Berlinale Talent Campus Magazine 2012

Hebbel am ufer 11 16 feb 2012
berlinale talent campus
welcome to tHe berlinale talent campus 350 talents from 99 countries
Berlinale Talent Campus #10
We would like to thank our international network for its support
contents
01 02 03 04
IntroductIon
06 Editorial: Dieter Kosslick 07 Editorial: Matthijs Wouter Knol, Christine Trstrum 09 Words of welcome
campus annIversary
1 2 Interviews with alumni and experts from the past decade
2012 topIcs
22 Focus 2012: Changing Perspectives 24 Distributors at the Campus 25 The Co-Production Prize of the Robert Bosch Stiftung 26 Campus alumni at the Berlinale
programme
30 34 40 41 43 46 48 51 Meet the Expert Campus programme Timetable Day 1 | Sat, Feb 11 Day 2 | Sun, Feb 12 Day 3 | Mon, Feb 13 Day 4 | Tue, Feb 14 Day 5 | Wed, Feb 15 Day 6 | Thu, Feb 16
05
Hands-on traInIng
54 55 56 57 58 59 61 62 63
Score Competition Script Station Doc Station Campus Studio Talent Project Market Talent Press Talent Actors Stage Berlinale Residency Berlin Today Award 2012
06
servIce
66 67 68 69 75 77 78 79
Berlinale Talent Campus website Talent Campus International Index of events Index of experts Index of participants Note of thanks Team and imprint Partners
IntroductIon | 01
Editorial
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let tHe campus cHange your perspectIve
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Up-and-coming filmmakers with all possible cultural, national and creative backgrounds joining the Berlin International Film Festival and learning from seasoned film professionals: When we prepared the first edition of the Berlinale Talent Campus in 2003 this idea sounded wonderful, desirable and forward-looking on the one hand and totally crazy on the other. How could the complex system of one of the worlds leading film festivals stand another 350 accredited guests, and how would all this be financed? Today, as we celebrate the 10th edition, we can easily say: The Berlinale Talent Campus is one of the best things that has ever happened to the Berlinale! The Festival and the Campus interact efficiently on many levels. While the Talents profit from the input of distinguished Berlinale guests, the Festival itself is refreshed by mingling in young filmmakers from all over the world. In addition, the official Berlinale selection is regularly enriched by Campus alumnis films. In the 10th edition of the Campus, for example, we are proud to present 40 films made with the major involvement of 44 former participants. Among them is the Competition film POSTCARDS FROM THE ZOO by Indonesian director Edwin who was part of the 2005 Campus. Forming such a strong global network of filmmakers is at the core of the Berlinale Talent Campus and its five regional editions worldwide: in Buenos Aires, Durban, Guadalajara, Sarajevo and since 2011 in Tokyo. Another important impact on the Berlinale and its filmmaking guests is the Talents ability to contribute new attitudes, fresh opinions and ideas to the Festivals routine. So, this years focus, Changing Perspectives, is also perfectly in line with the character of the Campus itself: it is a centre for exchange, it provokes and questions structures, and is a laboratory for the worlds future film generation. In this way, the Campus has lived its motto Changing Perspectives from the very beginning, which
also becomes evident in the brief interviews later in this magazine with former experts and Talents from the last decade. Our ability to celebrate this 10th edition is first and foremost due to a group of true partners whose tireless support has become an indispensable backbone of the Campus. We express our utmost gratitude to all our sponsors and supporters but especially to our main partners, the MEDIA Training Programme of the European Union and our founding partner Medienboard Berlin-Brandenburg. Furthermore we kindly thank our third main partner, the Robert Bosch Stiftung, which has extended its long lasting commitment to the Berlinale Talent Campus this year. And last but not least: thank you Bernd Neumann, Federal Government Commissioner for Culture and the Media, for the ongoing support of our ideas. Let the Campus #10 help us all to change our perspectives I cannot imagine a stronger driving force on filmmakers creativity. Have an exciting Campus week and, dear Talents, feel invited to come back one day with your films in tow!
Dieter Kosslick Festival Director, Berlin International Film Festival
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Editorial
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Gathering 350 emerging filmmakers with 150 experts in Berlin is something we do every year for a very specific reason. Even though most of us today connect more easily with the rest of the world than ever before, we strongly believe that offering a real-life platform where every attending filmmaker has the chance to meet 499 new people makes more sense than ever before. The Berlinale Talent Campus is a broad-ranging event that firstly sets out to encourage engagement among filmmakers. For us, filmmakers are all those working professionally in the film industry ranging from actors, directors, cinematographers, distributors, editors, film critics, producers, production designers, score composers, sound designers to screenwriters and our primary aim is to create a space for all of you to exchange thoughts and get inspired by each others work. Yet, filmmakers talking is not enough. We facilitate many opportunities to set things in motion and we hope new collaborations sprout from your meetings in Berlin. In the tenth edition of the Campus, were offering you the exciting opportunity to change your perspective on what you thought you already knew. Whether its clear where your future is taking you, or youre at a crossroads in your career, or even if youve worked for many decades in the industry, you may feel the need to refresh your mind and the Campus is a place to reconsider, open up to new input, share
never too late to cHange

ideas, and let others learn from your experience. The proximity of the bustling Berlin International Film Festival increases the opportunities the Berlinale Talent Campus offers to everyone attending: life-changing encounters and mind-blowing events are guaranteed. Why do we want to change your perspective? First of all, because we think that all of you who were selected for this years Campus have worked on great films and will be able to amaze and inspire fellow-filmmakers. Seeing, reading and hearing what others have done will generate new ideas for your own work. We hope it will broaden your horizon, make you aware of the craftsmanship of others, and will help you to further improve and intensify your work. Films move people. Films make people feel and think. Films helps us to reflect on our own life and see what we havent yet seen or experienced. Looking at the world around you and discovering an array of new options, new people to collaborate with, and new ways to make films, there is no better place for this exploration than at the Berlinale Talent Campus. At the Campus, its never too late to change! This also applies to seasoned filmmakers who have discovered the Berlinale Talent Campus as the secret hot spot during the Berlin International Film Festival. There are not many places in the world where you find so many aspirations, fresh energy and the most promising filmmakers gathered together. The film industry knows this is the place to connect, to find new film projects and to find eager and talented people with an international attitude. Out of 4,382 filmmakers who applied, you have made it to Berlin Europes creative capital du jour. The Berlinale Talent Campus #10 promises to be a special edition. Were glad youve come to join us!
Matthijs Wouter Knol Programme Manager
Christine Trstrum Project Manager
Introduction | 01
Congratulates the Berlinale Talent Campus On Its 10th Anniversary
Get Involved In The $200,000 FOCUS FORWARD Filmmaker Challenge

Celebrating the Power of Human Innovation and Invention
www.focusforward lms.com
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Partners
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Words of Welcome
Costas Daskalakis Head of the EU MEDIA Programme at the Education, Audiovisual and Culture Executive Agency Dr. Ingrid Hamm CEO Robert Bosch Stiftung
I wish you an exciting campus week and vibrant collaborative filmmaking adventures.
Kirsten Niehuus CEO Medienboard Berlin-Brandenburg, Managing Director Film Funding Elmar Giglinger CEO Medienboard Berlin-Brandenburg, Managing Director Media Development
Be part of it and have a great time!
Costas Daskalakis Ever since its inception in 1991 the MEDIA Programme has devoted a substantial amount of its budget to co-finance training initiatives developed by professionals for professionals. More than 1,500 professionals from countries participating in the MEDIA Programme are trained every year through more than 60 MEDIA funded training initiatives where they have the opportunity to acquire new skills, learn from others mistakes and successes, fine-tune their projects with experienced tutors, explore new technologies, and expand their network of contacts. In line with our objectives, weve been the main financial partner of the Berlinale Talent Campus since it began. We strive for the same goals: training professionals, fostering projects, connecting people across Europe and internationally. Apart from training activities, the MEDIA programme also offers young filmmakers support by way of: project development, international distribution, networking and access to global key markets and co-production forums. Dr. Ingrid Hamm Based in Stuttgart in the very south of Germany but with strong connections to our capital Berlin, the Robert Bosch Stiftung is one of the major private foundations in Germany and has managed the philanthropic bequest of its founder Robert Bosch for almost 50 years. We support the Berlinale Talent Campus since 2005, with our main focus directed to the Eastern European participants
of the Campus. From this year on we extend our contribution and become one of the main partners of the Talent Campus; a fact we are very proud of! By establishing international co-productions and cooperations we enable young filmmakers to explore the views, the methods, and creative styles of partners from other countries. The support of international film festivals, co-production markets and film education projects is crucial for our idea to support international cooperations. We are very happy that many former participants of the Berlinale Talent Campus or its little brother the Sarajevo Talent Campus managed to receive one of our three CoProduction Prizes maybe you might be the next Just visit our website www. coproductionprize.com, learn more about our prize and go for it! But first of all enjoy the Campus, and conquer this wonderful festival in one of Europes most exciting cities.
Kirsten Niehuus, Elmar Giglinger Each year, around 350 young filmmakers from all over the world travel to Berlin to become part of an international creative community sharing the same language and passion: film. In spite of those common grounds - when an ensemble of creative talents meet, many different visions, approaches and positions are confronted with one another, bound to clash and inspire. Learning how to change perspectives this years Campus motto is a virtue for any human being, especially within a creative process. We want to encourage you to step out of your world into someone elses, surprise yourself by turning the tables, by thinking the unthinkable, imagining the unimaginable! See the world, your ideas and yourself in a different light, dare to take a fresh look! Within the next six days the Berlinale Talent Campus will offer you the perfect environment to do just that! You will have the opportunity to be inspired by top-class professionals. And youll have the chance to enjoy the capital of creativity itself: Berlin, a city rich in diversity, constantly re-inventing itself and beaming with vibrancy & inspiration!
Introduction | 01
PROFESSIONAL DEVELOPMENT & TRAINING

SOURCES 2 Script Development Workshops
Three-month process coached by experienced script advisers for European screenwriters and teams of writers, producers or directors: Seven-day session, coached development period, follow-up session. Application date: 1st March 2012 for the workshop at FilmCamp/Norway, 14th 22nd June 2012, with the support of FilmCamp AS. Requested: Feature film projects and creative documentaries Application date: 1st July 2012 for the workshop in Bucharest/Romania, November 2012, with the support of Artis Foundation. Requested: Feature film projects and creative documentaries
SOURCES 2 at Berlinale Talent Campus

Consultation Analysis Advice for selected projects Ruth McCance at the Script Station, Ulla Simonen at the Doc Station. Please visit the SOURCES 2 stand at HAU 1! SOURCES 2 Kthener Strae 44 D-10963 Berlin Tel. + 49.30.88 60 211 info@sources2.de www.sources2.de
campus anniversary | 02
Campus anniversary
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Campus anniversary
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the first ten years
Over the past decade the Berlinale talent campus has become a stunning network of nearly 4,000 creatives from more than 130 countries. networking, exchange of know-how and experience, sharing a unique passion for film: every year the Berlinale talent campus is animated by the strong motivations of its visitors the talents and the experts. When thinking about the past ten years of the Berlinale talent campus, the hundreds of people who annually bring it to life come to mind. We contacted 12 of them, talents and experts from all corners of the world, to share some thoughts.
This page 2003 | Antonia Neubacher Left page, first row 2004 | Antonia Neubacher 2005 | Rosendahl Berlin 2006 | Antonia Neubacher Middle row 2007 | Double Standards 20082009 | Sonja Jobs Third Row 2010 2012 | Sonja Jobs
Campus anniversary | 02
Campus anniversary
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i try to be a nice man and still make good films. its difficult.
Mikkel Sandemose, Norway | Campus 2006
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You have been at the Campus twice in what ways has it been enriching for you to meet with a new generation of filmmakers? The Campus is a very inspiring experience be cause it is a twoway route. It is a place where film lovers from different cultures and different generations come to discuss cinema. In fact, I learned a great deal in the two experiences I had at the Campus. You have often worked with people having very different cultural backgrounds how does this effect your work? The MoToRCyCle DIARIeS may be the film in which I experienced this situation most pro foundly. The crew came from all different lati tudes of the South American continent. We were faced with the challenge of finding a common language, a common denominator that would allow us to collectively tell a story about our continent. little by little, barriers fell and a family was created. I now have many friends in Argentina, Chile, Peru, Mexico and Cuba
Do you think it is important for an artist to constantly question ones own perspective on things? Nothing is more vital to a filmmaker, but this is probably true of any artistic form. Godard once said that filmmaking is for the young directors who dont know everything yet, and thus need to keep searching. To constantly reevaluate ones work, to question it this is the only way to renew ones understanding of cinema. Do you have a wish for the Campus next ten years? The Talent Campus is a unique experience where young, upcoming filmmakers can not only ex change ideas and discuss cinema with more experienced directors, but they can also ex change ideas between themselves it is a very generous concept, and one that is essential for the future of cinema.
Walter Salles Filmmaker | Brazil Expert in 2005 and 2007
Brazilian director of CeNTRAl STATIoN (nominated for a Foreign language oscar, and winner of the Golden Bear in 1998) and MoToRCyCle DIARIeS. In 2002 he also coproduced the acclaimed CITy oF GoD. his most recent project is an adapt ation of Jack Kerouacs oN The RoAD.
Life is more than realism film is the key to it.

Dorothe Beinemeier, Germany | Campus 2006
Stephen Kang Filmmaker | New Zealand Talent in 2007
Did participating in the Berlinale Talent Campus in 2007 influence your views on filmmaking? I remember well walking down Potsdamer Platz looking at all of those movie posters of films that got invited and thinking: what sort of film doI want to make? I asked the same question to myself when sitting in the auditorium and looking at all those Talent Campus participants. I dont have the answer to that, to be honest. however, I ask this question still to this day and think about the vibe and the energy on that day I walked that street. I think this constantly re minds me what is unique about my story and how to tell so that it stands out. Your latest short film BLUE has won the Critics Week at Cannes in 2011. Did this change your perspective on your own work? Do awards open doors and make things easier? The awards certainly gave me a bit of confi dence and a reason to keep me going. Because sometimes making films can be a very lonely experience even though you are surrounded by
lots of people. Will this change my perspective on making films? I dont think so. I think the way to do it is keep my perspective and charge for ward. Personally, if the perspective changes or gains from personal experiences or from a great mentor, thats healthy. But changed by an award or recognition is very dangerous. Nothing makes it easier to make film, especially if you are in the far corner of the world, like New Zealand.
Are you still in touch with fellow Campus alumni? Do you use the international network platform the Campus offers? one of the great things about the Talent Campus is the networking with people that you never knew before. I met a few people at the Berlinale Talent Campus and I am still in touch with a couple of people from that year. Its great to get in touch with them and get inspired and even encouraged by them.
Born in South Korea, Stephen Kang moved to New Zealand as a teenager. After studying at elam his first feature, Korean down under tale DReAM PReSeRveD, won a New Zealand Screen Award for best digital feature (2006). In 2011 Kangs short Blue the tale of a fallen Tv mascot won the Critics Week section at Cannes. Kangs second feature DeSeRT began screening in local cinemas May 2011.
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Campus anniversary
15 cinema is a team effort; you want people with fearless

eyes and humble hearts to be with you along the way
Juan Diaz B., Colombia | Campus 2009
You've participated in the Campus as an expert for several editions. What propels you to return year after year to work with Talents? The invigorating atmosphere as well as the Talents that come, their visions, their ambiti ons. It's very inspiring. There is a point in editing when you have to surrender to what is, and it takes a lot of courage. It's beautiful to be a part of that. As an editor, writer, director, producer, and professor, you wear many hats. What advice do you have for Talents who are unsure about whether to focus in one role, or continue to develop skills in all aspects of filmmaking? It's a combination of both. you need to go with your gut and go with where you can constant ly be involved with the making. So, if you find yourself in an editing room not to think: I'm just here and I don't want to be here, but to really see what you can learn. And certainly from editing you get to learn from other people's mistakes its where the chicken comes home to roost. It really is about creating magic by accepting what is, and not being defeated by it. If you have no awe or excitement about what you're doing, then dont do it.
Susan Korda Film editor, writer, director and producer | USA Expert since 2004
editor of the oscarnominated and Sundancecrown ed FoR All MANKIND and Teddy winner TReMBlING BeFoRe G-D. She also writes and directs, and was most recently a producer on WIllIAM KuNSTleR: DISTuRBING The uNIveRSe. her own work includes vIeNNA IS DIFFeReNT and oNe oF uS. She teaches at Columbias Graduate Film Program and Binger Film lab, Amsterdam.
This year's Campus theme is Changing Per spectives. In what ways is constantly renewing one's perspective a crucial ability for editors? Well, perspective is kind of saying that one has to look in a certain direction. editors have to be open to what we don't see, and what we don't know is there. We might be looking in one direc tion, but it's actually behind us. Just the aware ness of the different facets of reality, in German it's a beautiful word Wahrnehmung the per ception of that reality is so multifaceted in film. Films are wake dreams. They are dreams that are created in a wakeful moment, but they touch us where our dreams touch us, and there are no rules on that, right? There's no logic except an emotional logic, and a capacity to experience on these valences of existence. In a way, the per spective is about letting go of the idea of per spective, letting go of the idea of knowing, and knowing that something else knows in this process. of course we learn discipline, we train, we have a craft, but there needs to be room for, and the guidance really comes from, creative im provisation. Responding to whatever is at hand, whether you're on set or in the editing room.
Did participating in the Campus change your views on filmmaking? I had a certain vision about life and cinema be fore attending the Campus but three conse cutive years of involvement in different Campus programmes helped me to broaden my vision to the horizon! It helped me immensely to tell my local stories with global significance. People say, Film is a collaborative art. The Campus ex perience made me realize the truest meaning of this saying!
Supriyo Sen Filmmaker | India Talent in 2009
Your film WAgAh garnered many awards after winning the Berlin Today Award 2009 what were the reactions like in India? WAGAh received immense international suc cess. The film won 32 international awards and screened in more than 150 film festivals. The reaction in India was also great. especially: It got huge appreciation from the young audience during its screenings in the educational insti tutions in the country. Do you have a wish for the Campus next ten years? The Campus should grow young!!!
Journalist turned independent filmmaker, Supriyo has produced and directed feature and short documen taries like WAy BACK hoMe which was commercially released in India, hoPe DIeS lAST IN WAR and Berlin Today Award winner WAGAh. his latest documentary is GAMe AND PeACe about a Play for Peace work shop with Kashmir students.
Are you still in touch with fellow Campus alumni? Do you use the international network platform the Campus offers? I worked with my editor Szilvia Ruszev (Campus 2008) in my next project also. I am still in touch with a few other friends from the Campus. We regularly keep in touch and share information to help each other.
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You've participated in the Campus as an expert for several editions. What propels you to return year after year to work with Talents? The quality of the young filmmaking Talents whom we select for the Campus is of a very high standard. I work especially with the writers and actors. I'm always impressed by their enthusiasm and determination, and the joie de vivre that's among them. I'm always keen to see how they will develop. What advice do you have for Talents on how to get the most out of their Campus experience? They should prepare well and come prepared not to have much sleep so that they can do as much as possible and meet as many people as they can while they are there. Those who are fortunate enough to get into one of the handson expert sessions should take that very seriously, and they always do. Taking it seriously means arriving as prepared as they can be for doing their best work, because this will always benefit them. one, it will benefit the project that they are working on at the time, and two, they will come to the attention of the experts they are working with, and because of the quality of their input, they will then get recommended for other projects because we all know lots of people in the industry so that helps. This year's theme is Changing Perspectives. have there been moments in your career when changing your perspective on your work has prompted an important discovery or shift? It sure has! It's inevitable in this business. We work in an industry in which technology has changed a great deal. My generation used to think that oldfashioned film would always be the focus of our activities but now look how so many films are being shot digitally. Secondly, the pressure on budgets has meant that weve had to become far more imaginative to do more with less. Thats a very important factor of what's happened in my career over the years. And I had never expected to work with so many creative people from different parts of the world. okay, most of them share the common language of english, but nevertheless, it means that people are bringing different perspectives to the work because their life experiences are different. Do you have a wish for the Campus' next ten years? That it survives and is able to continue to add value to young filmmakers lives. Actually, I think the Campus will continue to be a model for the kind of partnerships and collaboration that needs to happen for this business to thrive as we go forward.
Alby James Script consultant, produce and teacher | UK Expert since 2007
Former head of development at eoN Screenwriters Workshop, he continues to work in the film business as a producer, script consultant and trainer of emerging talent and as a teacher. In the first 15 years of his career he was mainly in the theatre and he has produced, directed and written a large number of notable theatrical and radio plays.
You will participate at this years Berlinale Talent Campus. What are your expectations and what especially are you looking forward to? This will be the first international film event Im attending. This is a big step for me since I will be able to learn a bit more about film tendenc ies and production procedures outside the film school context. I want to learn as much as poss ible. You study both anthropology and film in what ways are you able to connect them? Studying anthropology helped me to be more aware of the relation between film language and its cultural context. It gave me a broader perspective during the creative process and it allowed me to question myself about the way I was conceiving the film. I believe this is really important since (I think) film is always a political act.
USA, Argentina, Czech Republic: you have a lot of international experience. how does that affect your work? By living abroad I've learned to observe and to abstract things into absurdity. I also learned to hate picturesqueness and to admire the mystery of every person I've met without fitting anyone in a cultural stereotype. I've tried to portray this feeling in my work by going deeper into the characters' emotions rather than behaviors.
The Campus turns ten this year what are your own goals for the next ten years? I hope Im still making movies without losing the passion for it. I hope in ten years I'm still able to laugh at myself. I also hope in ten years I've grown so much that I can see my work back from 2012 and think it's abominable. And over all, I hope my work contributes in someway to somebody.
Maria Daniela Delgado Viteri Filmmaker | Ecuador Talent in 2012
Maria Daniela studied anthropology and film in Buenos Aires and participated at the FAMu International Programme in Prague. Three of her short films were shown at festivals, and she is currently working on her bachelor thesis about Montuvio Cinema in ecuador.
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Campus anniversary
17 i guess you can say that at the talent campus i found

