of thediversity of cultural expressions before becoming Head of Unit for Culture in 2007.Xavier is French and holds a Postgraduate degree in European Law from the College of Europe.Before joining the Commission he had a variety of professional experience mainly in journalismand research.http://ec.europa.eu/culture/media/index_en.htm64 65

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Daniel WASERPeter DINGESRebecca DAVIESPierre AGTHERoland TEICHMANNThe Zürcher Filmstiftung was founded in November2004 – after a convincing «Yes for the cinema»by a votation of the Zurich people. Our foundermembersare the Canton of Zurich, the City ofZurich, all other municipalities in the Cantonand the association «Zürich für den Film». ThisFilmstiftung is the first one in Switzerland andwe are committed to support writers, directors,producers and distributors. Our target is tosupport film business on a high professional levelin Zurich. With an annual business volume ofabout 8 million euros we finance projects and wesupport filmmakers in all their needs. Our focusis in assisting script development, productionand distribution of fiction, documentaries, shorts,animations and experimentals. We also supportprojects in co-production with foreign partners.Daniel Waser has been the managing directorof Zürcher Filmstiftung since April 2005. After afive-year period as journalist for a daily newspaper,Daniel Waser graduated in law at the Universityof Berne in 1992 and worked for several yearsat the criminal court. Later on he owned a smallcinema and he was a general secretary of the SwissJournalist Federation. After a postgraduate study inproject management Daniel Waser was elected asthe first managing director of the new Filmstiftung.www.filmstiftung.chThe Federal Film Board is one of Germany’ssignificant film funding institutions. Basedon the federal law set forth by the BKM, itdevelops concrete measures for the promotionof German Cinema. The FFA’s yearly budgetof approximately 80 Mio. Euro is generatedthrough a film levy from exhibitors and videodistributors as well as through financialcontributions by the public television corporationsand the private television broadcasters.The FFA‘s mandate includes enforcing measuresto promote German cinema, to improve thestructure of the film industry within Germany,to support the national economic affairs of thefilm industry, to improve the foundation fordistribution and market exploitation of Germancinema domestically as well as economic andcultural distribution abroad. Additionally, theFFA works toward an alignment and coordinationof the film support measures between theFederal Government and regional states.www.ffa.deeQuinoxe Europe is supported bythe Creative Skillset Film SkillsFund as part of ‘A Bigger Future2’, the UK film skills strategy.The Creative Skillset FilmSkills Fund is supported by theNational Lottery through the BFIand the film industry throughthe Skills Investment Fund.www.creativeskillset.org/filmFOCAL - Foundation for professionaltraining in cinema and audiovisual mediaBased in Switzerland, FOCAL provides thefilm and audiovisual professionals withthe opportunity for continuous training:its programme is conceived and designedto complement and enhance a practiceoriented,life-long learning process. FOCALemphasises diversity: its programme istargeted at all areas in the field of film andaudiovisual art. FOCAL promotes contactsand networking: courses, forums, events andseminars offer opportunities for meaningfuland useful encounters outside the usualpressured working environment. The resultis a dynamic exchange among a wide varietyof professional groups and individuals.FOCAL stands for quality and is built upon20 years of continued experience: morethan 15‘000 participants have attendedover 800 courses, seminars and other eventsto date. Many of them regularly attend theFOCAL seminars or return as lecturers.FOCAL operates nationally and internationally:the quality of the programme and thelecturers attracts participants from aroundthe world. Successful collaboration withEuropean partners and institutions plays animportant role in the networking betweenSwiss professionals and their foreigncolleagues and in the integration of Swissfilm production into the European scene.The Austrian Film Institute was established 1981 in order to providecomprehensive funding for the Austrian film industry in its cultural andeconomic aspects as well as to further develop the traditions of Austrianfilm. Based on the Film Subsidies Act (“Filmfoerderungsgesetz“), the FilmInstitute is a legal entity under Public Law. Its registered office is locatedin Vienna.The Austrian Film Institute aims at achieving