the right people to guide me to my destination.
Nicolas entel, Argentina | Doc Station 2007
As a founding partner in 2003 you know the Berlinale Talent Campus from the very beginning. Are you happy with its development over the years? The Campus has gone from strength to strength. It has weathered changes of venue, a digital re volution and at least two economic crises. And still the brainchild of Dieter is alive and kicking! In fact, I believe that its reach and importance to the Berlinale has grown every year and I am so proud to have been at the founding and funding of this unique happening.
Paul Trijbits Producer | UK Expert in 2005, 2006 and 2011
Films debate how to get accepted. No bribes as yet but they think I have special access they want me to apply.
Changing Perspectives is the Campus theme in 2012. Isnt this one of the most vital capa cities of a successful film producer like yourself? We have to change as producers and cultur al entrepreneurs all the time. our audiences, which are our lifeblood, demand this more than ever. And if we ever became so complacent to think that we know better, I fear our future would be in real danger. The challenges, the movements, the variations make our films worth making. Do you have a wish for the Campus next ten years? KeeP GoING!! Dieter wanted a 1,000 Talents each year for 10 years, so we have only reached half our ambition.
Producer of awardwinning films such as The MAGDAleNe SISTeRS, The WIND ThAT ShAKeS The BARley and TouChING The voID. he was head of the New Cinema Fund of the uK Film Council before he joined Ruby Films in 2007 as partner and executive producer. With the uK Film Council he was cofounder of the Berlinale Talent Campus in 2003.
Did you encounter Campus alumni in the past years or did you work with some of them when you started producing again? over the years I have seen a number of Cvs and approaches from talented people in the uK who make great importance of the year in which they attended the Campus. I can tell you that all the upcoming producers and assistants at Ruby
the Berlinale talent campus is like a huge live film database with an easy interface.
Giorgi Mrevlishvili, Georgia, finalist | Berlin Today Award 2010
You will participate at this years Berlinale Talent Campus what are your expectations and what especially are you looking forward to? Being part of Berlinale Talent Campus is a great opportunity for me to learn, listen and discuss all our business matters. The Berlinale is a great festival and in the past ten years the Campus helped thousands of filmmakers to connect with each other. As an independent producer and filmmaker you constantly have to change perspectives. Is that a blessing or a curse? It is a beautiful blessing to be able to change your perspectives. Films are created to make you dream, live and understand different point of views.
Your films travel to a lot of festivals. how important is international recognition for your work? International recognition is an important factor of success in our business, especially since we do not have a film industry in our region. But I believe that a good film that is made from the heart will always succeed internationally. The Campus turns ten this year what are your own goals for the next ten years? I am planning and hoping to start producing feature films internationally. And I am planning to direct my first and second feature films as well. My biggest goal in the coming ten years is to mark my name in the film industry as a successful producer and as a brilliant director.
Heba Abu Musaed Producer and director | United Arab Emirates Talent in 2012
After graduating in masscommunication, heba work ed for years in the field of production before she wrote, produced and directed her first short film NAFAq in 2009. She produced three other shorts, above them the oscarshortlisted BAhIyA & MAhMouD, before recently realizing her second short film Cell #13.
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making films is a wonderful excuse to make a living out of day dreaming.

Melinda Jansen, Netherlands | Campus 2006
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At the Campus in 2011 you met with emerging actors from all over the world. how important do you think international exchange is for an actor? It is a kind of keystone for how I work, because sometimes when you come in from the out side you get an entirely different perception of people and of the culture you have more ob jectivity. I often find myself playing characters with different cultural backgrounds which means for me, coming from a different perspec tive. So, like the Campus theme this year, Changing Perspectives. Is this one of the abilities an actor needs when preparing to embody a character? The reason that I work is so that I can broaden my own understanding. So that I am not stuck in my perception of how people are but that I learn about the way different people think. So that I learn more empathy, get more compassion and can see peoples actions from different per spectives. That is quite essential for an actor. I leave a job having a broader understanding than when I went in.
You have worked in different countries around the world on a broad array of independent films. What is your feeling about a new generation of actors getting a chance to enter the industry nowadays? I think that actors have to be responsible for their own work. So, work with people you like, collaborate on stories and be responsible for the path your career takes. you have to find direc tors, producers, writers who excite and inspire you and then work together on something. Is luck involved? yes, but what is luck? luck is being ready. There are lots of opportunities you have to be ready to take them, you have to be brave enough to take the risks. Thats what luck is. Do you have a wish for the Campus next ten years? I wish for the Campus to become a really solid place of learning, that its base is broadened, and it continues to be a body that gains year after year.
Kerry Fox Actress | New Zealand Expert in 2011
her film debut was Jane Campions AN ANGel AT My TABle, for which she won, among others, the Best Actress Award at the New Zealand Film & Tv Awards. Fox starred in WelCoMe To SARAJevo and won the Silver Bear for INTIMACy at the Berlinale 2001. In 2009 she performed in hansChristian Schmids SToRM, and will soon appear in P.J. hogans MeNTAl.
You participated in the very first Berlinale Talent Campus in 2003. What is your most vivid memory and what is your impression of the Campus having returned several times to Berlin in the past years? My most vivid memory was begging for en trance (with no ticket) to see ozus ToKyo SToRy. The guard let me go in with no ticket and I saw the film from the last row of the palast. In that moment I fell in love with ozu and with the Berlinale. When I returned to Berlin with lAKe TAhoe I was invited to do a q&A with the Talent Campus par ticipants and I was shocked and very nervous (so nervous, that I was unable to speak in eng lish) but at the same time very excited thinking that a few years ago I was part of the participants who asked the questions.
LAkE TAhoE was screened in Competition in 2008. Winning awards with this film in Berlin and elsewhere, did this change your views on the opportunities the Berlin International Film Festival offers in its programmes? Supporting programmes as the Berlinale Talent Campus does is an invaluable investment in the future of cinema.
Can you tell something about the film you are working on now? how difficult is it in Mexico to make independent films? The script is finished, we are looking for fin ancing and I hope to shoot it in summer 2012. Fortunately, we have government funds for films but an independent film is difficult to make anywhere in the world. Do you have a wish for the Campus next ten years? Continue, for the new voices to come, continue!
Fernando Eimbcke Filmmaker | Mexico Talent in 2003, expert in 2010
Mexican director, his feature debut TeMPoRADA De PAToS won the Ariel Award for Best Film, and lAKe TAhoe was screened in the 2008 Berlinale Competition, winning among others the FIPReSCI award. The Campus alumnus is one of the directors of the omnibus film RevoluCIN which ran in the 2010 Berlinale Special.
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Campus anniversary
19 everything i know goes into my films.

Padraig Trehy, Ireland | Campus 2004
i need to know more.
You joined the Berlinale Talent Campus second edition as a special guest what did you take back home as a filmmaker after meeting such a large group of filmmakers from all over the world? Cinema is the lingua franca of our time. You belong to the few people still working in both the editing and the sound department although these have been strictly separated nowadays. What are the advantages for you to continue working like this? on the contrary, I think that the development of digital technology is pushing all of us toward a convergence: audio/vision. Picture editing and sound editing are flip sides of the same coin, all owing us to tell stories and craft emotions from different perspectives.
Changing Perspectives is the Campus theme of 2012; have there been moments in your career when your perspective on filmmaking changed drastically? Being part of the creation of the 5.1 sound for mat in 1979. Moving from the Moviola to the KeM in 1972; from the KeM to the Avid in 1995; from Avid to Final Cut Pro in 2002; and now from Final Cut Pro to what? Do you have a wish for the Campus next ten years? To be able to continue along the same lines, and to expand appropriately!
Walter Murch Film editor and sound designer | USA Expert in 2004
Walter Murch is a pioneer in modern sound design and has shaped numerous films of Francis Ford Coppola (The GoDFATheR) and George lucas (ThX 1138). For APoCAlyPSe NoW he won an Academy Award for Best Sound. Anthony Minghellas The eNGlISh PATIeNT earned him one each for Best Sound and Best editing.
the Berlinale talent campus was a standout few days in my filmmaking development.
Ken Wardrop, Ireland | Campus 2004
As a filmmaker, what did you take home after being at the Campus in 2004? In 2004, I was just transitioning into my role as a producer/director and the Campus was a per fect opportunity to meet with other likeminded people from around the world. The coaching we received at the Talent Project Market was in valuable and helped in my ongoing fundrais ing process for my first feature film, PlAyING WAR R I oRS, which I completed last year. on re turning to Zimbabwe, I made it a point to en courage as many Zimbabwean filmmakers as possible to apply for future editions. By working as a filmmaker, producer and festival director you intrinsically look from different angles at film how do you benefit from this? When I ran the Zimbabwe International Film Festival, it gave me the opportunity to look at the end product the film and examine the needs of the filmmaker in terms of exposure, marketing and promotion. It gave me the opp
ortunity to meet with hundreds of filmmakers and learn about their production experiences and enable them to share their experiences with others. These interactions have helped in my own work as a producer /director as I now take a more holistic approach to filmmaking.
What does independent filmmaking mean in your part of the world? Independent filmmaking is all about innova tion and about ownership of our work and our intellectual property as filmmakers. It is about telling our stories fearlessly, with fresh eyes and ideas. our industry is not that big in Zimbabwe, but we have seen a surge in production, parti cularly from younger filmmakers, in the past few years. This is encouraging and exciting. Do you have a wish for the Campus next ten years? I hope it continues to grow and to empower and nurture fresh filmmaking talent from around the world.
Rumbi Katedza Filmmaker and writer | Zimbabwe Talent in 2004
Awardwinning writer, filmmaker and a prominent figure in the Zimbabwean film industry who served for several years as the Festival Director of the Zimbabwe International Film Festival. With her own production company Mai Jai Films she is producing and directing fiction and documentary projects for television and the screen.
IDFAcademy Summer School

IDFAcademy is an international training program for young up-and-coming talent eager to learn about the documentary industry and develop documentary projects. and film professionals?
Would you like to meet and work with highly esteemed filmmakers
Would you like to strengthen the narrative structure of your documentary project (script or editing), over a period of one week?
Would you like to be part of individual coaching, group sessions and an inspiring cultural program?
Then come to the IDFAcademy Summer School. We look forward to meeting you!
IDFAcademy Summer School, Amsterdam, June 2012. Submissions accompanied by a project are now being accepted, until the deadline of April 1, 2012.
More information on www.idfa.nl/idfacademy
IDFA, November 14 25, 2012 One of the leading documentary events in the world.
2012 topics | 03
Focus 2012
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in search of change
Dates
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sun 12 | 11:00 Hau 1 Changing Perspectives (p.41) sun 12 | 14:00 Hau 1 The Other Side of Reality (p.41) sun 12 | 17:00 Hau 1 Directing Scripts, Editing Stories (p.42) sun 12 | 17:00 Hau 2 Rimini Protokoll: Staging Reality (p.42) sun 12 | 17:00 Hau 3, top Floor Greening the Film Industry (p.42) mon 13 | 14:00 Hau 1 FOCUS FORWARD Short Films, Big Ideas (p.44)
in my professional life, there will be definitely a before and an after the campus.
Yves Heck, France | Campus 2010
Changing Perspectives thats not only the theme of the 10th Berlinale Talent Campus, its also an important impulse for ideas and creativity. With a wide range of events the Campus helps you change your perspective. You know the feeling of suddenly having an amazing new idea, the moment things start shifting in your mind and a new road of possibilities unfolds before you, and suddenly, the day looks much brighter? Dont you wish you had that more often? Get geared-up for six days of a changing perspectives roller coaster ride. Being able to change your point of view and surprise yourself with new opportunities is an asset every artist is aiming for. You need it to develop your work. Emerging filmmakers of today are lucky to be able to develop this skill more and more, living in times when the industry seems to quickly evolve into new directions every year, and open minds are required to connect to each other.
The Berlinale Talent Campus #10 wants to enhance filmmakers perspectives and freshen their minds. This years programme focuses on the ways film professionals from different disciplines can help improve each others work by working closely together. Collaboration is an essential and ongoing concept of the Berlinale Talent Campus, yet its even more important for filmmakers to have the opportunity to change peoples minds through their work. This Campus edition will focus on seeing ones own work from a new perspective, adapting to a rapidly changing industry, audience demands and expectations, as well as using film to make a difference and change peoples views. Filmmakers from all over the world will talk about searching for new creative directions at some point in their career, how collaborating with other talented people challenged them to find new and better ways of working, how filmmaking broadened their view and helped them develop essential skills. Some of the filmmakers will elaborate on their very specific and autonomous working style that has resulted in an amazing body of work, or even created a new genre of filmmaking. Most of the speakers wont just highlight their own work, but share insight on how the input
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Focus 2012
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Dates mon 13 | 14:00 Hau 2 Building Narrative Worlds: Digital Design for Cinema (p.44) mon 13 | 14:00 Hau 3, top Floor The Indie Filmmakers Guide to Cross-Media I: Storytelling in the 21st Century (p.44) tue 14 | 11:00 Hau 1 In the Limelight: Nuri Bilge Ceylan (p.46) tue 14 | 14:00 Hau 2 Audience Wanted: Producers Reaching Out (p.46) tue 14 | 14:00 Hau 3, top Floor The Indie Filmmakers Guide to Cross-Media II: Engaging 21st Century Audiences Across Multiple Platforms (p.47)
the Berlinale talent campus broadened my horizon. informal meetings and casual chats turned, a couple of years later, into project collaborations.
Sabine El Chamaa, Lebanon | Campus 2007
weD 15 | 17:00 Hau 1 The Thousand Sounds of Ryichi Sakamoto (p.50) weD 15 | 17:00 Hau 2 Killer/Hope Crossing Borders (p.50) tHu 16 | 14:00 Hau 1 Changing Perspectives: The Arab World Defining Its Future (p.52)
of others, and joining forces with several professionals involved in film production has inspired them to push boundaries and come up with new ideas. Also, integrating the work of theatre directors, visual artists and novelists at this years Campus will help to put the art of storytelling in a broader cultural context, as we learn from experts from other fields of work. At the same time, new developments in the film industry redefine the ways stories can be told. Especially screenwriters, directors, producers, and production designers are all directly affected by new digital opportunities to imagine and render new story worlds. Th ey use new cross-media platforms to develop, produce and distribute films, have
new equipment at their disposal to shoot footage, and use new digital workflows during post-production. In various sessions youll be challenged to rethink your own preferred ways of working allow yourself to be inspired by others. Dont be afraid of comparing your working style with that of others, maybe even from different art disciplines like theatre, literature or photography. How can filmmakers contribute to sustainable filmmaking in the near future? How can filmmakers increasingly make films that arent just picked up by festival folks, but will be seen by broader audiences? How can filmmaking contribute to political change? How can we prepare ourselves for filmmaking in the next ten years?
2012 Topics | 03
Distributors at the campus
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audience wanted
Dates mon 13 | 17:00 Hau 2 Distributors Sharing Their Secrets (p.45) tue 14 | 14:00 Hau 2 Audience Wanted: Producers Reaching Out (p.46) tue 14 | 14:00 Hau 3, top Floor The Indie Filmmakers Guide to Cross-Media II: Engaging 21st Century Audiences Across Multiple Platforms (p.47) tue 14 | 17:00 Hau 3, top Floor Seducing Audiences: The Art of Using Trailers (p.47) weD 15 | 11:00 Hau 3, top Floor Roughly Speaking: Editing Studio Presentation (p.48)
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weD 15 | 14:00 Hau 3, Black stage Contract Clinic (p.49) tHu 16 | 12:30 Hau 2 Speed Matching: Directors meet producers and distributors (p.40)
It is crucial to reach your audience an achievement that is decisive in a world of multi-platform communication
Ultimately, films are made to be seen and to communicate to audiences. Why invest time, energy and funds into a film that only a select group of people will have a chance to see? Distributors play a crucial role in making sure that these films meet their full potential by reaching their audiences. Therefore, the Berlinale Talent Campus has actively searched for emerging distributors to join the pool of talented film professionals this year. We recognise the immense importance behind the work of the distributor and we want to incorporate young and promising distributors into the Campus community. With so many new and innovative modes of distribution available today, these cutting-edge distributors are well versed in new modes, active in classical theatrical and DVD distribution, and exploring all potentials for outreach including social media and other online platforms. Encouraging filmmaking talents, from directors to producers, at all stages of development and production to be aware of their peer distributors' presence at the Campus, we'd like to promote an exchange of ideas with distributors from early on in the filmmaking process. Distributors and filmmakers who engage in fruitful dialogues about reaching audiences can collaborate to ensure that the maximum amount of people see these groundbreaking films. Shifting our thinking, and considering production from yet another perspective can only aid in the creation of new work.
Participating Talent distributors Estrella Araiza, Mexico Manuel Garca, Argentinia Oliver Harbottle, UK Yogesh Karikurve, India Christoph Meiser, Germany Oistein Refseth, Norway Zoran Stankovic, Macedonia Olivier van den Broeck, Belgium Cynthia Wiesner, Puerto Rico Derya Yanmis, Turkey
In the Campus programme, there are many events geared to get filmmakers and distributors alike to consider new modes of collaboration, new outlets, innovative ways to use technology in reaching audiences, as well as considering the role of emerging regions. See all related events on the side panel.
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co-production prize
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win a co-production
documentary and short film, and each winning production can receive up to 70,000 euros in funding. Frank W. Albers, programme manager for Arts and Culture at the Robert Bosch Stiftung explains: Artistic cooperation between Germany and Southeast Europe had been supported by the Robert Bosch Stiftung since the mid 90 s. Though the Co-Production Prize was founded in 2005, we looked for ways of giving more focus to the programme and soon decided that film could be a way of bringing young German and international filmmakers together on a highly creative level and continue promoting the Stiftungs idea of international understanding. Wed now like to expand our support to include other parts of the world as well.
The Robert Bosch Stiftung, which has been supporting the Berlinale Talent Campus for many years, is one of the main partners of the 2012 Berlinale Talent Campus. Encouraging collaboration and fostering mutual development between producers and filmmakers in Germany and Eastern Europe is one of the ambitions of the Robert Bosch Stiftung. The Co-Production Prize, initiated by the Robert Bosch Stiftung, offers cross-regional support and has profoundly impacted the production of awardwinning films which have screened internationally at festivals. Berlinale Talent Campus participants from the past years have benefitted from the collaboration with the Stiftung and have often gained the support of the Co-Production Prize. Berlinale Talent Campus alumnus, Hungarian director Gabr Hrcher, is one such recent example, who collaborated with German producer Marieke Bittner (Weydemann Bros.), after the two met and began their collaboration at the 4th Sarajevo Talent Campus. They went on to win last years prize, and are now in production on their documentary film ROMA RALLY. Romanian director Peter Kerek and German producer Alexander Wadouhs short feature film project PEPSI also won the prize in 2011. The Robert Bosch Stiftungs Co-Production Prize competition is open to emerging filmmakers between 18 and 35 and graduates of film and media academies in Germany and East and Southeast Europe. Joint production teams with a producer, director, camera operator (not for animated films) and a screenwriter in a balanced mix from both regions are allowed to submit projects. The categories qualifying for the co-production prizes for joint short film productions are animated film,
For more information please contact: Robert Bosch Stiftung, Frank W. Albers frank.albers@bosch-stiftung.de Coordination of the Co-Production Prize, Karin Angela Schyle schyle@coproductionprize.com
Peter Kereks PEPSI won the 2011 Co-Production Prize for short fiction
Winner of the 2011 Co-Production Prize for documentary: ROMA RALLY by Gabr Hrcher
2012 Topics | 03
campus alumni
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happy returns
Dates weD 15 | 19:30 Hau 2 Happy Returns: The Future After the Campus (p.50).
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Four Indonesian alumni from different Campus editions made the Berlinale Competition film POSTCARDS FROM THE ZOO
An impressive number of Campus alumni will be featured in the various sections of the 62nd Berlin International Film Festival. The Berlinale 2012 welcomes back 44 Campus alumni with 40 films in the festival programme. The Berlinale Talent Campus celebrates not only the return of former participants, but is also very excited about projects that feature collaborations between filmmakers that were forged at the Campus. In Competition for the Golden Bear, Edwins POSTCARDS FROM THE ZOO, is a project replete with collaborators who were Campus alums. This team from Indonesia consists of director Edwin (Campus 2005), producer Meiske Taurisia (Campus 2008), screenwriter Duad Sumolang (Campus 2006), and actress Ladya Cheryl. The second Berlinale Competition film with alum participation is Matthias Glasners MERCY, co-produced by Kristine Knudsen (Campus 2003). The Mexican film, A SECRET WORLD, which will be shown in the Berlinale Generation, is another such film with many former Berlinale Campus Talents: producers Ernesto Contreras (Campus 2004) and Erika Avila (Campus 2005), as well as cinematographer Ivan Hernndez (Campus 2006). Another Mexican film showing in the Berlinale Generation this year, PACHA, was completed after connecting with crucial contacts whom director Hctor Ferreiro met while he was a Talent in 2010. THE LOST LAND, a short film by Chinese filmmaker Yan Zhou (Campus 2007), is a continuation of a film project that she had developed in Berlin as a participant in Script Station. Filipino filmmaker Khavn De La Cruz (Campus 2004), is returning with a film in the Berlinale Shorts programme, THE RUINED HEART! ANOTHER LOVESTORY BETWEEN
A CRIMINAL AND A WHORE, after his 2008 film THE MUZZLED HORSE showed in Berlinale Forum. Another second-return by Atsushi Funahashi (Campus 2004), whose film NUCLEAR NATION will be shown in Berlinale Forum. He had previously shown his film BIG RIVER in 2007, which he made with collaborators he met at the Campus while he was a Talent. Sacha Polak (Campus 2010) returns to Berlin with two films: HEMEL, showing in the Berlinale Forum, and BROTH ER, which the Dutch director made with fellow Talent alum, Derek Jan Warrink (Campus 2011), a producer who has three films in the festival this year. The other two are TAKING CHANCES and SNACKBAR , all three of which are showing in Berlinale Generation. DYING NOT PLANNED, showing in the Perspektive Deutsches Kino, was edited by Ivan Morales Jr. (Campus 2005), and shot by cinematographer Ana Valeria Gonzlez (Campus 2008). Thanks to the support of funding which was attained through Talent Project Market, Israeli filmmaker Ami Livne (Campus 2010) was able to make his film SHA RqIYA, and Olivia Silver (Campus 2010) from the USA made her film ARCADIA which will show in Berlinale Generation. The coproducer of SHARqIYA, Henning Kamm, will be joining the
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campus alumni | manfred Durniok Foundation
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Hctor Ferreiros PACHA features in this year's Berlinale Generation
Alumna Teona Strugar Mitevska returns with the Berlinale Panorama film THE WOMAN WHO BRUSHED OFF HER TEARS
Campus this year. Three Campus alumni return to Berlin with projects in the CoProduction Market. German producer, Dorothe Beinemeier (Campus 2006) returns with the film HEIRS OF THE NIGHT, and Jochen Laube (Campus 2004) with COCONUT HERO. Magnus von Horn, Swedish/Polish co-author of THE WORD was at the Campus in 2010.
Other Campus alumni at the Berlinale in 2012: Carolina Hellsgrd (Campus 2008) HEROES; Torfinn Iversen (Campus 2009) LEVIS HORSE; Anne Katrine Andersen (Campus 2003) LOVE IS IN THE AIR; Chelsea Winstanley (Campus 2008) MEATHEAD; Milen Vitanov (Campus 2010) RISING HOPE; Wi-Ding Ho (Campus 2006) 10 + 10; John Wallace (Campus 2007) DOLLHOUSE; Teona Strugar Mitevska (Campus 2004) THE WOMAN WHO BRUSHED OFF HER TEARS; Stephan Talneau (Campus 2006) ULRIKE OTTINGER: NOMAD FROM THE LAKE; Andr Gtzmann (Campus 2004) GEGEN MORGEN; Thomas Oswald (Campus 2011) EIN MDCHEN NAMENS YSSABEAU; Ron Dyens (Campus 2003) THE GREAT RABBIT; Gustavo Rondon Cordova (Campus 2007) NOSTALGIA; Bernd Lange (Campus 2003) HOME FOR THE WEEKEND; David Zellner (Campus 2006) KID-THING; Sandino Saravia Vinay (Campus 2004) THE WAIT; Stefan Butzmhlen (Campus 2011) SLEEPLESS
KNIGHTS
For more information about submitting to the Berlin International Film Festival, visit www.berlinale.de.
Manfred Durniok Foundation A long lasting supporter of the Berlinale Talent Campus The German producer, filmmaker, photographer and writer Manfred Durniok was always drawn to distant places, yet it was Asia in particular that captured his imagination. The Manfred Durniok Foundation, founded by the late filmmakers daughter, Ayano Teramoto, is a non-profit organisation established in 2006 to support and promote cultural exchange between Germany and Asia through scholarships, awarding prizes and providing financial support to intercultural gatherings. The Berlinale Talent Campus decisive international perspective and interest in a dialogue that goes beyond political and cultural borders makes for a fruitful collaboration. Intercultural awareness is a recurrent theme in the films that Durniok made and produced, and it is this spirit that the foundation hopes to continue. The Manfred Durniok Foundation once again supports Talents from South East Asia attending the 10th edition of the Berlinale Talent Campus by covering their travel costs, as they have since 2007. East Asian Talents are invited to the Manfred Durniok Foundations reception on February 12 from 12:30 until 13:30 at the Kaffeehaus at the Museum of Communication Berlin (by invitation only).
2012 Topics | 03
23rd edition / july 2012 150 lms screened - international, french and rst lms competitions - world and international premieres - parallel screens - retrospectives - exhibitions - concerts call for entries : december 1st, 2011 - deadline : march 18th, 2012 FIDLab coproduction platform 4rd edition / july 2012 10 international projects selected - public presentations and professional meetings with producers, distributors and international programmers call for entries : october 15th, 2011 - deadline : february 5th, 2012
www.dmarseille.org
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Meet the Expert
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viS viS diScuSSionS
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Vis vis with Michel Reilhac, executive director of ARTE France Cinema
Join different industry professionals for focused discussions at HAU 1 and HAU 3.
Sun, Feb 12
Michel Reilhac HAU 1, Fox Bar | 12:45-13:45 Michel Reilhac, executive director of ARTE Fran ce Cinema and director of film acquisitions for ARTE France, will shed light on developing film concepts for broadcasters, be they analogue or crossmedia projects. Mathias Schwerbrock & Joachim Knaf HAU 3, Top Floor | 12:45-13:30 In cooperation with the Film and Television University (HFF) Konrad Wolf and Erich Pommer Institut. Dr. Joachim Knaf, tutor at the Film and Television University (HFF) Konrad Wolf, and German producer Mathias Schwerbrock will focus on three essential questions: How do you get a hold of new financial sources for your project? What is the best way to compute an international coproduction? And how can you increase your profit from a production? They will demonstrate
answers to these questions through LinePro ducer, a software designed to link the sectors of budgeting, financing and cash flow. It incor porates factors such as currency, countrystocks and coproductions, enabling you to efficiently plan your film production.
Christian Goldbeck HAU 3, Black Stage | 12:45-13:30 German production designer, who worked on films such as IF NOT US, WHO?, REQUIEM, STORM, and as art director on THE READER, receiving German Film Award nominations for his pro duction design on five films. He is also produc tion designer of this years Berlinale Competition film by HansChristian Schmid HOME FOR THE WEEKEND. Goldbeck will talk about the job of production designers, matching their visual designs perfectly with the themes and tone of each film they work on. Sandra Beerends HAU 1, Balcony | 15:45-16:30 Script editor Sandra Beerends has worked with an array of screenwriters, directors, and produ cers, strengthening the narrative structure of their stories among them KAUWBOY, screen
ing in this years Berlinale Generation. She will discuss the choices you have to make during the writing process, but also while shooting and editing the film.
Mireille van Helm HAU 1, Fox Bar | 16:00-16:45 Mireille van Helm, founder of Ginger Film Ser vices, will be available to give helpful advice on how to prepare your film for delivery to an in ternational sales agent and/or to international territories. In this meeting she will also talk about what materials are essential during film production, and the estimated costs/budget for an international delivery. Sydney Levine HAU 3, Black Stage | 16:00-16:45 Sydney Levine, with over 35 years of experience in the entertainment industry, started as an acquisitions executive and went on to establish FilmFinders, the first comprehensive database of worldwide productions and rights availabil ities by territory. After 20 years, she sold it to IMDb and is now creating online courses in the international film business, working with the European Film Market as well as the market in
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Meet the Expert
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Meet casting director Beatrice Kruger
or Isabel Arrate Fernndez, head of the Jan Vrijman Fund of the International Documentary Film Festival Amsterdam
Cannes, participating in festival juries and mar ket panels, and consulting with her partner Peter Belsito. She will talk about how you can enter the market as a producer, and how to find the right market for your film project.
enhance cultural exchange through its film programmes. His session will focus on film makers possibilities for collaboration with the GoetheInstitut in Latin America and worldwide.
Peter Belsito HAU 3, Black Stage | 16:00-16:45 Peter Belsito, American producer, cinemato grapher and publisher will give an overview of the current international independent market place and will share his experience in preparing for performing successfully when visiting film markets and to find your way more easily in the world of sales, distribution, financing, marketing, publicity both on and offline.
Karol Mar teskoFenster and Damon Smith, to learn more about the details of the upcoming $200,000 Filmmaker Challenge and to have all your questions answered regarding this new documentary 3minute short film initiative.
Alaa Karkouti & Maher Diab HAU 1, Fox Bar | 16:00-16:45 Alaa Karkouti, Syrian film analyst with a tho rough knowledge of the Arab film industry, and Maher Diab, Lebanese illustrator and visual artist, both represent the Cairobased agency MAD Solutions a group of creative designers and planners. They will tell you how to find the right people to work with in different parts of the Arab world, how and in which stage of pro duction you can find film funding or copro ducers in this region. Iwana Chronis HAU 3, Black Stage | 16:00-16:45 Manager of the Hubert Bals Fund of the Inter national Film Festival Rotterdam, Chronis will inform you about the work of the fund and the funding schemes for filmmakers coming from Africa, Asia, Latin America, the Middle East and parts of Eastern Europe.
Programme | 04
mon, Feb 13
Isabel Arrate Fernndez HAU 1, Fox Bar | 12:45-13:30 Fernndez runs the Jan Vrijman Fund of the International Documentary Film Festival Am sterdam which aims to support and generate more attention for documentaries and film makers from developing countries. In this session, she will focus on the possibilities for funding offered by the Jan Vrijman Fund with special attention on how to prepare an appli cation and project proposal. Nikolai Petersen HAU 1, Balcony | 16:00-16:45 Nikolai Petersen, director of the GoetheInstitut Venezuela, will talk about the activities of the GoetheInstitut worldwide and how it aims to
tue, Feb 14
Karol Martesko-Fenster & Damon Smith HAU 1, Fox Bar | 12:50-13:45 In cooperation with FOCUS FORWARD. After the presentation of Cinelans FOCUS FOR WARD Short Films, Big Ideas project on Mon day (see p.44), today you will have the chan ce to meet FOCUS FORWARD representatives
Open Doors
The beginning of many careers
The 10th edition of the co-production lab will be devoted to francophone Sub-Saharan Africa. Since 2003, Open Doors has showcased 130 projects from more than 40 countries around the world, among which many have become renowned films in the international scene. Submissions for the 2012 editions are now open until March 13th 2012 For applications or further information please visit: opendoors.pardo.ch
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viS viS diScuSSionS
wed, Feb 15
Hanne Skjdt HAU 1, Fox Bar | 12:45-13:30 This is an opportunity for you to ask questions and learn more about the European Documen tary Network (EDN), an association of 1,000 members from 60 countries with the aim of stimulating networks and knowledge within the documentary sector. EDN provides indivi dual consulting and possibilities for funding, development, coproduction, distribution and collaboration across borders. You will meet EDN director Hanne Skjdt. For more information: www.edn.dk Lizzie Francke HAU 3, Black Stage | 12:45-13:30 Lizzie Francke will discuss her work with the film funding department at the British Film Institute (BFI) and give her insights on broadening the quality, range and ambition of film projects. With her experience in all fields of production, she will discuss the current possibilities for in ternational filmmakers to get access to British funding. Kanako Hayashi HAU 1, Fox Bar | 16:00-16:45 Festival director of the TOKYO FILM eX Inter national Film Festival and coinitiator of Talent Campus Tokyo, she will shed light on current developments in Southeast and South Asia as well as how the festival and Talent Campus Tokyo aim to offer a highprofile platform to a new generation of Asian filmmakers. Peter Rorvik & Brbel Mauch HAU 3, Black Stage | 16:00-16:45 Festival director of the Durban International Film Festival, Peter Rorvik will talk about the festival activities for African filmmakers as well as how the Durban FilmMart and the Talent Campus Durban aim to offer networking op portunities in order for African and internat ional filmmakers to form alliances for future collaborations. Brbel Mauch, your contact per son for everything concerning filmmaking in Africa during the Campus, will also join this session to answer questions.
thu, Feb 16
Beatrice Kruger HAU 1, Fox Bar | 12:45-13:30 A casting director based in Rome, Beatrice Kru ger has been involved in the discovery and promotion of new acting talent for many years and developed the idea and concept for an interactive web portal (www.etalenta.eu). She is responsible for the European and/or Italian casting of films such as the recent BORGIA, THE
AMERICAN, LETTERS TO JULIET, THE INTER NAT I ONAL, CASINO ROYALE, OCEANS TWELVE and
many more. She will give acting Talents insight into casting for international films.
Ulrich Kodjo Wendt HAU 3, Black Stage | 12:45-13:30 German composer and sound designer for film and theatre, Wendt has composed music for feature films such as Fatih Akins SHORT SHARP SHOCK, as well as documentaries like Jens Huck eriedes AB NACH RIO. In this session, he will fo cus on finding an adequate language through score and sound design, and adding new layers and story elements to films by using sound.
Programme | 04
Campus programme
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timetABle
HAU 1 9:00 HAU 1 / Fox BAr / BAlcony
More information: www.berlinale-talentcampus.de
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HAU 3 / WHite StAge
10:00 Script Station: Project Development Day Gyula Gazdag, Doris Hepp, Ruth McCance, Marten Rabarts, Franz Rodenkirchen, Selina Ukwuoma. In cooperation with FFA and SOURCES 2. (p.55)
HAU 2
8:30 Ticketing 9:30 Rise and Shine Breakfast Presented by Berlinale Talent Campus. (p.40)
1 1:00
11:30 Taking Off Essential briefing on services, programme and hands-on-trainings. Matthijs Wouter Knol and Christine Trstrum. (p.40)
Distributors Welcome At Attic Room. (p.24) Welcome Talent Actors Stage At Fox Bar. (p.61) Fast Forward Germany Frank W. Albers, Christine Berg, Mariette Rissenbeck, Daniel Saltzwedel. Moderated by Britta Knller. In cooperation with Medienboard BerlinBrandenburg, FFA and German Films. (p.40) Global Speed Matching Meet and greet session. Moderated by Matthijs Wouter Knol. (p.40)
13:00
15:00 1 7:00
Admission at 16:30 Opening Ceremony & World Premiere of the Berlin Today Award Films 2012 Dieter Kosslick, Kirsten Niehuus. Moderated by Matthijs Wouter Knol and Christine Trstrum. Supported by Medienboard Berlin-Brandenburg. Invitation required. (p.40)
9:00
8:30 Ticketing 9:30 Rise and Shine Breakfast

Presented by Robert Bosch Stiftung and Sarajevo Film Festival. (p.41)
Doc & Script Station In cooperation with FFA and SOURCES 2. (p.55-56)
9:30
1 1:00
Changing Perspectives Juliette Binoche, Gaston Kabor. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama. (p.41)
12:30 14:00 1 7:00 20:00
Lunch Break
12:45 Meet the Expert
Michel Reilhac. At Fox Bar. Pre-registration required. (p.30)

The Other Side of Reality Sophie Fiennes, Victor Kossakovsky. Moderated by Sean Farnel. (p.41) Directing Scripts, Editing Stories Yan Geling, Volker Schlndorff, Molly Malene Stensgaard. Moderated by Peter Cowie. In cooperation with TESIRO, Berlinale Panorama (p.42).
Speed Matching Directors meet sound designers and editors. Pre-registration required. (p.40) Kill Your Darlings Master class with Susan Korda. (p.41)
15:45 Meet the Expert Sandra Beerends. At Balcony. Pre-registration required. (p.30) 16:00 Meet the Expert Mireille van Helm. At Fox Bar. Pre-registration required. (p.30)
Rimini Protokoll: Staging Reality Helgard Haug, Stefan Kaegi, Daniel Wetzel. Moderated by Dorothee Wenner. In cooperation with Theater Hebbel am Ufer (HAU). (p.42)
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Campus programme
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Colour code
Events open to the public ticket required
Hands-on training events for pre-selected Talents only
Talents only
Page numbers (p.) refer to corresponding texts in the Magazine
HAU 3 / BlAck StAge
HAU 3 / top Floor

10:00 Editing Studio: Project Introduction Day Andrew Bird, Susan Korda, Gesa Marten, Alexandro Rodriguez, Molly Malene Stensgaard. In cooperation with German Film and Television Academy Berlin (dffb). (p.57)
otHer VenUeS
9:00 Post-Production Studio In cooperation with dffb and Camelot Broadcast Services. (p.57) 10:00 Score Competition Editing at Wave-line / Feedback session with Ryichi Sakamoto. (p.54) 11:00
Talent Project Market (p.58)
Doc Station Welcome Kathrin Brinkmann, Dick Fontaine, Jakob Kirstein Hgel, Meike Martens, Hubert Sauper, Ulla Simonen. In cooperation with FFA and SOURCES 2. (p.56) Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59)
SAt, FeB 11
10:00 Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57) 10:00 Score Competition Editing at Wave-line. (p.54)
The Survival Guide to Digital Workflows Stefan Ciupek, Dirk Meier. In cooperation with German Film and Television Academy Berlin (dffb) and Camelot Broadcast Services. (p.41) Talent Project Market (p.58)
10:30
Christian Goldbeck. Pre-registration required. (p.30)
12:45 Meet the Expert Joachim Knaf, Mathias Schwerbrock. In cooperation with HFF Konrad Wolf and Erich Pommer Institute. Pre-registration required. (p.30)
Up Close & Personal: Andie MacDowell on Acting Andie MacDowell. Moderated by Marten Rabarts. In cooperation with LORAL PARiS. (p.42)
Reception Manfred Durniok Foundation At Kaffeehaus at Museum of Communication Berlin. Supported by Manfred Durniok Foundation. Invitation required. (p.27)
13:00 Post-Production Studio In cooperation with dffb and Camelot Broadcast Services. (p.57) 15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59)
Sydney Levine. Pre-registration required. (p.30)
Greening the Film Industry Jacob Bilabel, Christian Goldbeck, Bernd Hezel, Fritz Reusswig, Georg Schattney. Moderated by Milena Fessmann. In cooperation with the Climate Media Factory. (p.42)
19:30 Dine & Shine Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2012 At ewerk. Judith Kaufmann, Dieter Kosslick, Kirsten Niehuus, Guy Maddin, Jasmila bani. Moderated by Adrian Kennedy. Supported by Medienboard Berlin-Brandenburg and Robert Bosch Stiftung. Invitation required. (p.42)
SUn, FeB 12
Programme | 04
Campus programme
Page
timetABle
HAU 1 9:00 10:00 HAU 1 / Fox BAr / BAlcony
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HAU 3 / WHite StAge
HAU 2
9:30
12:30 14:00
Lunch Break
Isabel Arrate Fernndez. At Fox Bar. Pre-registration required. (p.31)