both audience approvaland international recognition, thereby enhancing the economic viability,quality, autonomy and cultural identity of Austrian film productions. Itis also an aim to improve the international orientation of Austrian film,particularly by supporting the presentation of Austrian film domesticallyand abroad.The Austrian Film Institute is in charge of Austrian projects presented atthe Eurimages board meetings, the Council of Europe’s coproduction fund,and is also the industry host for the MEDIA Desk Austria.The production, dissemination and marketing of Austrian films aresupported not only by financial subsidies, but also by granting technicalor organisational assistance within the context of the Film Institute’sactivities as a centre of competence. The Film Institute advises theAustrian government and other public bodies on central issues relating toAustrian film and works towards a harmonisation and cooperation of filmfunding between the federal and the regional levels (“Länder”).Last but not least, it supports the cultural, economic and internationalaspects of the Austrian Film Industry, especially by measures aimed atdeveloping new talent and by drafting an annual film industry report.In 2008 the Austrian/German coproduction “THE COUNTERFEITERS”was awarded the Academy Award for Best Foreign Film. In 2009 theAustrian candidate for the Academy Award was “FOR A MOMENT,FREEDOM“. Both projects participated at our Screenwriters Workshops.The 2013 Austrian candidate for the Academy Award Best Foreign Film is“The Wall” from Julian R. Pölsler, also a project supported by our program.www.focal.chwww.filminstitut.at66 67

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Linda WOODStine TVETENGabriele RÖTHEMEYERSigmund Elias HOLMEstablished in 1990, Film Nova Scotia is a ProvincialCrown Corporation with a mandate to grow Nova Scotia’sfilm, television and new media (FILM) industry with ourpartners by stimulating investment and employmentand by promoting Nova Scotia’s producers, productions,locations, skills and creativity in global markets.Through direct investment and tax credits Film NovaScotia and the Province of Nova Scotia make a financialcontribution to Nova Scotia’s film industry of between$15 - $25 million annually. Nova Scotia is home to thefourth largest film industry in Canada. Film Nova Scotia’score business activities include Investment, ExportDevelopment & Marketing and Industry Developmentadministered through three departments: Programs,Locations & Marketing, and Finance.The Programs Department administers DevelopmentLoan, Equity Investment, New Media Equity Investment,Partnerships in Training, CBC/Film Nova ScotiaBridge Award, Professional Development Assistance,Sponsorship, Feature Film Distribution Assistance,Market/Festival Assistance, and Slate Market Assistanceprograms designed to support the growth anddevelopment of Nova Scotia‘s film & television industry.Vestnorsk Filmsenter (The WesternNorway Film Centre) funds thedevelopment and production of independentshorts and documentaries, aswell as the development of featurelength films. The Centre‘s main objectiveis to support and stimulate filmand television production along thewestern shores of Norway. Fundingis given to production companiesbased in the western region, as wellas to projects that thematically andin terms of production draw on ourregional talents and resources.www.vestnorskfilm.noSince Oktober 1995 the Medien- und Filmgesellschaft Baden-Württemberg (MFG) has been working to advance the region’sfilm industry. Shareholders are the state of Baden-Württembergand the public broadcasting company SWR, partnering withZDF/arte since 1999. The annual budget of approx. 15 millioneuros subsidizes cinema and tv productions, script development,and distribution of games, documentaries, and animated films.Numerous measures to support the film industry’s infrastructureenhance the region’s diverse and spirited cinema scene. In 2011the MFG relaunched its digital content funding program forhigh-quality media applications with film-related interactivecontents. In keeping with its multi-pronged funding policy, theMFG actively invests in young film professionals. To that end, theFilmakademie Baden-Württemberg and SWR jointly establishedthe “Young Documentary” initiative. SWR and ZDF partner in“Fifty-Fifty,” an incentive program to help young directors producedebut films. The MFG Star Award recognizes young directors’achievements. Another key area of MFG funding is the animationand visual effects sector. The MFG presents the Lotte ReinigerAward at Stuttgart’s annual International Festival of AnimatedFilm. The Animation Media Cluster