FOCUS FORWARD Short Films, Big Ideas Phil Cox, Fredrik Gertten, Karol MarteskoFenster, Jessica Yu. Moderated by Sean Farnel. In cooperation with FOCUS FORWARD. (p.44)
Speed Matching Directors meet cinematographers. Pre-registration required. (p.40)
Building Narrative Worlds: Digital Design for Cinema Thomas Demand, Uli Hanisch, Alex McDowell, Habib Zargarpour. Moderated by Andrew Shoben. In cooperation with the 5D Institute, Los Angeles. (p.44)
1 7:00 19:30
Nikolai Petersen. At Balcony. Pre-registration required. (p.31)
Distributors Sharing Their Secrets Adeline Monzier, Michael J. Werner. Moderated by Ben Gibson (p.45). IDFA DocLab: Unexpected Forms of Digital Documentary Storytelling Caspar Sonnen. In cooperation with IDFA DocLab. (p.45)
9:00

Presented by FOCUS FORWARD. (p.46)
9:30
1 1:00
In the Limelight: Nuri Bilge Ceylan Master class with Nuri Bilge Ceylan. Moderated by Matthijs Wouter Knol. (p.46)
12:30 Lunch Break
Karol Martesko-Fenster, Damon Smith. At Fox Bar. In cooperation with FOCUS FORWARD. Pre-registration required. (p.31)
12:30 Speed Matching
Directors meet writers. Pre-registration required. (p.40)

Audience Wanted: Producers Reaching Out Philippe Bober, Arnaud Pasquali, Guillaume de Seille, Ankica Juri Tili. Moderated by Fleur Knopperts. In cooperation with MEDIA. (p.46)
14:00
Dressing Stories Master class with Sandy Powell. Moderated by Peter Cowie. (p.46)
Maher Diab, Alaa Karkouti. At Fox Bar. Pre-registration required. (p.31)
1 7:00 19:30
In the Limelight: Mike Leigh Master class with Mike Leigh. Moderated by Ben Gibson. (p.47)
Picturing Actors Tony Gatlif, Brillante Mendoza. Moderated by Kathrin Bessert. In cooperation with Berlinale Panorama. Ticket required. (p.47)
Beirut Calling: Contemporary Video Art from Lebanon Gheith Al-Amine, Mahmoud Hojeij, Ahmad Ghossein. Moderated by Marcel Schwierin. In cooperation with Berlinale Shorts and Berlinale Forum Expanded. (p.47)
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Colour code
Talents only
HAU 3 / BlAck StAge

9:30 Screenplay Constellations: Activate the Writing Process Claus-Peter Josten. Pre-registration required. (p.43)
HAU 3 / top Floor
otHer VenUeS
9:00 Post-Production Studio In cooperation with dffb and Camelot Broadcast Services. (p.57)
Embodying the Character Kristof Konrad, Jean-Louis Rodrigue. Pre-registration required. (p.43)
Talent Project Market (p.58) Score Competition Final mixing at the HFF Konrad Wolf. (p.54) Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57) Rimini Protokoll: Multiplayer Video Walks I Helgard Haug, Stefan Kaegi, Daniel Wetzel. Pre-registration required. (p.43)
13:15 Excursion to the Costume House Theaterkunst In cooperation with Theaterkunst. Pre-registration required. (p.43)
The Indie Filmmakers Guide to Cross-Media I: Storytelling in the 21st Century Martin Elricsson, Michel Reilhac, Caspar Sonnen. Moderated by Liz Rosenthal. (p.44)
15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59) 15:00 Werner Herzog presents DEATH ROW At Haus der Berliner Festspiele (240 min.). Werner Herzog. In cooperation with Berlinale Special. (p.44) 16:00 Excursion to Meet the Docs at European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)
Peter Belsito. Pre-registration required. (p.31)
Worldbuilding Upside Down Alex McDowell, Habib Zargarpour. In cooperation with 5D Institute, Los Angeles. Ticket required. (p.45)
mon, FeB 13
9:00 Camera Close-up Acting
Kristof Konrad, Jean-Louis Rodrigue. (p.46)
9:00 Post-Production Studio In cooperation with dffb and Camelot Broadcast Services. (p.57) 10:00 Score Competition Final mixing at the HFF Konrad Wolf. (p.54) 10:00 Editing Studio In cooperation with German Film and Television Academy Berlin (dffb). (p.57)
Know Your Rights Mareile Bscher, Michael C. Donaldson. In cooperation with Raue LLP. (p.46)
10:00 Rimini Protokoll: Multiplayer Video Walks II Helgard Haug, Stefan Kaegi, Daniel Wetzel. Pre-registration required. (p.43) 10:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)
Rehearsed Reading I: Actors Reading Scripts Alby James. (p.46)
The Indie Filmmaker's Guide to Cross Media II: Engaging 21st Century Audiences Across Multiple Platforms Jigar Mehta, Inga von Staden, Timo Vuorensola. Moderated by Liz Rosenthal. In cooperation with Panorama. (p.47) Seducing Audiences: The Art of Using Trailers Shaun Farrington, Philipp Fleischmann. Moderated by Matthijs Wouter Knol. (p.47)
15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59) 16:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)
Iwana Chronis. Pre-registration required. (p.31)
tUe, FeB 14
Programme | 04
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timetABle
HAU 1 9:00 HAU 1 / Fox BAr / BAlcony
38
HAU 3 / WHite StAge
HAU 2
1 1:00 12:30 14:00
In the Limelight With a prominent director featured in this years Berlinale. Stay tuned!
Lunch Break
Hanne Skjdt. At Fox Bar. Pre-registration required. (p.33)

Through the Lens Clearly Master class with Edward Lachman. Moderated by Mike Goodridge. (p.49)
Speed Matching Directors meet actors. Pre-registration required. (p.40) Next Stop Wonderland? Entering the World of Co-Production Helge Albers, Bruno Bettati. Moderated by Katriel Schory. In cooperation with Robert Bosch Stiftung and Berlinale Co-Production Market. (p.49)
1 7:00
The Thousand Sounds of Ryichi Sakamoto Master class with Ryichi Sakamoto. Moderated by Peter Cowie. (p.50)
Kanako Hayashi. At Fox Bar. Pre-registration required. (p.33)
Killer / Hope Crossing the Lines Ted Hope, Christine Vachon. (p.50).
16:00 Doc Station: Meet the Talents. Moderated by Gabriele Brunnenmeyer. (p.56)
19:30
Happy Returns: The Future After the Campus Atsushi Funahashi, Ami Livne, Sacha Polak, Olivia Silver. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Forum, Berlinale Generation and Berlinale Panorama. (p.50)
9:00 1 1:00 12:30 14:00

11:15 Look Who's Talking: Interviewing on Screen
Mark Cousins, Keanu Reeves. Moderated by Peter Cowie. In cooperation with Berlinale Generation and Berlinale Special. (p.51)
Lunch Break
Presented by Institut franais. (p.51)
9:30 Doc & Script Station In cooperation with FFA and SOURCES 2. (p.55-56)
Beatrice Kruger. At Fox Bar. Pre-registration required. (p.33)

Changing Perspectives: The Arab World Defining Its Future Nadia El Fani, Tahar Ben Jelloun, Viola Shafik. Moderated by Vincenzo Bugno. In cooperation with World Cinema Fund and Euromed Audiovisual Programme of the European Union. (p.52)
Speed Matching Directors meet producers and distributors. Pre-registration required. (p.40)
What Criticism Is: Five Views on an Artistic Practice Boyd van Hoeij, Dennis Lim, Verena Lueken, Eithne O'Neill, Fernando Surez Moreno. Moderated by Damon Smith. In cooperation with New Cinephilia Project. Pre-registration required. (p.52)
15:30 Script Station: Meet the Talents Moderated by Gabriele Brunnenmeyer. (p.55)
16:00 1 7:00
Things to Take Home Marjorie Bendeck, Kathi Bildhauer, Matthijs Wouter Knol, Christine Trstrum. (p.52)
Say It with a Score: Score Competition Award Ceremony Christoph Fleischmann, Hubert Henle, Pablo Pico, Ryichi Sakamoto, Enrica Sciandrone, Juan Pablo Zaramella. Moderated by Matthijs Wouter Knol. In cooperation with Dolby. (p.52)
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Colour code
Talents only
HAU 3 / BlAck StAge
HAU 3 / top Floor
otHer VenUeS
10:00 The Art of Noise: Exploring Sound Design Lars Ginzel. In cooperation with Fraunhofer/Heinrich-Hertz-Institut and the Film and Television University (HFF)Konrad Wolf. Pre-registration required. (p.48) 10:00 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45)
Rehearsed Reading II: Actors Reading Scripts Alby James. (p.46)
Roughly Speaking: Editing Studio Presentation Sigrid Limprecht, Paz Lzaro, Susan Korda. Moderated by Kevin Murphy. In cooperation with German Film and Television Academy Berlin (dffb). Ticket required. (p.48)
11:00 Excursion to Studio Babelsberg In cooperation with Studio Babelsberg. Pre-registration required. (p.48)
Lizzie Francke. Pre-registration required. (p.33)

Contract Clinic Michael C. Donaldson. (p.49) Reality Revealed: Doc Station Presentation Heino Deckert. Moderated by Sirkka Mller. In cooperation with FFA and SOURCES 2. (p.49)
12:30 Excursion to European Film Market Sydney Levine. In cooperation with European Film Market. Pre-registration required. (p.45) 13:00 Screening the Future: Excursion to the Heinrich-Hertz-Institut In cooperation with Fraunhofer/Heinrich-Hertz-Institut. Pre-registration required. (p.49) 15:00 Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI (p.59).
Brbel Mauch, Peter Rorvik. Pre-registration required. (p.33)
Joint Ventures: How to Build a Film Industry Enrico Chiesa, Tunde Kelani, Frances-Anne Solomon. Moderated by Dorothee Wenner. In cooperation with World Cinema Fund and Goethe-Institut. (p.50)
Wed, FeB 15
Distributors Wrap-up session. (p.24)
10:30
10:30 Talent Actors Stage

Wrap-up session. (p.61)
10:30 Discover the World Cinema Fund
Vincenzo Bugno, Sonja Heinen. In cooperation with World Cinema Fund. (p.51)
Talent Press Editorial meeting. In cooperation with Goethe-Institut and FIPRESCI. (p.59)
Ulrich Kodjo Wendt. Pre-registration required. (p.33)
and Berlinale Residency Kathi Bildhauer, Martina Bleis, Sonja Heinen. In cooperation with Berlinale Residency and Berlinale Co-Production Market. (p.51)
12:15 Ready, steady, go: Berlinale Co-Production Market
Talent Project Market Wrap-up session. (p.58)
13:30 Script Station 2012: A Sneak Peek at New Stories Moderated by Gabriele Brunnenmeyer. In cooperation with FFA and SOURCES 2. Ticket required. (p.51)
Digital Differences: Post-Production Studio Presentation at dffb. Stefan Ciupek, Dirk Meier. Moderated by Christine Trstrum. In cooperation with dffb and Camelot Broadcast Services. Ticket required. (p.52)
21:00 Closing Party at HBC. Supported by FOCUS FORWARD Short Films, Big Ideas. Invitation required. (p.52)
tHU, FeB 16
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Day 1 / Sat, FeB 11

Ticketing and Talent Registration 8:30 | HAU 2 First things first! Upon your arrival at the Talent Campus, youll need to stop by the registration counter and pick up your accreditation. There you will receive your Campus bag with the Cam pus magazine and Berlinale film programme. Youll be welcomed by the Talent Campus staff, get all your logistical questions answered, find out how to get tickets to the events and films you'd like to attend all in one fell swoop.
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ronment for networking and forging lifelong professional relationships, with Talents ranging from actors, directors, screenwriters, directors of photography, producers, editors, distributors and sound designers. More focused meeting sessions will occur daily during the Campus at 12:30pm:
Feb 12 directors meet sound designers and editors Feb 13 directors meet cinematographers Feb 14 directors meet writers Feb 15 directors meet actors Feb 16 directors meet producers and distributors
of the richest resources youll have available to you throughout this week your Campus peers who are brimming with potential for future collaborations. With Talents specializing in all areas of filmmaking, there is no end to the pos sibilities that can ensue from the valuable con nections made at the Talent Campus.
Rise and Shine Breakfast 9:30 | HAU 2 Presented by the Berlinale Talent Campus.
Start the day with breakfast and conversations, hosted by the Berlinale Talent Campus. Enjoy hot coffee and croissants while you engage with filmmakers from around the world. Get sated and caffeinated before heading out for a day full of panels, films, master classes and events.
Global Speed Matching 15:00 | HAU 2 Meet and greet session. Moderated by Matthijs Wouter Knol.
Taking Off 11:30 | HAU 2 Matthijs Wouter Knol, Christine Trstrum. This initial briefing is imperative for finding out about all that the Campus has to offer. Youll be introduced to the Campus team members who will provide a brief overview of all the events and activities in the coming week, as well as Berlinale film screenings, receive useful information re garding accessing the Campus database, wifi access, etc. The handson training programmes will also be introduced, they include: the Score Competition, Campus Studio, Doc and Script Station, Talent Press, Talent Project Market, the Talent Actors Stage and the Berlin Today Award. Most importantly, youll be made aware of one
Global Speed Matching, is the Berlinale Talent Campus version of speeddating, is the fast lane to acquainting yourself with your Campus peers, and getting comfortable introducing yourself and your work to those at the festival. Learn what others are up to and engage with potential creative partners. The Campus is a rich envi
The Berlinale Talent Campus 2012 welcomes all Talents, mentors, and experts to the Opening Ceremony of the 10th edition! The Campus managers, Matthijs Wouter Knol and Christine Trstrum, along with Berlinale festival director, Dieter Kosslick, will present the highlights and focus of this year's Campus. The introductions will be followed by a world premiere screening of the five films nominated for the Berlin Today Award, the Campus short film competition. For details on the Berlin Today Award see page 63.
Meet and greet at the Global Speed Matching
Campus heads Christine Trstrum and Matthijs Wouter Knol
Fast Forward Germany 13:00 | HAU 2 Frank W. Albers, Christine Berg, Mariette Rissenbeek, Daniel Saltzwedel. Moderated by Britta Knller. In cooperation with Medienboard Berlin-Brandenburg, FFA, German Films and Robert Bosch Stiftung. German film funding and promotion organisa tions, representatives from Medienboard Berlin Brandenburg, German Federal Film Board (FFA), German Films and the Robert Bosch Stiftung will present their respective initiatives and objectives and explain how international filmmakers can receive German funding. This meeting is relevant to Germans and those filmmakers interested in working with or in Germany find out what would qualify your project to apply for funding through these organisations.
From Saturday to Thursday: the daily Rise and Shine Breakfast
Opening Ceremony and World Premiere of the Berlin Today Award Films 2012 17:00 | HAU 1, Admittance at 16:30 Dieter Kosslick, Kirsten Niehuus. Moderated by Matthijs Wouter Knol and Christine Trstrum. Supported by Medienboard Berlin-Brandenburg.
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Rise and Shine Breakfast 9:30 | HAU 2 Presented by Robert Bosch Stiftung and Sarajevo Film Festival. Start the day with breakfast and conversati ons, hosted by the Robert Bosch Stiftung and Sarajevo Film Festival. Acquaint yourself with the projects that are supported by the Robert Bosch Stiftung, perhaps your next film would be qualified to apply. Meet representatives from the Sarajevo Film Festival, and consider sub mitting your film or applying to their Talent Campus for their following edition. Get sated and caffeinated before heading out for another day full of panels, films, master classes and events. Dobro jutro!
Sun, FeB 12 / Day 2

The Survival Guide to Digital Workflows 11:00 | HAU 3, Top Floor Stefan Ciupek, Dirk Meier. In cooperation with German Film and Television Academy Berlin (dffb) and Camelot Broadcast Services. Kill Your Darlings 14:00 | HAU 2 Master class with Susan Korda. Films find their form in the editing room. Raw footage must be scrupulously sculpted to take on the appropriate form that will best convey the weight of its content. Susan Korda, editor, director, writer and lecturer at Columbia Uni versity, as well as long time Campus expert, will provide deep analysis and insight into the craft
Film editor Susan Korda encourages you to kill your darlings
Changing Perspectives 11:00 | HAU 1 Juliette Binoche, Gaston Kabor. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Panorama.
Juliette Binoche in ELLES, featuring in the Berlinale Panorama
Reputed German director of photography Ste fan Ciupek and digital imaging supervisor Dirk Meier, who have collaborated on many projects in the past years (ANTICHRIST, SLUMDOG MIL LIO NAIRE, DREDD) will show the intricacies of digital workflows: the challenges that arise when matching film and digital formats, in particular when numerous shots are taken un der totally different conditions, and with varied lighting. Ciupek and Meier will explain how mastering digital workflows has allowed them to deal with various problems in postproduct ion quite successfully.
Stefan Ciupek on set
The development of an artist or a filmmaker's working style will strengthen their unique voice, but it can sometimes become a crutch that ham pers them from renewing their perspective. How does an artist reconcile between main taining their distinctive vision and constantly renewing their work and outlook, while sim ultaneously challenging their audiences to do the same? Acclaimed director Gaston Kabor and esteemed actress Juliette Binoche will dis cuss their experiences expanding their practice to alter and provoke the way they make and consider their work through forging new col laborations, and after experiencing major turn ing points in their careers.
The Other Side of Reality 14:00 | HAU 1 Victor Kossakovsky, Sophie Fiennes. Moderated by Sean Farnel. Master documentarians and auteurs of beauti fully shot observational films, Victor Kossakovsky and Sophie Fiennes will talk about how wor king as a documentary filmmaker has enabled them to develop a strong and specific way to tell stories and show reality in groundbreaking ways. The conversation will specifically focus on how documentary filmmakers need to know in advance which story they want to tell, in order to effectively shoot scenes or work with their protagonists. Find out how Kossakovsky and Fiennes have created their working styles and found their distinctive voice in the genre.
of film editing. She'll go through selected clips from BONNIE AND CLYDE to demonstrate the multifaceted techniques used to merge sound, image, and timing to bring about the intend ed cinematic experience. Shell elucidate the immense power in editing, and its ability to make a film work, despite flaws that may have occurred during production. The allimportant ability to kill your darlings will also be discus sed, guiding Talents to understand how to select the best material from the many hours of foot age. Meticulously selecting shots, precise rhyth mic edits, and honing the overall structure are integral to the final tone and feel of the film.
Programme | 04
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Day 2 / Sun, FeB 12