Region Stuttgart furthercontributes to interdisciplinary networks and partnerships, therebycontinually enhancing the southwest’s film and media industry.CEO / Gabriele RöthemeyerWestern Norway Film Commissionwas established in 2003 to attract film& television productions to WesternNorway, and to promote the internationalgrowth of the regional film industry.WNFC works with film producers and productiondepartments to help arrange customized scoutingtrips, and to put together the perfect shoot.WNFC represents the fjord region of Norway andstretches nearly 800 kilometers from south tonorth. Our area brings together diverse locations- from glaciers and steep fjords to abandonedindustrial areas and scenic coastal cities.The film commission is a non-profit organization- a joint initiative from the film sector andthe regional counties of Hordaland, Sogn& Fjordane, and Møre & Romsdal. WNFCis an approved member of Association ofFilm Commissioners International.www.wnfc.noThe Locations & Marketing Department promotes theprovince as a film location in the global marketplaceand provides initial production support to producerswho are guests in the province. The Department fulfillsa community liaison role for the industry and generalpublic and coordinates the Corporation‘s communicationactivities. The Finance Department administers the NovaScotia Film Industry Tax Credit and oversees the financialadministration of Film Nova Scotia.Team / Karin Franz, Uschi Freynick, Uschi Herrmann, Dieter Krauß,Stephanie Lang, Regine Pogoda, Uwe Rosentreter, Alexandra Staib,Claudine Sulyok, Oliver ZellerShareholders Land Baden-Württemberg, Südwestrundfunk SWRAssociate / ZDF/artewww.mfg-filmfoerderung.dewww.film.ns.ca68 69

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013SPONSORSOur sponsors‘ generosity of time andtheir benevolence is a great support.www.lindt.chwww.victorinox.ch®FILM & TVwww.arri.comwww.dr.hauschka.comwww.wala.dewww.hp-berlin.dewww.just-publicity.dehttp://www.zuerich.comwww.winterthur-tourismus.ch70 71

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013LINDT & SPRÜNGLIBRIEF COMPANY PROFILEChocoladefabriken Lindt & Sprüngli AG is the worldwide leader for premium chocolateproducts. The company was established more than 165 years ago in Zurich and is stillheadquartered at the shore of Lake Zurich, in Kilchberg. LINDT is one of the oldest Swissbrands. Created and manufactured thanks to a special process (conching) developed byRodolphe Lindt in 1879, LINDT Surfin was the first melting chocolate in the world.LINDT high quality chocolate products are marketed through 20 fully owned subsidiariesand a network of distributors all around the globe to more than 120 countries. The mainmarkets are Switzerland, Germany, France, Italy, U.K., Spain and other European countries,as well as North America, including Canada and also Australia. Two other major chocolatebrands belong to the company: CAFFAREL, a leading Italian chocolate manufacturer, andGHIRARDELLI, the oldest USA chocolate company in the premium market, which wereacquired in 1997 and 1998 respectively.Lindt & Sprüngli’s objective is to further expand market leadership worldwide withhighest quality, innovative new products, professional marketing and partnerships withboth the trade and own retail organizations in every market. The parent company wasconverted into a holding in 1994. The shares of Chocoladefabriken Lindt & Sprüngli AGare listed on the Swiss stock exchange since 1986. Today, the Group employs more than8’000 people worldwide. In 2012, consolidated net sales reached CHF 2.67 billion.SUSTAINABLE COCOA SOURCINGLindt & Sprüngli is one of the few chocolate makers that have complete control overevery step of the production chain starting with the precise selection of the finest cocoavarieties from the best growing areas in the world right on through the careful andexpert processing until ending with the elegant packaging. Sustainable and responsiblemanagement in all its aspects is a very important concern for the Lindt & Sprüngli Groupand all relevant aspects are monitored, directed and controlled at top management level.We source all our consumer cocoa beans exclusively from Ghana where one of the topquality Forastero beans come from and where a premium price is paid for. Over the pastyears, we were involved in some groundbreaking pioneering work and – with the helpof our partner Armajaro and through the non-for-profit organization Sourcetrust – havesupported the set-up of a new sourcing model for sustainable and fully traceable cocoabeans from Ghana. It contains binding guidelines between local cocoa suppliers and ourcompany. The guidelines guarantee stable