Up Close & Personal: Andie MacDowell on Acting 14:00 | HAU 3, Top Floor Andie MacDowell. Moderated by Marten Rabarts. In cooperation with LORAL PARiS. Andie MacDowell, known for her memorable performances in GROUNDHOG DAY and FOUR WEDDINGS AND A FUNERAL, will share her expe rience working with actors and directors, show excerpts from some of her films, and will answer questions and discuss acting techniques and approaches with Talents.
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Sustainable film producing has never been more crucial. How can emerging filmmakers find both ecological and financial advantages to going green? Various experts, ranging from scientists, producers, to set designers will discuss different approaches to sustainable filmmaking and pre sent various examples of recent projects which focus on the reduction of carbon emissions and the environmental advantages of green produ cing. This session will provide filmmakers and producers with practical tips and suggestions about climatefriendly filmmaking and clarify existing guidelines for particular production conditions in different parts of the world.
For more than ten years the Berlinbased theatre label Rimini Protokoll has produced and toured their documentary theatre pieces around the world. Rimini Protokoll does not set up oppo sitions between the stage and the audience, but strives to integrate the two spheres in ever changing experimental setups. In doing so,
Rimini Protokolls Black Tie in HAU Theatre, Braun/drama-berlin.de
Directing Scripts, Editing Stories 17:00 | HAU 1 Yan Geling, Volker Schlndorff, Molly Malene Stensgaard. Moderated by Peter Cowie. In cooperation with TESIRO and Berlinale Panorama.
The close collaboration between scriptwriter, director, and editor serves in the creation of a tightly crafted film by expanding upon the script, manifesting the story through the actors, and restructuring the story again in the editing room. How do different collaborative teams work together and in what ways does each member contribute something unique to the process? Editor Molly Malene Stensgaard (ME L ANCHOLIA), writer Yan Geling (THE FLOWERS OF WAR) and director Volker Schlndorff (CALM AT SEA) will offer insight into their specific in volvement in each stage of storytelling.
Greening the Film Industry 17:00 | HAU 3, Top Floor Jacob Bilabel, Christian Goldbeck, Bernd Hezel, Fritz Reusswig, Georg Schattney. Moderated by Milena Fessmann. In cooperation with Climate Media Factory.
Rimini Protokoll: Staging Reality 17:00 | HAU 2 Helgard Haug, Stefan Kaegi, Daniel Wetzel. Moderated by Dorothee Wenner. In cooperation with Hebbel am Ufer (HAU).
The Campus version of musical chairs, between each course of the Dine & Shine dinner youll change seats, every time finding yourself seated next to yet another fascinating expert or fellow Talent with whom youll swap stories of the festival and your life and work. With delectable food and company, by the end of the evening you'll be sated by this movable feast, by the many great conversations had, connections made, and inspired advice received. The Berlin Today Award jury, consisting of filmmakers Guy Maddin, Jasmila bani, and cinematographer Judith Kaufmann will announce the winner of the Berlin Today Award 2012 at the event.
Production designer Christian Goldbeck
Kyoko Miyake, winner of the Berlin Today Award 2011
they explore their interest in perception and the knowability of the world, and in particular, the knowability of human beings. Their aim is to break open our reality, showing it in all its facets as a way of enabling us to interrogate it. Rimini Protokoll apply their method to the world with enormous subtlety and great curiosity, bringing people and ideas together in constellations that always come as a surprise. They have become central figures in the theatre world, making a great impact in German theatres over the past decade. The directors Helgard Haug, Stefan Kaegi and Daniel Wetzel will show and discuss short videos from their recent productions.
Competition Film THE FLOWERS OF WAR , adapted from a novel by Yan Geling
Dine & Shine Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2012 19:30 | ewerk Judith Kaufmann, Dieter Kosslick, Kirsten Niehuus, Guy Maddin, Jasmila bani. Moderated by Adrian Kennedy. Supported by Medienboard Berlin-Brandenburg and Robert Bosch Stiftung.
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Rise and Shine Breakfast 9:30 | HAU 2 Presented by the Berlinale Talent Campus. Start the day with breakfast and conversations, hosted by the Berlinale Talent Campus. Enjoy hot coffee and croissants while you engage with filmmakers from around the world. Get sated and caffeinated before heading out for a day full of panels, films, master classes and events.
Mon, FeB 13 / Day 3

Konrad have a unique approach to coaching actors to improve their performance in film and theatre. As Larry Moss, an American acting coach puts it: One of the most important things actors can possess is a relationship to their own body and breath. JeanLouis works with actors in such a way that they immediately understand from
Rimini Protokoll: Multi Player Video Walks I & II 10:00 | Haus der Kulturen der Welt Helgard Haug, Stefan Kaegi, Daniel Wetzel.
Screenplay Constellations: Activate the Writing Process 9:30 | HAU 3, Black Stage Workshop with Claus-Peter Josten. The essential question for the screenwriter is: How does one tell a good story? Certainly, stor ies already exist as ideas before the author has even begun to write. But how does one effect ively influence this creative process beginning with invisible inspiration, and gradually trans forming it into a more palpable form to comm unicate with others? Following the principles of screenplay constellations as a solution focused workshop, these initial ideas will find spatial arti culation: the nature of a character, its relation to other figures, and the tone of a scene, will all be manifested through a collaborative physical re presentation of the structure of the script, thus opening up and illuminating the writers per ception of the story. ClausPeter Josten, German director and consultant, will share his experience as an expert in screenplay development in this fourhour, handson workshop, designed for up to 24 participants. Scenes from three different screenplays will serve as case studies to explore the innovative method of screenplay constell ations following syst a rapidly growing work ing tool for scriptwriters and directors.
JeanLouis Rodrigue helps with embodying a character
deep within themselves their true impulses. He has been a coach on a number of films includ ing J. EDGAR and W. and has worked with act ors such as Leonardo DiCaprio, Juliette Binoche, Hilary Swank, Keanu Reeves, and Kirsten Dunst. Through a mental and physical process, the master class will allow actors and film directors to expand their level of awareness of themselves, in stillness and in movement, focus on con necting the body and breath to performance and creating characters. Helping actors gain access to themselves and teaching them to transform into characters requires an atmos phere free of fear. JeanLouis promotes an envi ronment that is both playful and daring. As Rodrigue emphasises, when performers make the physical component of their work as im portant as the intellectual, he says, they be come far more convincing.
The Berlinbased performance and theatrical interventions group Rimini Protokoll has created an interactive technique that could be describ ed as a heterotopic form of cinema, devised for twelve users at a time. Each workshop participant will be given an iPad to shoot a fiveminute walk during which they film their surroundings while telling a short story. The participants will then exchange iPads and watch another person's film as they follow in the very tracks that the previ ous user walked while filming revealing how others make creative choices that are different from our own. Walking in each others footsteps, we simultaneously encounter two levels of experience our own and that of an other. Through these multiple short videos, the par ticipants function as both actors and spectators. The prerecorded past turns into the present, unveiling an interactive cinema, which is not just seen, but is a participatory experience.
Workshop I Feb 13, 10:00 Workshop II Feb 14, 10:00 Meeting point 9:45 at the entrance to HAU 2.
Embodying the Character 10:00 | HAU 3, Top Floor Jean-Louis Rodrigue and Kristof Konrad. This handson workshop will be an interactive experience with practical application. Body, voice, energy, breath and the ability to embody the character are the fundamental tools that actors need, and are also what they most often lack. Acting coach, choreographer and move ment specialist, JeanLouis Rodrigue, and Kristof
Excursion to the Costume House Theaterkunst 13:15 | Meeting point 12:45 at the entrance to HAU 1 In cooperation with Theaterkunst. The oldest and largest in Germany, Costume House Theaterkunst, with its expansive costume and accessory collection, supplies innumerable film, television, theatre, and advertising projects with the perfect costumes. Now in its hundred
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Costumes from a variety of epochs and styles at Theaterkunst
Theatre group Rimini Protokoll Freese/drama-berlin.de
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visionaries such as scientists, engineers, econ omists, mathematicians, physicists, financiers, and in some cases, everyday folks who have facilitated human progress or reshaped our world by their efforts and inventions. The short documentary films will be presented and dis cussed in this session, and Talents will be encouraged to submit short film proposals for the upcoming FOCUS FORWARD callforentries (which will open in April 2012).
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The Indie Filmmakers Guide to CrossMedia I: Storytelling in the 21st Century 14:00 | HAU 3, Top Floor Martin Elricsson, Michel Reilhac, Caspar Sonnen. Moderated by Liz Rosenthal.
Liz Rosenthal moderates the two The Indie Filmmakers Guide sessions
Over ten million pieces in store: the Costume House Theaterkunst
Building Narrative Worlds: Digital Design for Cinema 14:00 | HAU 2 Thomas Demand, Uli Hanisch, Alex McDowell, Habib Zargarpour. Moderated by Andrew Shoben. In cooperation with 5D Institute, Los Angeles.
He builds narrative worlds: production designer Alec McDowell
and fifth year, this historic institution houses over ten million pieces from a variety of epochs and styles, with branches in Hamburg, Munich, Cologne, and the Berlin headquarter. Their film historical contribution is immense, having fitted films such as VARIETE, BEN HUR, METROPOLIS, and recently, INGLOURIOUS BASTERDS, THE REA DER, THE WHITE RIBBON, and SHUTTER ISLAND. This tour is open to ten Talents, and is a unique opportunity to peruse their expansive and rich collection, and consider the sartorial side of film.
In todays networked world, the way that aud iences interact with stories is radically trans forming. How can storytellers and filmmakers adapt as audiences move effortlessly from one platform or device to the next from mobile, to social media and other digital tools? What is the new storytelling language and behaviour al mindset that crossmedia stories require us to embrace? Leading crossmedia experts will share their experiences with building story worlds, characters and locations to travel across multiple platforms.
FOCUS FORWARD Short Films, Big Ideas 14:00 | HAU 1 Phil Cox, Fredrik Gertten, Karol Martesko-Fenster, Jessica Yu. Moderated by Sean Farnel. In cooperation with FOCUS FORWARD.
HILARYS STRAWS by Phil Cox: part of the FOCUS FORWARD films Cinelan
For Cinelans FOCUS FORWARD project, promi nent filmmakers have made short films about
As concrete and systematic the world we live in seems to be, it is the product of centuries of visionary designs, inventions, and creations by imaginative thinkers who have envisioned a world beyond the one they lived in. Production designers who are tasked with creating entirely new worlds and alternate universes must be able to think freely and outside of the box in order to imagine and render these narrative worlds. In this session, various production de signers will explain how screenwriters, film makers, and producers can create entirely new worlds where their films will be set. Discussing methods, and showing digital tools available to manifest these ideas will be the main focus of this interactive panel with production designers Alex McDowell (MINORITY REPORT), Uli Hanisch (THE INTERNATIONAL), Habib Zargarpour (THE BOURNE IDENTITY), and acclaimed visual artist and photographer Thomas Demand.
Werner Herzog presents DEATH ROW 15:00 | Haus der Berliner Festspiele Meeting point 14:30 at the entrance to HAU 1. Werner Herzog. In cooperation with Berlinale Special.
Werner Herzog at the Talent Campus Guadalajara FICG-MICHEL AMADO
Returning to the Berlinale with his latest docu mentary film DEATH ROW, Werner Herzog in vestigates another side of the death penalty. He
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will show four episodes of his new film, discuss his process making it, why it was important for him to make another film on the same subject from a different perspective after making INTO THE ABYSS, talk about his working style in gen eral, and what inspires him to make films.
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Sydney Levine, a pioneer acquisitions executive, will conduct the tour of the inner workings of the EFM. One of the tours of the EFM, Meet the Docs, focuses on the documentary film industry present at EFM and is a joint initiative with the European Documentary Network (EDN).
Meet the Docs Feb 13, 16:00 Regular tours Feb 14, 10:00 & 16:00 Feb 15, 10:00 & 12:30
In the Berlinale Special: Werner Herzogs DEATH ROW Werner Herzog Film GmbH
Intended for a select group of Talent product ion designers, directors and screenwriters, this workshop will be led by visual effects expert Habib Zargarpour (THE BOURNE IDENTITY, THE PERFECT STORM) and production designer and producer Alex McDowell (MINORITY REPORT, FIGHT CLUB). The experts will focus o n a couple of films each, show excerpts, and examine them indepth. Participating Talents will have the opportunity to discuss their own projects and receive input.
Distributors Sharing Their Secrets 17:00 | HAU 2 Adeline Monzier, Michael J. Werner. Moderated by Ben Gibson.
Excursion to the European Film Market Meeting point at the entrance to HAU 115 minutes prior to start time. Sydney Levine. In cooperation with European Film Market. The European Film Market (EFM), the industry centre of the Berlinale, is a major place of con vergence for international film professionals including distributors, buyers, producers, finan ciers, and sales agents. Set in the historic ren aissancestyle exhibition hall, MartinGropius Bau, the EFM is a bustling nine day trade fair where over 400 exhibitors from 55 countries present over 700 films, and functions as a baro meter for the upcoming film year.
Impressively located: the European Film Market in the MartinGropiusBau
A welldistributed film makes a world of diff erence it can mean to either only be seen by a select few on the festival circuit, or to be re leased in theatres and on DVD, reaching a much wider audience. Seasoned distributors Michael J. Werner (Fortissimo Films) and Adeline Monzier (Europa Distribution) share their insights into the tough world of film distribution. In their discussion they will elaborate on the insand outs of the trade, and encourage filmmakers and producers to start considering their aud ience and marketing strategy as early as possible in the film producing process.
IDFA DocLab: Unexpected Forms of Digital Documentary Storytelling 19:30 | HAU 2 Caspar Sonnen. In cooperation with IDFA DocLab. IDFA DocLab showcases interactive webdocs and other new forms of digital storytelling that expand the documentary genre beyond linear filmmaking. This session will present select transmedia projects, and contextualize how these works function as an amalgamation of components from many forms ranging from data visualisation to installations. Ever expan ding narrative possibilities, by incorporating interactive storytelling, these webbased docu mentaries reveal new relationships between filmmaker and audience, fact and fiction, cinema and the internet.
Worldbuilding Upside Down 17:00 | HAU 3, Top Floor Alex McDowell, Habib Zargarpour. In cooperation with 5D Institute, Los Angeles. The creative process of visualising and digitally rendering an imaginary world involves not only technical design skills but a great deal of colla boration between the director and the produc tion designer to develop these worlds together.
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Moderator Ben Gibson
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Rise and Shine Breakfast 9:30 | HAU 2 Presented by FOCUS FORWARD. Start the day with breakfast and conversations, hosted by FOCUS FORWARD Short Films, Big Ideas. Acquaint yourself with their short doc umentary film project, find out about their call forentries, and perhaps youll be making one of their next threeminute films (more information: www.focusforwardfilms.com). Get sated and caffeinated before heading out for another day full of panels, films, master classes and events. Know Your Rights 11:00 | HAU 3, Top Floor Mareile Bscher, Michael C. Donaldson. In cooperation with Raue LLP.
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In the current film market, emerging producers can't just focus on developing, financing and producing content, but are increasingly forced to actively explore new platforms and markets in order to reach audiences and collaborate with distributors. This panel showcases producers who have initiated new strategies to coproduce, finance and distribute their films and have been
Berlinale Competition film METORA was coproduced by Philippe Bober
Camera Close-Up Acting 9:00 | HAU 3, Black Stage Jean-Louis Rodrigue and Kristof Konrad. An actors vision in film acting is manifested both emotionally and physically. This kind of per formance requires more than instinct in terpretative intelligence and a mastery of phy sical, psychological, and emotional craft are essential. JeanLouis Rodrigue and Kristof Kon rad lead an intensive workshop to explore the skills and tools for the creation of extraordi nary characters and performances specifically geared for the camera closeup. Having coach ed actors such as Leonardo DiCaprio, Juliette Binoche, Hilary Swank, Helena Bonham Carter to name a few, JeanLouis and Kristof have a unique point of view, applying physicality and the Alexander Technique to acting in film.
What must a director or producer know about their rights to a film? How are rights determin ed, and how can you be sure of protecting your artistic licence on the project? Everyone invol ved, directors, producers, distributors, and sales agents, need to know the international laws behind ownership of the films they work on. Get straight forward explanations and advice from industry law experts Michael C. Donaldson and Mareile Bscher, and ask all your burning questions about this often illusive, yet important aspect of the filmmaking process.
Mareile Bscher and Michael C. Donaldson
supported in doing so by the MEDIA Programme in Brussels. These producers have successfully released films either in cinemas or have found other platforms of distribution to reach addit ional audiences. MEDIAs Arnaud Pasquali will join the discussion.
In the Limelight: Nuri Bilge Ceylan 11:00 | HAU 1 Master class with Nuri Bilge Ceylan. Moderated by Matthijs Wouter Knol. Internationally celebrated Turkish filmmaker, Nuri Bilge Ceylan joins the Campus for a master class on his work. Known for his pensive themes and poetic long takes, Ceylan will elaborate on his working style, collaborating with nonactors and family members, and his intimate approach to production. Nuri Bilge Ceylan has won num erous awards including Best Director Award (2008) and the Grand Prix for DISTANT (2002) and ONCE UPON A TIME IN ANATOLIA (2011) in Cannes.
Dressing Stories 14:00 | HAU 1 Master class with Sandy Powell. Moderated by Peter Cowie. Costume design is an essential part of bringing the characters to life using the aesthetics of wardrobe. Sandys great gift is her ability to make historical costumes look contemporary. She manages to be both true to the period and modern, says Harvey Weinstein. The art of costume design and using clothes and fashion elements to enrich the films story, will be the focus of this master class with threetime Oscar winning, British costume designer Sandy Powell.
Rehearsed Reading: Actors Reading Scripts Feb 14, 14:00 | HAU 3, Black Stage Feb 15, 11:00 | HAU 3, Black Stage Workshop with Alby James.
Audience Wanted: Producers Reaching Out 14:00 | HAU 2 Philippe Bober, Arnaud Pasquali, Guillaume de Seille, Ankica Juri Tili. Moderated by Fleur Knopperts. In cooperation with MEDIA.
The first step for an actor to embody a character is grasping how they will approach the script and bring it to life. This Talent Actors Stage workshop will focus on dialogue training with the use of preselected scripts from the Script Station. Alby James, seasoned theatre, film and television director, previous head of develop ment of EON Screenwriters' Workshop, and ac complished independent producer, will coach
Alby James at the Rehearsed Reading workshop
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actors and scriptwriters on how to build char acters based on real life circumstances and sit uations. This workshop brings together fellow Talents, utilizing their respective skills to coll aborate, as scriptwriters will be able to see their screenplays in action, and actors will be able to study and perform these scripts, encouraging questions, discussions, and feedback between all participants.
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Brillante Mendoza whose CAPTIVE is part of this years Berlinale Competition
winning films such as VERA DRAKE, the Palme d'Or winning and Oscarnominated SECRETS AND LIES, and HAPPY GOLUCKY, which won the Silver Bear for Best Actress. Known for his distinctive improvisational style, his realist dia logues, and his groundbreaking work as a director in both film and theatre, Leigh will dis cuss his working process.
The Indie Filmmakers Guide to Cross-Media II: Engaging 21st Century Audiences across Multiple Platforms 14:00 | HAU 3, Top Floor Jigar Mehta, Inga von Staden, Timo Vuorensola. Moderated by Liz Rosenthal. In cooperation with Berlinale Panorama. With the ability to cocreate, to edit and share through the plethora of platforms, apps, and devices, these days audiences are actively en gaged in the stories that interest them and demand interactive experiences. Looking at a variety of case studies including Jigar Mehta's 18 Days in Egypt and Timo Vuorensolas cross media film IRON SKY (selected for Berinale Pan orama 2012), speakers will show the power of engaging audiences across multiple platforms. This session will also point to new skills, colla borators and partnerships needed to bring these projects to life.
Picturing Actors 17:00 | HAU 2 Tony Gatlif, Brillante Mendoza. Moderated by Kathrin Bessert. In cooperation with Berlinale Panorama.
Tony Gatlifs INDIGNADOS features in this years Berlinale Panorama
In the Limelight: Mike Leigh 17:00 | HAU 1 Master class with Mike Leigh. Moderated by Ben Gibson. Master of distinctly British, yet universally poig nant reallife dramas, Mike Leigh, President of this years International Jury, has directed award
Mike Leigh, President of this years International Jury
Actors rarely have the chance to get direct feedback regarding their auditions or on the photographs they send to directors and casting directors. It is essential to know how a director approaches the casting process in order to im prove one's auditioning methods. What role do actors portraits play in the beginning stages of casting? How relevant are pictures and the first impression they make? What does a director expect from actors photographs? How do different countries place varying dem ands on casting photographs? For example, in the U.S. a per fect headshot is essential, whereas in Germany very natural photos are generally preferred. The participating Talent Actors Stage actors will present their pictures and discuss with prominent directors, Brillante Mendoza ( TIRADOR, KINATAY ) and Tony Gatlif ( KORKO RO, TRANSYLVANIA), what attributes are read through their pictures and what to keep in mind when auditioning.
Seducing Audiences: The Art of Using Trailers 17:00 | HAU 3, Top Floor Shaun Farrington, Philipp Fleischmann. Moderated by Matthijs Wouter Knol. Making and using trailers has become an in creasingly vital marketing tool for distributors and producers. Expert trailer directors Shaun Farrington and Philipp Fleischmann will show examples from their broad range of work and discuss in which stages of filmmaking trailers can be effectively used: from film development, financing, to film releases. Furthermore, how do you make trailers for different markets, and how can trailer experts collaborate with producers, distributors, and the films director?
Beirut Calling: Contemporary Video Art From Lebanon 19:30 | HAU 1 Gheith Al-Amine, Ahmad Ghossein, Mahmoud Hojeij. Moderated by Marcel Schwierin. In cooperation with Berlinale Shorts and Berlinale Forum Expanded. The Beirutbased Ashkal Alwan collective has been committed to the production, facilitation and circulation of a wide range of artistic prac tices since 1994. Several artists linked to Ash kal Alwan are presenting their latest work this year at the Berlinale, and they join the Talent Campus to discuss their groundbreaking work. They will explain their many projects including the creation of an archive and an interdisciplin ary education program which cultivates a new generation of artists and filmmakers after the Lebanese civil war.
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Rise and Shine Breakfast 9:30 | HAU 2 Presented by the Berlinale Talent Campus. The Berlinale Talent Campus invites you to kick start your day with breakfast and conversations. Enjoy hot coffee and croissants while you en gage with filmmakers from around the world. Get sated and caffeinated before heading out to another day full of panels, films, master classes and events.
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to help Talents finetune their rough cuts. Short excerpts from the selected projects will be pre sented to offer a sneak peek at these fledgling films. In conversation with Susan Korda, parti cipants will identify the challenges facing their rough cuts and describe how the oneday session in the editing room provided fresh in sights and approaches to their projects. Often the editing process can drag on long er than expected, and film festival submission deadlines are fast approaching. When is a rough cut polished enough to present to festival pro grammers? Paz Lzaro, programme manager Berlinale Panorama will join the conversation and share her experiences with viewing rough cuts during the programming process. The dis cussion will turn to how and when to present a rough cut, as well as shedding light on the expectations of programmers when they select a rough cut for screening. Instead of distributors seeing a film for the first time at its official festival premiere or at a market screening, it may be beneficial to secure distribution before a film has undergone post production. German film distributor Sigrid Lim precht will comment on her experiences view ing unfinished films, offering tips and advice about how and when to present a rough cut to potential buyers.
The Art of Noise: Exploring Sound Design 10:00 | Meeting point 9:45 at the entrance to HAU 2 Excursion to the Heinrich-Hertz-Institute; Q&A with Ryichi Sakamoto; Master class on Sound Design with Lars Ginzel at the Film and Television University (HFF) Konrad Wolf. For composers and sound designers only. In cooperation with Fraunhofer/HeinrichHertz-Institute, Film and Television University (HFF) Konrad Wolf. Part I: Excursion to the Heinrich Hertz Institute The HeinrichHertzInstitute is a stateoftheart research institute for communication systems and digital media where Talents will learn about pioneering technologies for screen and sound.
Here, the scores of the Score Competition are remixed in Wave Field Synthesis (WFS), in order to show the spatial sensation of the technology. WFS is a sound technology which offers much creative potential for an immersive interactive cinema of the future. Part II: Q&A with Ryichi Sakamoto; Master class on Sound Design with Lars Ginzel on ENTER THE VOID at the Film and Television University (HFF) Konrad Wolf. The final stop of the excursion will be at the Film and Television University (HFF) Konrad Wolf. There will be a Q& A session with esteemed composer and Score Competition mentor Ryi chi Sakamoto. A master class w ill then be given by Lars Ginzel, rerecording mixer on Gaspar Nos ENTER THE VOID , who will discuss his working process on this film and give indepth analysis with select examples.
Roughly Speaking: Editing Studio Presentation 11:00 | HAU 3, Top Floor Susan Korda, Paz Lzaro, Sigrid Limprecht Moderated by Kevin Murphy. In cooperation with dffb. Internationally renowned editors join the Cam pus Editing Studio and offer advice and feedback
The Berlinale Talent Campus venue: Theater Hebbel am Ufer (HAU 1)
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Excursion to Studio Babelsberg 11:00 | Meeting point 10:00 at the entrance to HAU 1 In cooperation with Studio Babelsberg. Studio Babelsberg celebrates its 100th anniver sary this year with a special film series in the Berlinale programme. This prolific and celebra ted studio, where noteworthy films from Fritz Langs METROPOLIS to Quentin Tarantinos IN GLOURIOUS BASTERDS were produced, will be open for a tour of the premises to a limited number of Talents. Preference will be given to production designers, producers and directors.
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include THE VIRGIN SUICIDES, FAR FROM HEAV EN, IMPORT/EXPORT, LIFE DURING WAR TIME, as well as the HBO series produced by Killer Films, MILDRED PIERCE, will elaborate on his close collaboration with various directors and illus trate this with excerpts from his work.
The Contract Clinic 14:00 | HAU 3, Black Stage Michael C. Donaldson. Distributors can get advise from experienced legal counsellors on the complicated distribu tion contracts they are currently dealing with. This workshop is only open to distributors, and will be conducted by Michael C. Donaldson, an entertainment lawyer specialising in indepen dent films for over thirty years.
Next Stop Wonderland? Entering the World of Co-Productions 14:00 | HAU 2 Helge Albers, Bruno Bettati. Moderated by Katriel Schory. In cooperation with Robert Bosch Stiftung and Berlinale Co-Production Market.
Katriel Schory, director of Israel Film Fund, moderates this session
Screening the Future: Excursion to the Heinrich-Hertz-Institut 13:00 | Meeting point 12:30 at the entrance to HAU 1 In cooperation with Fraunhofer / HeinrichHertz-Institut. The HeinrichHertzInstitut conducts research and development work pertaining to innova tions for the digital future. It is the leading re search institute for mobile broadband commu nications, photonic networks and electronic imaging for multimedia, in the hightech com munications systems, digital media, and service fields. The institute also heads the German national project PRIME, which works in 3D pro duction for film and broadcasting. Image pro cessing, communication, 3D displays, and in novative audio technologies comprise their contribution to the film industry, which will be the focal point of the tour, in which they will demonstrate and explain their pioneering tech nologies to visiting Talents.
Reality Revealed: Doc Station Presentation 14:00 | HAU 3, Top Floor Heino Deckert. Moderated by Sirkka Moeller. In cooperation with German Federal Film Board (FFA) and SOURCES 2.
Interested in coproducing a film with inter national partners, yet unsure if this would be an option for your film? Come find out everything you need to know from producers Helge Albers (Flying Moon Productions) and Bruno Bettati (Jirafa), both with current coproductions pre sented in this year's Berlinale programme or at the Berlinale CoProduction Market. They will shed light on how their films have been financed so far, the dos and donts of setting up copro ductions, which markets are the most effective, and the importance of having a network of re liable collaborators.
Through the Lens Clearly 14:00 | HAU 1 Master class with Edward Lachman. Moderated by Mike Goodridge. Its not a cameramans job to make nice pict ures, says Edward Lachman, but to bring out the truth. The distinguished cinematography of Edward Lachman, who has worked with top directors such as Werner Herzog, Wim Wen ders, Todd Haynes, Steven Soderbergh, Ulrich Seidl, and Todd Solondz will be the focus of this master class. Lachman, whose many features
Doc Station gives a unique snapshot of the world, seen through the projects of twelve film makers from four continents. They span from the exploration of secret gender identity in a German family to a transgendered pregnancy in the UK, and women's roles in a new Islam ic movement in Indonesia. Directors uncover history by way of examining places, from the destruction of the Cartucho neighbourhood in Bogota, to the slumridden Tondo Harbour in Manila, to a strike in a long gone Lebanese fac tory. They follow fascinating characters, from the Cambodian filmmaker Rithy Pahn, to a planebuilding pilot in Kenya, to a midwife in the Himalayas. They unravel complicated rela tionships within a Chilean immigrant family in Brazil, between a silent father and his daught er, and a Chinese activist fighting his eviction in Beijing. These projects from the Doc Station, currently at different stages of development, will be presented to a professional audience.
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Michael C. Donaldson invites you into the Contract Clinic
Producer Heino Deckert discussing Doc Station projects
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The Thousand Sounds of Ryichi Sakamoto 17:00 | HAU 1 Master class with Ryichi Sakamoto. Moderated by Peter Cowie.
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Sacha Polaks BROTHER runs in the Berlinale Generation, Victor Arnolds
duction companies Killer Films and Double Hope, Vachon and Hope will answer Talents questions and reveal the inside of cuttingedge producing.
Joint Ventures: How to Build a Film Industry 17:00 | HAU 3, Top Floor Enrico Chiesa, Tunde Kelani, Frances-Anne Solomon. Moderated by Dorothee Wenner. In collaboration with World Cinema Fund and Goethe-Institut. How can filmmakers in developing countries join forces to set up their own structures of support, gradually build a local industry and a sustainable infrastructure for funding, rather than working on a project by project basis and depending on support from abroad? Instead of reinventing the wheel every time an emerging filmmaker decides to take a stab at filmmaking, what kind of support structure could be im plemented that could build on established knowledge and connections? African initiative, Mokolo, and CaribbeanTales, both new net works from developing regions, are resources for filmmakers to connect to collaborators and industry professionals that enables them to pro duce and distribute their films.
Mentor of this years Score Competition: Composer Ryichi Sakamoto
HEMEL and BROTHER, and Olivia Silver with Ar cadia have returned to the Berlinale again, this time through their films which have been se lected for the official programme. The films theyve made since attending the Campus will be the primary focus of the session. Theyll dis cuss how they managed to realise their projects, which obstacles they met, and how they made it back to Berlin.
Olivia Silver made it back to Berlin with the Generation film ARCADIA
Legendary composer, musician and performer Ryichi Sakamoto will share his experience with scorecomposing and creating sounds for moving images. His distinctive and illustrative sound work has brought out an added level of emotion in the films he has scored, which in clude Oscarwinning film THE LAST EMPEROR, as well as BABEL, and WOMEN WITHOUT MEN. Sakamoto will talk about his working style, his process in determining where and when to uti lize different sound elements, how he colla borates with directors, illustrating this with ex cerpts from the films.
Killer / Hope Crossing the Lines 17:00 | HAU 2 Ted Hope, Christine Vachon. Two producers who are known for their capacity to push the boundaries, the prolific indie pro ducers Christine Vachon (MILDRED PIERCE, FAR FROM HEAVEN) and Ted Hope (MARTHA MARCY MAY MARLENE, 21 GRAMS) will join forces to lead a session on the current challenges that indie producers face. Theyll discuss how to adapt to the everevolving expectations of audiences, shift financing and distributing methods, use new platforms in the future, and elaborate on the power and necessity of experimentation. Through advice and useful anecdotes from their experiences working on projects at their pro
Happy Returns: The Future After the Campus 19:30 | HAU 2 Atsushi Funahashi, Ami Livne, Sacha Polak, Olivia Silver. Moderated by Matthijs Wouter Knol. In cooperation with Berlinale Forum, Berlinale Generation, Berlinale Panorama. Berlinale Talent Campus alumni Atsushi Funa hashi with his film NUCLEAR NATION, Ami Liv ne with SHARQIYA , Sacha Polak with her films
SHARQIYA by alumna Ami Livne features in the Berlinale Panorama
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Rise and Shine Breakfast 9:30 | HAU 2 Presented by Institut franais. Start the day with breakfast and conversations, hosted by Institut franais. Acquaint yourself with their cultural mission promoting and sup porting films that inspire crosscultural ex change with France and the world. Get sated and caffeinated before heading out for another day full of panels, films, master classes and events. Bon appetit!
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and Sonja Heinen, project managers will pre sent the aims of the initiative, the breadth of works and regions considered and supported, as well as crucial information for Talents about how to apply with their projects.
Ready, Steady, Go: Berlinale Co-Production Market and Berlinale Residency 12:15 | HAU 3, Top Floor Kathi Bildhauer, Martina Bleis, Sonja Heinen. In cooperation with Berlinale Co-Production Market and Berlinale Residency. The new Berlinale Residency programme will invite select film projects to Berlin to further develop their films with market viability and distribution in mind, and culminate in feedback from industry professionals, and presentation at the Berlinale CoProduction Market. This new initiative will be introduced in detail, as will the CoProduction Market, one of the major inter national networking and financing platforms for film productions, which brings together over 500 reputed international producers, film fin anciers, sales agents and distributors, as well as broadcasting and funding representatives.
Sonja Heinen and Vincenzo Bugno introduce the World Cinema Fund
Keanu Reeves interviewing in Berlinale Specials SIDE BY SIDE, 2012 Company Films LLC
Discover the World Cinema Fund 10:30 | HAU 3, Top Floor Vincenzo Bugno, Sonja Heinen. In cooperation with World Cinema Fund.
Look Whos Talking: Interviewing on Screen 11:15 | HAU 1 Mark Cousins, Keanu Reeves. Moderated by Peter Cowie. In cooperation with Berlinale Generation and Berlinale Special.
New voices, visual approaches, and stories from far corners of the world are supported by the World Cinema Fund, a joint initiative of the Berlinale and the German Federal Cultural Foun dation, in cooperation with the GoetheInstitut. Financing independent productions from regi ons that have access to little funding such as Latin America, Africa, the Middle East, Central and Southeast Asia and the Caucasus, the World Cinema Fund succeeds in bringing fresh perspectives to the big screen, championing auteurs that convey their unique visions and aesthetic techniques in their sitespecific stories. Project manager Vincenzo Bugno explains, Our job is an incredible privilege. We deal with countless stories, visions and visual worlds but we are also very ambitious: we try our best in order to support strong projects with an original artistic profile. And it works! One such success story of a project financed by the World Cinema Fund is Thai director, Apichatpong Weerasetha kuls, Palme dOr winning UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES. Vincenzo Bugno
Finding the right people for a film interview is one thing, getting them to deliver an on screen conversation that moves and directly connects with audiences, is another. How can filmmakers guide and direct interviews to draw out target stories and emotions, without manipulating the outcome, and instead bring the conversation to another level? Actor and producer Keanu Reeves
(SIDE BY SIDE) and director and film critic Mark Cousins (THE STORY OF FILM AN ODYSSEY) will show excerpts and discuss their experiences preparing for and conducting interviews for their latest films which are screening in the Berlinale programme.
Script Station 2012: A Sneak Peek at New Stories 13:30 | HAU 3, Top Floor Moderated by Gabriele Brunnenmeyer. In cooperation with German Federal Film Board (FFA) and SOURCES 2. Script Station is always a fascinating showcase of global storytelling that is deeply rooted in the local, while connecting to audiences on a uni versal level. Stories from Turkey, Switzerland, and Brazil show women of different generations finding ways to reinvent their everyday lives. Hidden secrets are at the crux of many stories, one about four friends in the Dominican Republic, a pregnant girl in 1950s Spain, a Romanian com munity swindling their government, and two unregistered construction workers in Serbia forced to bury a fellow worker who died on the job. Political motifs dominate stories about Iran after the 2009 elections, and a Hungarian news team reporting on the fall of the iron curtain in the late 1980s. Intimate emotions come through in a story of two young brothers in Israel whose house has been bulldozed, a teen love story set in a small American town thats been haunted by disappearances, and an unusual tale of two Indian girls in a circus. This session will offer Talents a sneak preview of stories developed at this years Script Station.
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Mark Cousins documentary THE STORY OF FILM AN ODYSSEY is part of this years Berlinale Special
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Day 6 / tHu, FeB 16