prices for the farmers involved, but also a fixedamount per crop year of best quality cocoa beans for us. For these fully traceable cocoabeans we pay an on-top premium (more than USD 5.5 million in the past four years) whichis used to positively influence local working conditions and avoid social grievances.VICTORINOX:FREE ENTERPRISE IN THE NAME OF TRADITION, QUALITY AND INNOVATIONThe name Victorinox is closely linked to the legendary “Original Swiss Army Knife”,which has its origins in the Swiss Officer’s and Sport Knife from 1897. The company’shead offices are in the village of Ibach in the Canton of Schwyz, in the heart ofSwitzerland. Karl Elsener founded his cutlery workshop here in 1884 and launcheda matchless success story. Millions of people around the world link Victorinox withtypical Swiss values, such as inventiveness, reliability, functionality and quality.Today, Victorinox produces and distributes a range of valuable quality products withpractical usefulness for various areas of life throughout the world: Swiss Army Knives,Household and Professional Cutlery, Timepieces, Travel Gear, Fashion and Fragrances.All of our products embody the spirit of the “Original Swiss Army Knife”.Throughout its 125-year history, Victorinox has remained true to its approach andprinciples. The characteristic features of the “Original Swiss Army Knife” continueto have a strong influence on the company’s orientation and shape the guidingconcept for its product development and market approach in six core areas: SwissArmy Knives, Household and Professional Cutlery, Timepieces, Travel Gear, Fashionand Fragrances. All of the products manufactured under the Victorinox brand anddistributed around the world embody the spirit of the “Original Swiss Army Knife”.They differentiate themselves from competitive products through their uniquefunctionality combined with outstanding design.Victorinox has its roots in the heart of Switzerland and celebrates a commitmentto Swiss quality. This has a direct impact on the manufacturing process, whereverit takes place and is ultimately expressed in the exceptional quality of our finalproducts. Victorinox has become an ambassador for Swiss quality around the world.The majority of the company’s products, such as Swiss Army Knives, Household andProfessional Cutlery, Timepieces and Fragrances, are produced in Switzerland. Otherproducts, such as Travel Gear and Fashion, come from countries that can providethe necessary professional, personnel and technical resources for economicalmanufacture. Victorinox transfers production responsibility only to carefully selectedmanufacturers in other countries. Strict Swiss standards of quality and sustainabilityapply at these outsource production facilities. Trained quality assurance teams fromVictorinox make sure that our established high standards are met. Victorinox believesin transparency and does not shy away from openly declaring the country where itsproducts are manufactured.We believe that the empowerment of farmers is critical to improve their economic andsocial conditions, to protect the environment, and to ensure the eradication of trafficking,forced labor and the worst forms of child labor. We also believe that continuing to make apriority of traceability in our supply chain will help us to directly support both farmers andcommunities. By implementing verification through independent third party audits, werenew our ongoing full commitment to address the issue of child labor with concrete andmeasurable activities across the cocoa supply chain.72 73

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013®FILM & TVWALA Heilmittel GmbHWALA and its productsAngela REEDWISCH, Walter BRUSFor the last 25 years, the ARRI Group‘s equipment development,manufacturing and distribution undertakings have beenaccompanied by an ever growing service offering.Based in the heart of Munich, ARRI Film & TV has made a namefor itself in post production for domestic and internationalfeature films, TV productions and commercials.The philosophy at ARRI Film & TV is to supply everything from script to screenunder one roof at the highest quality. A close relationship with the productdevelopment department and with the ARRI Rental Group creates a companythat is unique in the world: a one stop shop that can supply and coordinateanything from equipment rental and lab services to state of the art image andaudio post production. ARRI Film & TV is a leading force in the establishmentof the Digital Intermediate (DI) process in Europe and offers creativepersonnel and state of the art technologies in all steps of post production:The best support your vision can get.www.arri.comFounded in Ludwigsburg in 1935 by Dr. RudolfHauschka (1891-1969), sole company location today:Bad Boll / Eckwälden near Stuttgart.Owned by the WALA Foundation since 1986.Approximately 800 employees.Develops and manufactures three brands of holisticproducts. Exports to around 40 countries on allcontinents.WALA Medicines since 1935: approx. 