Changing Perspectives: The Arab World Defining Its Future 14:00 | HAU 1 Tahar Ben Jelloun, Nadia El Fani, Viola Shafik Moderated by Vincenzo Bugno. In cooperation with the World Cinema Fund and Euromed Audiovisual Programme of the European Union. The current changes that the Arab world is undergoing are immense and unpredictable, bringing up many quintessential questions about the fundamentals of societies in the Middle East and Northern Africa. This panel will grapple with how some of these questions are being confronted through cinema, including the relationship between political power and the individual, the increasing conflicts between the idea of the state as a guarantee for freedom of expression and religious and political fund amentalism, the role of women and ethnic min orities, and the need to organize democratic participation. But furthermore, how is the emer ging generation contributing and what possi bilities are there for further changes through the use of new platforms for communication? Digital Differences: Post-Production Studio Presentation 14:00 | dffb Cinema Stefan Ciupek, Dirk Meier. Moderated by Christine Trstrum. In cooperation with dffb and Camelot Broadcast Services. PostProduction Studio is a handson technical training programme designed to familiarize Talents with the latest technologies related to postproduction and digital workflows. Together with Talents, expert cinematographers shoot with digital cameras such as the Sony F3, ARRI Alexa, Canon 5D and RED One MX, and with postproduction professionals, Talents will ex periment with digital postproduction software for editing, grading, mastering, and data man agement. The final results from this programme will be presented by mentors Stefan Ciupek and Dirk Meier.
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What Criticism Is: Five Views on an Artistic Practice 14:00 | HAU 2 Fernando Surez Moreno, Dennis Lim, Eithne O'Neill, Boyd van Hoeij, Verena Lueken. Moderated by Damon Smith. In cooperation with Project: New Cinephilia. Pauline Kael wrote criticism for a general audi ence. Manny Farber wrote criticism to the film, as it were. Who should the ideal critic be writing to? Why do we read criticism? Experts taking part in this panel will discuss these questions and explore how a critic finds her voice and, more generally, how to approach the task of criticism. Critics entering the professional world need to think about how they might negotiate writing for an editor with particular tastes and/ or a publication with a defined voice and sensi bility, while also pursuing the adventure of writing. The experts will provide practical guid ance for how to balance selfexpression with the need to reach an audience, but will also speak to larger concerns about the critical enterprise itself.
Things to Take Home 16:00 | HAU 2 Marjorie Bendeck, Kathi Bildhauer, Christine Trstrum. Moderated by Matthijs Wouter Knol. One of the last events of the tenth Berlinale Talent Campus is designed to show you that there is life after the Campus, and in fact, there is a whole lot still in store. There are many new opportunities, activities and events that may be of advantage to you and can be accessed right from your home base. Members of the Campus team will present an overview of the various extra Campus services that could be useful in developing your film projects. Information about Campus activities throughout the year, including the online Campus community and Campus International editions will be provided.
bringing the film to life, and activating another layer of the cinematic experience. The culmi nating celebration for three emerging com posers and finalists of the Score Competition, who have spent an intensive week working to improve their scores under the guidance of Ryichi Sakamoto is also the closing event of the Campus. The three composers will join Sa kamoto on stage to discuss the intricate process of creating original music for moving images. At the end of the session, the winner of the Score Competition Award will be announced. The prize is a tour of the worldclass sound studios in Los Angeles sponsored by Dolby.
Closing Party 21:00 | HBC As the exhilarating Campus week comes to a close, we invite all Talents and experts to unwind at the Closing Party at HBC sponsored by our 10th anniversary host FOCUS FORWARD Short Films, Big Ideas. A final farewell from the Campus team will follow the screening of the Best of Berlinale Talent Campus" by Deutsche Welle DW Akademie.
Say It with a Score: Score Competition Award Ceremony 17:00 | HAU 2 Christoph Fleischmann, Hubert Henle, Pablo Pico, Enrica Sciandrone, Ryichi Sakamoto, Juan Pablo Zaramella. Moderated by Matthijs Wouter Knol. In cooperation with Dolby. Original scores have the transformative power of infusing images with ambience and emotion,
The Campus week comes to an end at the Closing Party
Last years winner Felix Rsch enjoyed his stay in Los Angeles
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score competition
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nEw sighT on sound