900 differentremedies conforming to the anthroposophicunderstanding of man and nature. Biodynamic WALAmedicinal herb garden complying with Demeterstandards.Supports biodynamic farming projects throughout theworld.WALA’s environmental commitment is driven by onefundamental idea: that the earth is a complex organismin which various cycles interconnect to form a stablesystem. However, it can only remain stable whenhuman beings integrate themselves effectively.WALA Heilmittel GmbH develops, produces and markets the WALA Medicines,Dr.Hauschka Skin Care and Dr.Hauschka Med.To date, WALA Medicines consists of approximately 900 different medicines and selfmedicationproducts. In 1967, Dr.Hauschka Skin Care was established under the WALAumbrella and now boasts over 130 natural skin care products. 2009 saw the additionof the Dr.Hauschka Med range: natural special care products crafted to meet specificneeds.Natures‘s treasures transformed for youWALA has been developing natural products since as far back as 1935. In the earliestdays of its history, the company was a pioneering force in a society that had all butlost touch with natural products. Today, more than 70 years later, it is increasinglyevident that the natural approach may be the only one that can lead us to the future.For WALA, this was always the natural choice.www.wala.dewww.dr.hauschka.com74 75

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Credits (Selection)“THE THREE MUSKETEERS” (Paul W.S.Anderson)“PIRATES OF THE CARIBBEAN IV “ (Rob Marshall)“THE GOD OF CARNAGE” (Roman Polanski)“DREI (Tom Tykwer)“BURIED” (Rodrigo Cortés)Anke ZINDLERJUST PUBLICITY GmbH is one ofGermany‘s most renowned andexperienced publicity agencies in thefield of audiovisual entertainment.Founded in 1988 as ANKE ZINDLERFILMPRESSE, the agency was transformed1997 into JUST PUBLICITY GmbH togetherwith partners Regine Baschny and KerstinBöck. Over the past 17 years the agency hasworked with commitment, professionalismand enthusiasm for clients in the Germanand international film business, devotingthe consistently high standards of qualityto the conception and execution of morethan 300 feature film publicity campaigns.JUST PUBLICITY GmbH has worked with manyof the world‘s most interesting actors anddirectors. We are delighted by the continuedtrust of our domestic and internationalclients who have given us a wide rangeof projects from prize-winning arthousefilms to large-scale, intelligent mainstreamcinema, providing an enormous wealth ofinteresting past and future challenges.Our strengths include commitment tocontent, our particular affection for thecinema and the creative work of the artistsinvolved, our enthusiasm for quality, anda high degree of loyalty to our clients.“ALICE IN WONDERLAND”(Tim Burton)“SHUTTER ISLAND” (Martin Scorsese)“THE GHOSTWRITER” (Roman Polanski)“COCO AVANT CHANEL” (Anne Fontaine)“THE COURIOUS CASE OF BENJAMIN BUTTON” (David Fincher)“A YEAR AGO IN WINTER” / IM WINTER EIN JAHR (Caroline Link)“AUSTRALIA” (Baz Luhrmann)“VICKY CRISTINA BARCELONA” (Woody Allen)“SCOOP” / “MATCH POINT” / “MIDNIGHT IN PARIS” (Woody Allen)“THE DARK KNIGHT” (Christopher Nolan)“THE BAADER MEINHOF COMPLEX” (Uli Edel)“MICHAEL CLAYTON” (Tony Gilroy)“IN THE VALLEY OF ELAH” (Paul Haggis)“PINA” / “PALERMO SHOOTING” /“LAND OF PLENTY” / “THE MILLION DOLLAR HOTEL” (Wim Wenders)“SHINE A LIGHT” (Martin Scorsese)“PERFUME” / DAS PARFUM (Tom Tykwer)“THE LIVES OF OTHERS” / “THE TOURIST” (Florian Henckel von Donnersmarck)“MILLION DOLLAR BABY” (Clint Eastwood)“THE AVIATOR” (Martin Scorsese)“THE DOWNFALL” / DER UNTERGANG (Oliver Hirschbiegel)“KILL BILL” - Volume 1 & 2 (Quentin Tarantino)“COLD MOUNTAIN” (Anthony Minghella)“THE DREAMERS” (Bernardo Bertolucci)“THE HOURS” (Stephen Daldry)“GANGS OF NEW YORK” (Martin Scorsese)“HEAVEN” (Tom Tykwer)“INLAND EMPIRE” / “Mulholland Drive” (David Lynch)“AUSTRALIA” / “Moulin Rouge” (Baz Luhrman)“THE HUNGER GAMES” (Gary Ross)“WAR HORSE” / “SCHINDLER`S LIST” (Steven Spielberg)“TO THE WONDER” (Terence Malick)“BEFORE MIDNIGHT“ (Richard Linklater)Charles McDONALDCharles McDonald started his career with Theo Cowanin 1978. He then founded Judy Tarlo Associateswith Judy Tarlo, before establishing Stone HallinanMcDonald in 1986, in partnership with AmericansConnie Stone and Tim Hallinan, handling film accountsand IBM’s European-wide TV sponsorship drive. Heformed McDonald & Rutter in January 1994 withJonathan Rutter, specialising in all aspects of filmoriented PR work – production, international, corporateand UK distribution – as well as television and theatrework. McDonald & Rutter was incorporated intoPremier PR in April 2006. From November 2008 CharlesMcDonald has operated as a freelance consultant,retaining clients such as BBC Films, Optimum ReleasingCity Screen/Picturehouse, Europa Cinemas and theEuropean Film Awards, as well as maintaining stronglinks with filmmakers such as Ken Loach, LukasMoodysson, Lynne Ramsay, Wim Wenders and JimJarmusch. Jarmusch. Recent projects handled include“BLACK SWAN“, “NOWHERE BOY“, “AN EDUCATION“,“BRIGHTON ROCK“, “SOMEWHERE“, “PINA“ and “WENEED TO TALK ABOUT KEVIN“, among others.Béla von RAGGAMBYThe law practice of Lippert von Raggamby Rechtsanwälteis made up of the two partners Jens Lippert andBela von Ragamby and has since 2005 gainedfurther expertise in the area of Art and Law.One specialist area of this law practice has beento advise and represent both individual artists andthose involved in the international art and mediacircuit, the other area of specialization is copyright.Clients include large business organizations,public authorities and private individualsTheir office is located in Berlin.www.hp-berlin.dewww.just-publicity.de76 77

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013ZurichA gorgeous array of film backdrops and a highly-qualifiedlocal film industry make Zürich a first-rate internationalfilming location. The Zürich Film Office is your contact pointfor film projects, industry contacts and further information.It offers contact to the local film sector and with publicauthorities. It coordinates and assists filmmakers insecuring filming permits. It provides information aboutlocal conditions and logistics services. It operates aninternational marketing strategy to promote Zürich as a topfilm-production location. It offers no financial support.Zürich Tourism Film OfficerGeneral information - susanne.jungbluth@zuerich.comwinterthur-tourismus is the official tourism marketingorganization of the city and region of Winterthur aswell as the Canton of Zurich.The City of Winterthur has more than 100’000inhabitants and is located in the Greater Zurich Area.It is the sixth largest city in Switzerland and is anindependent economic, cultural and political centre.The wide range of cultural facilities, the new utilisationof the former industrial sites, and the University ofApplied Sciences Centre are the city’s strong points.The many green spaces, the well planned bicycle tracksand numerous nearby recreation areas provide bothinhabitants and guests a high quality of life.Winterthur has excellent transport connections to theSwiss railway network, the Zurich regional railways andZurich Airport. Four motorway exits enable travellersby car to reach their destinations without delay.78 79

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013PARTNERS, SPONSORS AND FRIENDS 2001 - 2013ARRI Film&TVArteAustrian Film InstituteBavaria FilmBerlinale Talent CampusBKM German Ministry for Culture and MediaCharles McDonaldCity of Bergen, NorwayCreative Skillset & The National LotteryDeutsche Columbia PicturesEmbassy of DreamsFÁS Screen Training IrelandFilm Commission NorwayFFA German Federal Film BoardFilm Foundation North Rhine WestfaliaFilm Fondet Fuzz, NorwayFilm Nova Scotiafilm&medien festival gmbhFliegende BautenFocalGarden of IrelandJust Publicity GmbHJust Pure GmbHLa Prairie SwitzerlandLindt&SprüngliLippert von RaggambyMEDIA Programme of the European UnionMEDIA DESK IrelandMEDIA Antenna GalwayMEDIA Antenna HungaryMfG Filmförderung Baden-WuerttembergNorwegian Film InstituteNew Zealand Film CommissionOrwellProvobis GmbH BerlinScreen AustraliaSony ReleasingTeamworx GmbHThe Bavarian State ChancelleryThe Vienna Film FundThe Wright FoundationUSF Cinemateket BergenStiftung der Verlag der AutorenVestnorsk FilmsenterVictorinoxWala Medicines / Dr.HauschkaWestern Norway Film CommissionWinterthur-TourismusX-FilmeZürcher FilmstiftungZürich Film OfficeTHANK YOU80 81®FILM & TVfilm commission NORWAYCity of Bergen