Dates weD 15 | 10:00 excursion The Art of Noise: Exploring Sound Design (p.48).
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weD 15 | 17:00 Hau 1 The Thousand Sounds of Ryichi Sakamoto (p.50). tHu 16 | 17:00 Hau 2 Say It with a Score: Score Competition Award Ceremony (p.52).
2011 score competition participants Felix Rsch, Roger Goula, conductor Loranz Dangel, and Talent Ehud Freedman (left to right) with the German Film Orchestra Babelsberg
E very day my horizons seemed to broaden. That one week was a turning point for me.
Stephen Gallagher, New Zealand | Campus 2009
In a nine day intensive programme, three composers get the chance to realize their score with established professionals. Music has the capacity to imbue images with emotive voice, adding another mode of expression to the art of filmmaking. Some of the most poignant moments in film history have their incredibly powerful scores to thank. A well-crafted film score can be as present as the films protagonist or so in sync with the films tone that its subtle effect almost goes undetected, yet a well written score always enhances the cinematic experience. The three finalists of the Score Competition 2012 Christoph Fleischmann (Germany), Pablo Pico (France) and Enrica Sciandrone (UK) will each compose a score for the 2012 Oscar-shortlisted short film LUMINARIS by Argentinian director Juan Pablo Zaramella. Emerging composers and sound designers are given the opportunity to gain hands-on experience composing for film. The Score Competition offers all three selected participants the chance to work with established professionals and receive priceless insights from their mentor, renowned composer, musician, and performer Ryichi Sakamoto, who will give them feedback throughout the nine day intensive programme. They will also be collaborating with the German Film Orchestra Babelsberg, which
will perform their compositions for a high-end recording and final mixing courtesy of the Film and Television University (HFF) Konrad Wolf. The post-production company Wave line will provide editing. This is an extraordinary chance for these Talents to work with world-class professionals, and to receive feedback all along the way from their mentor, Ryichi Sakamoto, and all the experts involved in the entire process from preparing scores, using studio resources, recording with an orchestra, to the final editing and mixing. Now in its ninth year, the Score Competition has trained many excellent composers, many of whom have gone on to compose scores for projects such as narrative shorts and features, documentaries, commercials, and television programmes. The culminating moment of the Score Competition is the presentation on February 16, when the winning composer will be awarded with a trip to Los Angeles with an exclusive guided tour to the best sound studios in the city, sponsored by Dolby.
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Talents work with script consultants to achieve greater depth in their storytelling. The script is the skeleton of the film, and the essential foundation of the story and characters. A well-written script determines how the ideas of the filmmaker will be translated into actions and onto the screen, and communicates the vision to the entire filmmaking team. A rigorous script is a vital starting place for any film, and Script Station focuses on training scriptwriting Talents to expand the clarity and depth of their ideas. Connecting young screenwriters to script consultants from around the globe, the Script Station coaches Talents to fine-tune their scripts and bring precision and life to their pages. It begins with intensive project development days led by an international team of experts including Stienette Bosklopper, Gyula Gazdag, Doris Hepp, Ruth McCance (SOURCES 2), Marten Rabarts, Franz Rodenkirchen, and Selina Ukwuoma. Mentors will troubleshoot with Talents, guiding them through their specific script issues including character development and sharpening dialogue.
sharpEning idEas
Twelve projects were selected by an international jury for this years Script Station: Basak Buyukcelen, Turkey | KISKAC Anna Gt, Hungary | BREAKING THE NEWS Michelle Guzmn, Dominican Republic | LA PARTIDA Carmen Jimenez, Spain | TERESA AND INES Alireza Khatami, Iran / USA | OBLIvION vERSES Ivan Knezevic, Serbia | WORKING CLASS HERO Tamar Komem, Germany | FOUR CHAMBERS Lilium Leonard, France | THREAD Ioana-Maria Mischie, Romania | 237 YEARS Mauro Mueller, Mexico | FINGERPLAY Christopher Radcliff, USA | DUMB Fernanda Salgado, Brazil | MARINA, UNNUMBERED
Over the past decade, the Script Station has received considerable support from its partners: the German Federal Film Board (FFA), ZDF/ARTE a predominant German television channel, SOURCES 2 the European Script Writers Training Programme, which lends its support by way of experts from its teaching staff.
B eing an artist doesnt make for a comfortable life, but it surely makes for one worth living.
Ana Sofrenovic, Serbia | Campus 2005 Meet the mentor at the Berlinale Talent Campus Script Station
Dates tue 14 | 14:00 Hau 3, Black stage Rehearsed Reading I (p.46). weD 15 | 11:00 Hau 3, Black stage Rehearsed Reading II (p.46). tHu 16 | 13:30 Hau 3, toP Floor Script Station 2012: A Sneak Peek at New Stories (p.51).
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Doc station
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wakE ThE doc

Dates weD 15 | 14:00 Hau 3, toP Floor Reality Revealed: Doc Station Presentation (p.49).
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Twelve documentary film projects were selected for Doc Station 2012: Jason Barker, United Kingdom | PLAN B Gustavo Beck, Brazil | THE ANIMALS Andrs Chaves, Mexico / Colombia | CARTUCHO Aryo Danusiri, Indonesia | SUFI BIKERS AND ARAB SAINTS Uli Decker, Germany | MY FATHER CLAUDIA Maria Clara Escobar, Brazil | BORROWED MEMORY Jian Fan, China | RUNNING IN THE CITY Mary Jirmanus, USA /Lebanon | WAITING FOR DAWN Jewel Maranan, Philippines | TONDO, BELOvED Peggy Mbiyu, Kenya | FLYING PILOT Ambre Murard, France | WHITE DAYS Guillaume Suon, Cambodia/France | RITHY PANH,
AN AUTOBIOGRAPHY OF A PEOPLE
Industry professionals assist documentary directors to refine their film projects. Documentaries take from real life, incorporating everything from the inspiring and appalling to the informative and dramatic, and creatively construct a structure to bring them to the screen. The Doc Station is an intensive summit for documentarians to think critically about their concept and to flesh out their treatments, honing in on their projects core and developing how they will proceed to capture it. This intensive week of hands-on training will bring invaluable support and advice to these burgeoning projects, at a crucial point in their development process, beginning with a project development day and followed by individual meetings. Inviting twelve determined filmmakers to bring their documentary projects all at various stages of the filmmaking process to Berlin, Doc Station supports and pushes these films to evolve to the next level through the guidance of documentary experts: Kathrin Brinkmann, Dick Fontaine, Jakob Kirstein Hgel, Meike Martens, Hubert Sauper and Ulla Simonen (SOURCES 2) .
i ts not just about the journey, its also about whos in the car with you!
Mark Hodges, UK | Campus 2004
Doc Station has been made possible by the generous support of the German Federal Film Board (FFA), and has been supported, by way of mentoring and designing of the Project Development Day, by ZDF / ARTE and SOURCES 2, the European Script Writers Training Programme, which lends its support by supplying experts from its teaching staff.
Mentor Kathrin Brinkmann (ZDF/ARTE) in a one-on-one session with a 2011 Doc Station participant
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sToryTElling in ThE digiTal world
From shooting to digital editing with Molly Malene Stensgaard: the Campus Studio provides Talents with valuable insight into digital workflow
The Campus Studio offers select Talents exposure to state-of-the-art filmmaking tools and techniques from shooting to editing. The fusion of brilliant ideas, aesthetic discretion, and the skillful application of the mechanics of filmmaking are the building blocks of a compelling film. A solid understanding of the tools and techniques involved in the process are required to translate the filmmakers vision into cinematic language. The Post-Production Studio gives Talents invaluable access to top-of-the-line technology, from shooting over editing and color correction, grading, to mastering for the final stages of production. The Editing Studio allows selected Talents to refine their rough cuts, with the advice of expert editing mentors who guide the Talents to sharpen their editing skills and the narrative structure of their films. The Campus Studio has been made possible through the support and cooperation of the German Film and Television Academy Berlin (dffb) and Camelot Broadcast Services. Post-Production Studio Cinematographer and post-production expert Stefan Ciupek (cinematographer of SIBERIA OF ALL PLACES, colourist of
ANTI CHRIST, technical supervisor of 127 HOURS, SLUMDOG MILLION AIRE), and colourist Dirk Meier (ANTICHRIST, MAGIC SILvER 2, DREDD) will mentor the 24 participants who will be
Dates sun 12 | 11:00 Hau 3, toP Floor The Survival Guide to Digital Workflows (p.41). weD 15 | 11:00 Hau 3, toP Floor Roughly Speaking: Campus Editing Studio Presentation (p.48). tHu 16 | 14:00 dffb cinema Digital Differences: Post-Production Studio Presentation (p.52).
working on state-of-the-art digital workflow equipment including cameras such as Sony F3, ARRI Alexa, and RED One M-X , Canon 5D, the latest Avid and Final Cut editing software, grading in a latest Filmmaster suite, and finalising on the DvS Clipster.
Editing Studio Renowned editors Andrew Bird, Susan Korda, Gesa Marten, Alex Rodrguez and Molly Malene Stensgaard will guide Talents providing valuable insight and tips on how to improve and strengthen the narrative structure of their projects. Participants will have the opportunity to work closely with an editing mentor for an entire day, working to polish rough cuts of their fiction or documentary short films or an excerpt from their feature. As Matthew Rankin, participant in 2011, explains, The day I spent with Molly has really led to a radical and totally inspiring realignment of my thinking, specifically with respect to how I write my scripts and how I shoot them and the ramifications for the editing room.
talent Project Market
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weD 15 | 14:00 Hau 2 Next Stop Wonderland? Entering the World of Co-Productions (p.49). tHu 16 | 12:15 Hau 3, toP Floor Ready, steady go: Berlinale Co-Production Market and Berlinale Residency (p.51).
Four days to remember: discussions and pitching trainings at the Talent Project Market
T he campus is like travelling to 100 countries in five days.

Simon Rittmeier, Germany | Campus 2010
Meeting potential co-producers to pitch your fresh film idea; the Talent Project Market is a unique chance for emerging producers and directors. The Talent Project Market is a collaborative juncture bet ween the Berlinale Co-Production Market and the Talent Campus. Inviting eleven emerging producers and direc tors to present their film proposals to market savvy co-producers and financiers who are attending the Berlinale Co-Production Market, the Talent Project Market offers the opportunity for Talents to meet with potential collaborators, bringing them much closer to making their films. Chosen from over 250 projects, the following eleven projects mapping the wide world of cinema will find their place in the Berlinale Co-Production Markets catalogue: Suha Araj, Palestinian Territory/ USA | KHSARA; Sbastien Aubert, France / Israel HEAT WAvE; Bianca Balbuena, Philippines | ALAPAAP/ ABOvE THE CLOUDS; Ritesh Batra, India | DABBA, THE LUNCHBOX; Michelle Eastwood, UK | BUMMER; Sarah Goodman, Canada | BRIDGING; Caroline Kamya, Uganda | HOT COMB; Melissa Lee, Hong Kong | THE MAGLEv STORY; Maximilian Leo, Germany | EISEN IM FEUER, WASTED DREAMS; Arturo Menndez, El Salvador | ELBA; Sarah Muhoho, South Africa | THE BODA BODA THIEvES
These eleven selected projects compete for two prizes. Three will be nominated for the vFF Highlight Pitch Award of 10,000 Euros, and their projects will be pitched publicly to producers and financiers at the Berlinale Co-Production Market. The winner will be announced during the Talent Project Highlights event, which will take place in the Berlin House of Representatives on Monday, February 13 at 12:15, as will the winner of the International Relations ARTE Prize of 6,000 Euros. In preparation for the one-on-one meetings with their potential co-producers and financiers, Talents will participate in a four day programme. Through the guidance and advice of industry experts and experienced pitching trainers, the Talents will be prepared for their meetings and supplementing their knowledge with insights about the international film market. Talents will also benefit greatly from the exchanges with their peer co-participants, a valuable networking opportunity to forge life-long professional relationships and to share project ideas and experiences.
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Examining ThE moving imagE

Dates tHu 16 | 14:00 Hau 2 What Criticism Is: Five views on an Artistic Practice (p.52). For further information on the Talent Press website see page 66 or visit www.talentpress.org.
Examing films through language: mentor Stephanie Zacharek working with Talent Press participants
Eight young film critics experience their first A festival in a professional editorial setting work pressure and short deadlines included. Film criticism attracts critically-minded cinephiles whose love of cinema goes beyond the viewing experience and extends to a desire to examine films through language. Many young writers have experience expounding on the works that have inspired them for blogs and other publications, but its a wholly different mode of working being a professional film critic for a daily publication with specific assignments and very short deadlines. Talent Press offers eight emerging critics the opportunity to engage with an international film festival with the rigor required of professionals. They have intensive daily assignments and closely work with their editors the mentors, who are all professional critics also on assignment at the Berlinale. With an official press pass, Talent Press participants have the key to the festival, and are encouraged to see much of what the festival has to offer. Their articles will be published daily from Feb 11 to Feb 15, 2012 on the Talent Press website, www.talentpress.org, which features articles by current participants and alumni throughout the years, as well as on the Goethe-Institut, the FIPRESCI websites and fluter.de, the magazine published by
the Federal Agency for Civic Education. Best of Talent Press, a print publication comprising a selection of articles written during the Campus week, will be released on the last Campus day, Thursday, Feb 16.
In its ninth edition, eight film critics and journalists at different stages in their careers and from different corners of the world come together in Berlin: Aderimsola Ajao, Nigeria; Katja iigoj, Slovenia Tina Hassannia, Canada; Makbul Mubarak, Indonesia Janaina Melo Navarro, Brazil; Michal Oleszczyk, Poland Guido Pellegrini, Argentina; Anders Wotzke, Australia
The Talent Press editorial office is a place of convergence for these eight busy writers during the festival, where peers and mentors alike discuss the films theyve seen in an open and engaging forum for eclectic thinking and criticism. Because Talent Press gathers young critics from all over the world, its a chance to broaden your own perspective on ways of looking at and writing about movies. Everyone learns from everyone else. It's an extraordinary opportunity, says mentor and critic, Stephanie Zacharek. Joining her as mentors of Talent Press 2012 are Chris Fujiwara, Dana Linssen, and Derek Malcolm. Commencing with a conference day, where mentors and press Talents meet with special guests who give inspiring talks on the current state of film criticism, allowing everyone a chance to consider criticism itself as a mode of practice, before digging into the films themselves.
N I P K O W
P R O G R A M M
Scholarships for European Audiovisual Media Professionals in Berlin
Further studies for qualified applicants in the fields of Film and television financing, production, marketing, sales and distribution Cross-media projects
WITH THE SUPPORT OF
Contact Kurfrstendamm 225 D - 10719 Berlin phone: +49 30 614 28 38 fax: +49 30 614 28 26 e-mail: nipkow-programm@t-online.de visit: www.nipkow.de
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talent actors stage
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acTs of crEaTion
Dates Mon 13 | 10:00 Hau 3, toP Floor Embodying the Character (p.43). tue 14 | 09:00 Hau 3, Black stage Camera Close-Up Acting (p.46). tue 14 | 14:00 weD 15 | 11:00 Hau 3, Black stage Rehearsed Reading (p.46). tue 14 | 17:00 Hau 2 Picturing Actors (p.47).
Its all about enthusiasm: Jean-Louis Rodrigue with young actors at Embodying the Character
The Talent Actors Stage assists actors to enhance their technique and develop their craft. Actors are the vehicle through which the action and dialogue in film are embodied and communicated on the screen. Everyone from directors, producers, scriptwriters, and cinematographers must learn how to hone their collaborative skills when working with actors. Actors from around the world are invited to explore their techniques, dialogue delivery, auditioning, improvisation and more in the Talent Actors Stage. Through a variety of events focusing on particular aspects of acting, these rigorous interdisciplinary workshops help both actors and filmmakers to develop a dialogue and communication skills between all the members of the creative filmmaking process. The Talent Actors Stage offers actors five special events: Embodying the Character This intensive, interactive acting workshop led by internationally renowned acting coach, movement specialist and choreographer Jean-Louis Rodrigue and Kristof Konrad, focuses on recognising the power of movement and physicality in creating a character in film. Rehearsed Reading I & II Dramaturge Alby James will work with actors and screenwriters on building characters and bringing scripts to life through smooth and effective delivery of dialogue, as they read vital scenes from a selection of Script Station projects.
Meet the Expert Established casting director Beatrice Kruger (Italy) meets actors in a vibrant Meet the Expert session to discuss how an audition works, the dos and donts during an audition, and how actors can prepare best for international auditioning. Camera Close-Up Acting This is an on-camera hands-on workshop, focusing on the close-up for actors and directors. Selected actors will work on short scenes with Jean-Louis Rodrigue and Kristof Konrad to explore the skills and tools that are required for the extraordinary creation of characters and performances specifically geared for the camera close-up. Picturing Actors Actors rarely have the chance to get direct feedback regarding their auditions or on the photographs they send to directors and casting directors. It is essential to know how a director approaches the casting process in order to improve one's auditioning methods. Talent Actors Stage participants will present their pictures and discuss with experienced directors what attributes are read through their pictures and what to keep in mind when auditioning.
Berlinale residency
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homE is whErE your arT is

Dates
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tHu 16 | 12:15 Hau 3, toP Floor Ready, steady, go: Berlinale Co-Production Market and Berlinale Residency (p.51).
A new home for your project: the Berlinale Residency
i could have chosen anything for my life, but i chose film.

Rebecca Sonnenshine, USA | Campus 2004
Apply with your project to the Berlinale Residency, a programme for emerging filmmakers to develop and strengthen their exciting film ideas. Live, work, and push your film to the next level! The Berlinale Residency offers six highly talented and driven filmmakers to live in Berlin for a four-month residency during which they will strengthen their film projects in advanced stages of script development. Working closely with a variety of expert script editors and market professionals, filmmakers-in-residence will hone their scripts, identify their audience, and develop their projects with market viability and distribution in mind. The Berlinale is actively aiming at offering continuous support to a new generation of successful filmmakers who have already made their first feature-length film, which has screened at the Berlinale, or another international major festival, and were: Selected as a participant with a project in the hands-on training programmes within the framework of the Berlinale Talent Campus; Selected with a film project at the Berlinale Co-Production Market, that has been finalized in the meantime; Funded by the World Cinema Fund and having finalized the film in the meantime.
Filmmakers-in-residence will bring a first or second draft of their script, which can be either a feature-length fiction, documentary, or transmedia project. All projects must already have a producer attached who will also be available to take part in this collaborative process. A clear description of the target audience for the film project, as well as a distribution and marketing concept must be included with the submission. The residency is divided into two stages. The first stage focuses on the script editing, with monthly meetings with script editors and industry consultants, residents will advance their scripts and focus in on their target audience. In December, the second stage of the Berlinale Residency programme begins with an intensive five-day Script to Market seminar, where filmmakers will receive feedback from invited industry professionals (producers, distributors, exhibitors, sales agents, and commissioning editors), and prepare for upcom ing co-production markets and fine-tune their distribution strategy. Visit us at www.berlinale-residency.de
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Berlin today award 2012
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fivE shorTs ExplorE EvEry sTEp you TakE