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013CORRESPONDENTS AND WORKSHOP STAFFAustralia - New ZealandClaire DOBBINScript Consultantcdobbin@alphalink.com.auNorwaySiri SENJESreenwritermail@senje.noGermanyDirk PRALLERDramaturgdirk.praller@freenet.deNorwayTor Kristian LISETHLocation Managertkrl@online.noGermanyAlexa Simone RUPPERTAssistant to the Managing Directorselection@equinoxe-europe.orgClaire Dobbin is an Australian script advisor/editor who works with development agenciesand filmmakers in Australia, New Zealand,Norway, Abu Dhabi, Yemen, UK and France.Claire is on the board of the internationalscript workshop eQuinoxe Europe and is ascript advisor to international participants ofthe workshop. She has taught screenwritingat both the Victorian College of the Arts Mastersprogram and RMIT screenwriting program.Claire has run script workshops in Australia,New Zealand and Abu Dhabi and hasbeen a guest lecturer at the Abu Dhabi filmfestival and at Royal Holloway, London. For14 years she was the Senior Script Executiveat the Australian Film Commission andDirector of the Melbourne office of the AFC.Claire was president of the international juryof the 2012 Fajr Film Festival in Tehran.Filmography - see page 9Born and raised in Norway, Siri lived andstudied in the U.S. for several years. Sinceshe turned to writing around ten years ago,she has written for theatre, film, and TV,and published two books for young people.She recently received her Ph.D. from theNorwegian Film School in Screenwriting.She holds an MFA in stage directing and hasstaged around 40 theatrical productions inNorwegian resident theatres. She has alsoworked extensively as a script consultantand teacher of acting and dramaturgy.Dirk Praller is a Berlin-based reader, writer,dramaturg and translator for NDR, SWR,Deutschlandradio Kultur, BKM, eQuinoxeEurope e.V., among others. He wrote thebiography “Bühnen-Bilder, Hainer Hill unddie Kunst der Projektion” in 2005.Most recently, he co-wrote the screenplay“Deadweight“ together with director AxelKoenzen, the film is scheduled for 2013production.Tor Kristian Liseth began working in thefilm industry in his hometown of Bergen,Norway in 2000. In 2005, he was awardedthe Young Talent Award at Bergen InternationalFilm Festival for his work in numerousfilm and cultural projects in Bergen.He has been a production manager on morethan 10 award-winning short films, the latest“FLESH WOUND” (dir. Lisa Gamlem), wasnominated for the Palm D’or in Cannes.He currently works as a production managerin Oslo with Roenberg (Max Manus,Kon Tiki) at Motion Blur.Additionally, he does analogue live-videomixing experiments and sky dives in hisspare time.He has served as location manager for theInternational Screenwriter Workshops since2009.Alexa Ruppert graduated from theOtto-Friedrich-University, Bamberg witha degree in German Literature, Communicationand Psychology in April 2010.Afterwards she did a ten month traineeshipin public relations at Verlag C.H. Beck inMunich. Thereafter she was taken on as anassistant in the Foreign Rights Department.Along the way she is doing her PhDin German Literature. Since March 2013she is working for eQuinoxe Europe e.V.82 83

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013Monte Rosa - Dufourspitze, highest mountain of Switzerland, 4634mEPILOGUE ... Coming soon“This is a good script, but – I am sorry to say - that’s definitely not enough, “so one of the Advisors in the beginning of our workshop meeting. It’s a hot-and-coldshowerwhich you experience with your script during the one-week workshop.As different as the biographies of the Advisors are, so different are the conversations (and soare their analysing methods, their critic and their solutions for your script). And the conversationabout your script continues. At dinner, at a coincidental meeting at the elevator, or atthe breakfast buffet, and the only thing you can hold onto in these days, is one fact: Thesepeople are writing themselves. You’ve seen most of their films and you appreciate their work.They know what they are talking about and what they do to you. And they want your film tobe screened in the cinemas and they want that people around the world want to see it.And then, at the last meeting, during your flight back home, and back at your writingdesk, images slowly develop in your head, one idea begets another, a piece of a conversationarises in your mind, and then, there is another picture. And the film begins.Florian Flicker84 85

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013MASTHEADProduced byeQuinoxe Europe e.V.Feilitzschstraße 1, D-80802 Munichwww.equinoxe-europe.orgEditorial Staff:Ellen Winn WendlEditorial Design & Editing:© communication design Angelika Wehnerwww.ag-pcs.dea.wehner@.ag-pcs.dePhoto Credits:http://media.zuerich.compics © GNU General Public License (GPL)commons.wikimedia.orghttp://www.pixelio.de86 87

13. International Screenwriters´ Workshop & Master ClassES 201313. International Screenwriters´ Workshop & Master ClassES 2013NOTESNORWAY Spring 2009GERMANYAutumn 2004and Spring 2012till Autumn 2014AUSTRIA Spring 2005IRELANDSpring 2010and Spring 2014HUNGARY Spring 2011SPAINSpring 2013SWITZERLANDAutumn 2013NWES88