aBc by Madli Lne a little suiciDe by Ana Lily Amirpour BatMan at tHe cHeckPoint by Rafael Balulu Five ways to kill a Man by Christopher Bisset wHite loBster by David Lal
from top left to bottom right
Sharing the limelight, the five short films competing for the Berlin Today Award 2012 celebrate their world premiere at the Opening Ceremony of the Berlinale Talent Campus. Does the flap of butterfly wings in Thailand set off a tornado in Texas? Small decisions we make in everyday life intrinsically influence our near future. What is a harmless accessory in one part of the world might be a major statement in another that leads to a chain of reactions. Whether political or private, universal or local, it is these moments of awareness and taking a bold step that the Berlin Today Award looked for when inviting filmmakers for the Berlin Today Award short film competition 2012. A jury comprising of Guy Maddin, Judith Kaufmann and Jasmila bani will select the winner of the Berlin Today Award 2012: ABC by Madli Lne, Estonia | After endless years of the Liberian civil war, 17-year-old vele is struggling to make the future brighter for her and her two daughters learning to read and write is the first step. Produced by DETAiLFILM. A Little Suicide by Ana Lily Amirpour, USA | In a world where people hate you without exception and kill you mercilessly, it's no wonder this cockroach is suicidal. Produced by Ambrosia Film. Batman at the Checkpoint by Rafael Balulu, Israel Stuck with their parents in traffic at a checkpoint outside Jerusalem, two six-yearolds, Yuval from Israel and Mahmoud from Palestine begin to play and end up fighting over a Batman doll. Produced by Lichtblick Media.
Five Ways to Kill a Man by Christopher Bisset, South Africa Every morning, Sam wakes up with new and exotic people in his bedroom; each one forces him to confront the global impact of his consumerist lifestyle choices. Produced by Filmgestalten. White Lobster by David Lal, UK On Nicaraguas Mosquito Coast, the windfall cocaine which washes onto the shores has been both a blessing and a curse. Produced by Sunday Filmproduktion.
Dates sat 11 | 17:00 Hau 1 Opening Ceremony & World Premiere of the Berlin Today Award Films 2012 Invitation required (p.40). sun 12 | 19:30 ewerk Dine & Shine Talents Rendezvous with Berlinale Guests and Award Ceremony of the Berlin Today Award 2012 Invitation required (p.42). weD 15 | 18:00 cinestar 5 Screening at European Film Market see Berlinale programme sun 19 | 17:30 uci kinowelt colosseuM Public screening at the Berlinale Kinotag see Berlinale programme
The Berlin Today Award is supported by Medienboard Berlin-Brandenburg and the film industry.
58. Internationale Kurzfilmtage Oberhausen 26. April 1. Mai 2012 Oberhausener Manifest 1962 2012 www.kurzfilmtage.de Lichtburg Filmpalast
BOROS
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www.berlinale-talentcampus.de
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experience The virTual campus
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The homepage of the Campus website
Watch talks from past or current editions of the Berlinale Talent Campus online
The Berlinale Talent campus is a place where people from different nations and cultures gather to speak the same language: the language of cinema.
Myrna Maakaron, German, Lebanon | Winner Berlin Today Award 2004
The Campus network convenes remotely via the Berlinale Talent Campus website. The Berlinale Talent Campus website is not only a great source of infor mation about the current edition, the next application deadline and on going programmes, but it is also continuously updated with news about Campus events happening around the globe and the current status of alumni projects. Moreover, a selection of master classes will be streamed live on the Campus website and is accessible thereafter on the Campus onDemand section. CampusonDemand offers a variety of videos, scripts, programmes and photos from preceding Campuses. Panels and discussions with experts such as Isabel Coixet, Stephen Daldry, Claire Denis, Tilda Swinton, Shah Rukh Khan and Wim Wenders can be viewed online and are a great way to get information on contemporary topics, themes or discussions within the industry. As our international network is vital to the Campus experience, we introduce this years Talents online. Computer stations in HAU 1 and HAU 2 give direct access to this network, where you can browse profiles that show work samples and filmographies, as well as the opportunity to contact fellow filmmakers directly. The Berlinale Talent
Campus community also includes profiles of Campus alumni, including alumni of the Campus International initiatives and a bulletin board where news on festivals, events and callsforentry are collected and shared. You can stay updated all year round with the Campus newsletter. Featuring not only news from Berlin, it also reports on all Campus ventures around the world, on the programmes in Guadalajara, Durban, Buenos Aires, Sarajevo, and the most recent addition, Tokyo. The latest newsletter can be read online or you can register to receive it via email on the Berlinale Talent Campus homepage. Of course you can browse former Campus editions too and find information about Campus locations and the team. With www.talentpress.org, young and upcoming film critics have found a platform. Read articles, reportages, interviews and features on films, filmmakers and festivals from Talents and Campus alumni. Our virtual Campus is there for you to interact, collaborate, inform yourself about fellow filmmakers and present yourself actively: the place for all daily Campus needs and beyond.
Find us at www.berlinale-talentcampus.de | www.talentpress.org
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Talent Campus International
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fanTasTic five
1 | Talent Campus Guadalajara supported by the GoetheInstitut Mexico and the University of Guadalajara 2 | Talent Campus Durban supported by the German Embassy South Africa, the GoetheInstitut Johannesburg and the KwaZuluNatal Department of Economic Development 3 | Talent Campus Tokyo Presented by the TOKYO FILM eX organizing committee. The Talent
Campus Tokyo is organized in cooper ation with Berlinale Talent Campus and GoetheInstitut Tokyo 4 | Talent Campus Buenos Aires supported by the GoetheInstitut Buenos Aires, Buenos Aires International Independent Film Festival and the Buenos Aires Lab 5 | Talent Campus Sarajevo supported by the Robert Bosch Stiftung and partners
Five international editions of the Campus, modelled along the lines of the Berlin-based archetype, have taken off abroad: in Guadalajara, Buenos Aires, Durban, Sarajevo and Tokyo. 4th Talent Campus Guadalajara | March 1-5, 2012 Ana de la Rosa Zamboni and Lorena Rossette Riestra, Talent Campus Guadalajara The Talent Campus Guadalajara is a great opportunity for young film makers from Mexico, Central America and the Caribbean to develop and strengthen their style and consolidate their careers. Even in the short time it has existed, the TCG has managed to create an exceptional space for upcoming projects and creators and has become an integral part of the Guadalajara International Film Festival (FICG). 7th Talent Campus Buenos Aires | April 14-17, 2012 Mara Marta Antin, Talent Campus Buenos Aires The Buenos Aires Talent Campus offers young and emerging Latin American filmmakers the unique opportunity to take part in the Buenos Aires Film Festival (BAFICI) and BAL (Buenos Aires Lab); giving them, not only the chance to devote four days to discussing, creating, sharing and thinking about filmmaking, but also to become part of the Talent Campus community. 5th Talent Campus Durban | July 20-24, 2012 Peter Rorvik, Talent Campus Durban Now approaching its 5th edition, Talent Campus Durban has become a very meaningful dimension of the Durban International Film Festival. The
depth of the programmes have grown, we also added a Doc Station in 2011 and probably a Talent Press component in 2012. Bringing together an enthusiastic contingent of filmmakers from around the continent of Africa, seeing them connect with each other, tracking their collaborations and progress afterwards, and then having their projects materialise into films that make the selection in the festival is very gratifying and also indicates a development strategy that is truly bearing fruit.
6th Talent Campus Sarajevo | July 24-30, 2012 Mirsad Purivatra, Sarajevo Talent Campus Sarajevo Talent Campus has brought a young creative energy to our regional cinema. Six years after we launched Sarajevo Talent Campus in cooperation with Berlinale Talent Campus, we are witnessing a significant presence of a new generation of filmmakers, growing and taking its place in the film business. We are both happy and proud to be part of the Talent Campus family that does the same all over the world! 2nd Talent Campus Tokyo | November 24 - December 1, 2012 Kanako Hayashi, Talent Campus Tokyo The first edition of Talent Campus Tokyo in November 2011 was a real success and featured 15 filmmakers from all over Southeast and South Asia during TOKYO FILMeX. With the Talent Campus, we hope not only to increase young audiences but were also looking forward to welcoming the alumni back and screen the films of these emerging young filmmakers in our competition programme in the future.
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make your own iTinerary

Alongside the master classes that are of general interest, the Berlinale Talent Campus offers about 80 panel discussions, workshops and individual sessions. Find out which events match your interests:
FoR ACToRS Embodying the Character | p.43 Meet the Expert: Beatrice Kruger | p.33 Picturing Actors | p.47 Speed Matching, Feb 15 | p.40 Up Close & Personal: Andie McDowell on Acting | p.42 FoR CiNeMAToGRAPHeRS The Indie Filmmakers Guide to CrossMedia I+II | p.44, 47 Speed Matching, Feb 13 | p.40 The Survival Guide to Digital Workflows | p.41 Through the Lens Clearly | p.49 FoR CoMPoSeRS AND SouND DeSiGNeRS The Art of Noise: Exploring Sound Design | p.48 Meet the Expert: Ulrich Kodjo Wendt | p.33 Say It With a Score | p.52 Speed Matching, Feb 12 | p.40 The Thousand Sounds of Ryichi Sakamoto | p.50 FoR CoSTuMe DeSiGNeRS Dressing Stories | p.46 Excursion to the Costume House Theaterkunst | p.43 FoR DiReCToRS IDFA DocLab: Unexpected Forms of Digital Documentary Storytelling | p.45 Greening the Film Industry | p.42 In the Limelight: Nuri Bilge Ceylan | p.46 In the Limelight: Mike Leigh | p.47 The Indie Filmmakers Guide to CrossMedia I+II | p.44, 47 Know Your Rights | p.46 Look Whos Talking: Interviewing on Screen | p.51 The Other Side of Reality | p.41 Ready, Steady, Go | p.51 Speed Matching, Feb 1216 | p.40 FoR DiSTRiBuToRS Audience Wanted: Producers Reaching Out | p.46 Distributors Sharing Their Secrets | p.45 Excursion to European Filmmarket | p.45
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Joint Ventures: How to Build a Film Industry | p.50 Seducing Audiences: The Art of Using Trailers | p.47 Speed Matching, Feb 16 | p.40
FoR eDiToRS Digital Differences | p.52 Directing Scripts, Editing Stories | p.42 Kill Your Darlings | p.41 Roughly Speaking: Editing Studio Presentation | p.48 Speed Matching, Feb 12 | p.40 The Survival Guide to Digital Workflows | p.41 FoR PRoDuCeRS Audience Wanted: Producers Reaching Out | p.46 Discover the World Cinema Fund | p.51 Excursion to Studio Babelsberg | p.48 Greening the Film Industry | p.42 The Indie Filmmakers Guide to CrossMedia I+II | p.44, 47 Joint Ventures: How to Build a Film Industry | p.50 Killer / Hope Crossing the Lines | p.50
Know Your Rights | p.46 Meet the Experts: Matthias Schwerbrock & Joachim Knaf | p.30 Next Stop Wonderland? Entering the World of CoProduction | p.49 Ready, Steady, Go | p.51 Seducing Audiences: The Art of Using Trailers | p.47 Speed Matching, Feb 16 | p.40
FoR PRoDuCTioN DeSiGNeRS Building Narrative Worlds: Digital Design for Cinema | p.44 Excursion to the Costume House Theaterkunst | p.43 Greening the Film Industry | p.42 Meet the Expert: Christian Goldbeck | p.30 Worldbuilding Upside Down | p.45 FoR SCReeNwRiTeRS Directing Scripts, Editing Stories | p.42 Screenplay Constellation: Activate the Writing Process | p.43 Speed Matching, Feb 14 | p.40
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AL-AMiNe, GHeiTH Lebanese artist and filmmaker. His experimental short films and video installations like OV and ONCE UPON A SIDEWALK won several awards and were shown at the 2003 Venice Biennale and at the 2010 Berlinale Forum. His latest short films T.F.T.L. and KING LOST HIS TOOTH feature in this years Berlinale Forum Expanded. (p.47) ALBeRS, FRANK w. Former director of the GoetheInstitut in Reykjavk, he joined the Robert Bosch Stiftung in 2001. As a programme manager for arts and culture he developed and established the Robert Bosch Stiftungs CoProduction Prize for upandcoming filmmakers. (p.25, 40) ALBeRS, HeLGe German producer and founding member of production company Flying Moon. He produced awardwinning fiction films and documentaries such as SILENT WATERS, FULL METALL VILLAGE and SUMMER PALACE. (p.49) ARRATe FeRNNDeZ, iSABeL Head of the Jan Vrijman Fund, initiated in 1998 by the International Document ary Film Festival Amsterdam (IDFA). Since then, the Jan Vrijman Fund has funded over 400 creative documentary projects in development and in (post)production stages by filmmakers from developing countries. (p.31) BeeReNDS, SANDRA Dutch script editor and guest lecturer. Work ing as a script editor at the drama de partment of the public broadcaster NTR, she was responsible for various awarded series and participated in several successful feature films, family films and docu mentaries. She scriptedited KAUWBOY, which will have its premiere at the Berlinale Generation 2012. (p.30) BeLSiTo, PeTeR American producer, cinematographer and publisher, he was the executive vice pre sident of FilmFinders. He has been involved in the professional education of young filmmakers at festivals, market panels and forums. VALLEY OF TEARS, which he pro duced, is now playing the festival circuit now. (p.31) BeN JeLLouN, TAHAR Parisbased Moroccan novelist and poet, winner of the Prix Goncourt and of the Erich Maria Remarque Peace Prize. He is considered one of the foremost writers of the Maghreb region, with works such as La nuit sacre has been translated into 43 languages. His latest book is Arab Spring. The Recovery of Arab Dignity. (p.52) BeRG, CHRiSTiNe Deputy director of the German Federal Film Board (FFA) with long time experience in film funding in Germany. She also worked for the production company Kinowelt where she produced MOSTLY MARTHA. (p.40) BeSSeRT, KATHRiN Former casting director and copyright lawyer. Since 2005 she is deputy director of the Kinofest Lnen, a festival specializing in young German cinema. She also acts as curator of the short film competition at the Around the World in 14 Films festival. (p.47) BeTTATi, BRuNo Chilean film producer and consultant. In 2001 he cofounded the production company Jirafa Films, producing films like OPTICAL ILLUSIONS, HUACHO and THE SKY, THE EARTH AND THE RAIN. Since 2007, he has been the executive producer of the Valdivia International Film Festival, and now is its director. (p.49) BiLABeL, JACoB Founder of Berlin based thinkdotank THEMA1 specialising in accelerating social change, and chair of the Carbon Footprint World Forum. With BBDO his company developed the Carbon Film Quote tool, the worlds first TV commercial budget estimator with an integrated carbon calculator. (p.42) BiLDHAueR, KATHi Member of the Berlinale CoProduction Market team and coordinator of the Talent Project Market and the Berlinale Residency, she is the author of Drehbuch re loaded based on unconventional contemporary screenplays. (p.51, 52) BiNoCHe, JuLieTTe One of Europes leading actresses, Juliette Binoche has worked with directors such as Godard, Tchin, Carax, Malle, Kieslowki, Haneke, Leconte and Kiarostami. Her
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ac ting career garnered her three European Film Awards as well as awards at the Oscars, in Venice, in Cannes and at the Berlinale. Her new film ELLES will be shown in the Berlinale Panorama 2012. (p.41) BiRD, ANDRew Britishborn editor who works chiefly in German cinema. He has collaborated with Fatih Akin (THE EDGE OF HEAVEN, HEAD ON and SOUL KITCHEN). Among others, he has received the German Film Award for Editing and Filmplus Schnitt Prize. He edited Miranda Julys 2011 Berlinale Competition film THE FUTURE. (p.57) BLeiS, MARTiNA Member of the Berlinale CoProduction Market team since its inception, and man ager of the selected official projects, she is also active as a consultant for copro duction events with international institutions and festivals. (p.51) BoBeR, PHiLiPPe Founder of Coproduction Office, where he acquired world distribution rights for films by Lars von Trier, and Aki Kaurismki. The company is renowned as a home for nurturing radical arthouse filmmakers. He is involved in Spiros Stathoulopoulos METEORA, which runs in this years Berlinale Competition. (p.46) BoSKLoPPeR, STieNeTTe Managing director of Circe Films, an Amsterdambased company producing feat ure films for the national and international market. She has been establishing en during relationships with unique and innovative filmmakers like Nanouk Leopold, Radu Jude, Sacha Polak, Esther Rots and Dominga Sotomayor. (p.55) BRiNKMANN, KATHRiN Commissioning editor of the department ARTE Thema within the German TV chan nel ZDF, she used to commission Das Kleine Fernsehspiel from 19942000. Recently she commissioned VIVAN LAS ANTIPODAS! by Victor Kossakovsky, and COM RADE COUTURE by Marco Willms. (p.56) BRuNNeNMeyeR, GABRieLe Project manager at the Kuratorium Junger Deutscher Film. Formerly artistic adviser for MEDIA training initiative Moonstone and an artistic director at the coproduction market Connecting Cottbus, she also works as a consultant for script development, packaging and project presentation. (p.51) BuGNo, ViNCeNZo Journalist and film critic, he has contributed to newspapers and magazines. He was working as a TV journalist and director and as a curator for international film festi vals. He is one of the initiators and project manager of the World Cinema Fund and the Berlinale delegate for Italy and the Maghreb & Mashrek countries. (p.51, 52) BSCHeR, MAReiLe Berlinbased lawyer at Raue LLP, she focuses on intellectual property matters, me dia and entertainment law, as well as copyright litigation and negotiation. She has lectured on the subject of art and copyright law for various institutions including the Humboldt University Berlin. (p.46) CeyLAN, NuRi BiLGe Turkish writer, director and producer, whose familythemed features THE TOWN, DISTANT, CLIMATES, THREE MONKEYS and ONCE UPON A TIME IN ANATOLIA all have won awards in Cannes or at the Berlinale. (p.46) CHieSA, eNRiCo Film distribution and exhibition professional and one of the core partners of the Mokolo initiative. He currently develops initiatives supporting African and Carib bean filmmakers: AfricaFilms.tv, a cooperative VOD store, and mobiCine. He pre viously managed CICAE, a network of arthouse cinemas in 29 countries. (p.50) CHRoNiS, iwANA Manager of the Hubert Bals Fund of the International Film Festival Rotterdam. Previously, she worked at the Prince Claus Fund for Culture and Development, where she coordinated the Cultural Emergency Response ( CER) programme and collaborated with the IFFRs CineMart. (p.31) CiuPeK, STeFAN German cinematographer and digital colorist, he is a specialist for HD-cameras and digital postproduction. He has worked on critically acclaimed films such as Sokurovs RUSSIAN ARK and von Triers MANDERLAY and ANTICHRIST. (p.41, 52, 57)
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CouSiNS, MARK British film critic, writer and director of several documentary films on cinema. Cousins was the presenter of the TV programme Scene by Scene, whose guests included David Lynch, Martin Scorsese and Roman Polanski. His 900 minutes series THE STORY OF FILM: AN ODYSSEY will be shown at the Berlinale Special 2012. (p.51) Cowie, PeTeR Film historian and longtime international publishing director of Variety" magazine, he has written some 30 books on film, and has contributed numerous commentar ies to Criterion DVDs. In 1963 he was the founding editor of the International Film Guide. His latest book is on Akira Kurosawa. (p.42, 46, 50, 51) Cox, PHiL Scottish producer, director and cinematographer with a primary interest in docu mentaries. Cofounder of the filmmaking collective Native Voice Films in 1998, he has recently been filming in the Sudan, Bolivia and Pakistan. He has been awarded the Rory Peck Award for his work in the Sudan civil war and is part of the FOCUS FORWARD initiative. (p.44) De SeiLLe, GuiLLAuMe After two awarded shortfilms, he worked ten years for Canal+ cinema department. An independent producer since 2000, he produced or coproduced more than fifteen nonFrench feature arthouse films like DESERT DREAM, CRAB TRAP , and AMNESTY, which were shown in the Berlinale in 2007, 2010 and 2011. (p.46) DeCKeRT, HeiNo Producer and managing director of MA.JA.DE Film Production. In 1995 he founded d.net, an informal union of seven European producers. In 2003 he established the world sales agency Deckert Distribution. He lectures on documentary production and distribution for organisations such as EDN and Eurodoc. (p.49) DeMAND, THoMAS German conceptual artist, photographer and filmmaker, famous for his pictures of threedimensional models based on real locations and his experimental animation films. He had exhibitions in all major cities, including the Tate Gallery in London, the MoMA in New York and the Neue Nationalgalerie in Berlin. (p.44) DiAB, MAHeR Lebanese illustrator, photographer and visual artist who worked as an art director for several years in BBDO and Y&R Abu Dhabi. He is a managing partner and creative director at MAD Solutions and specializes in various visual techniques including photomontage and mixedmedia digital illustration. (p.31) DoNALDSoN, MiCHAeL C. Entertainment lawyer for independent filmmakers for over thirty years. In addition to representing writers, producers and directors, he serves as General Counsel to Film Independent and the Writers Guild Foundation. His books on fair use, copy right, negotiation and trademarks for independent filmmakers are standard refer ence books. He lectures at law and film schools worldwide. (p.46, 49) eL FANi, NADiA FrenchTunisian filmmaker. Her Tunisian thriller BEDWIN HACKER, and her more recent documentaries OULED LENINE and LACIT, INCH'ALLAH! broach the issue of life for modern women in today's Northern African nations. (p.52) eLRiCSSoN, MARTiN Designer and artist of more than twenty pieces of participative art ranging from reality games and Shakespeare adaptations to massive scifi and fantasy larps. Co founder of The Company P and creator of the worlds first fully integrated par tici pation drama. His transmedia storytelling company is called Bardo. (p.44) FARNeL, SeAN Independent film consultant specializing in festivals, curation, acquisitions and creative development. Prior to a recently concluded six year stint as director of programming at the Hot Docs festival, he was a staff programmer with the Toronto International Film Festival. (p.41, 44) FARRiNGToN, SHAuN Australianborn and Londonbased cofounder and managing director of Zealot, a full service creative marketing company with offices in London, New York and Los Angeles, producing sales reels, press kits and awardwinning international trailers for films like THE KINGS SPEECH, A SINGLE MAN and SHAME. (p.47)
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FeSSMANN, MiLeNA German music supervisor, she is the founder of Cinesong, which offers a full range of services related to music and films. She was music consultant for more than a hundred films and is also a presenter at the Radioeins radio station. (p.42) FieNNeS, SoPHie British documentary filmmaker and producer. She started out working with Peter Greenaway on several of his films, before realizing projects with choreographer Alain Platel and THE PERVERTS GUIDE TO CINEMA with philosopher Slavoj iek. Her latest film OVER YOUR CITIES GRASS WILL GROW about the artist Anselm Kiefer premiered in Cannes in 2010. (p.41) FLeiSCHMANN, PHiLiPP German filmmaker, editor and producer. He founded his own company Fleisch mann Trailer, which produced more than 300 teasers, trailers and TV spots for films such as HEAD ON, BLACK BOOK and FC VENUS, for which he won the Golden Trailer Award 2006. (p.47) FoNTAiNe, DiCK Currently Head of Documentary at the National Film and Television School UK, he has made over 40 films for television and independent media. He began by intro ducing Direct Cinema to British television, then develop essay films with writers like Norman Mailer and James Baldwin and experiments in music with John Cage, jazz musicians like Ornette Coleman, Art Blakey and the inventors of hip hop. He has just finished a new film with Sonny Rollins. (p.56) FRANCKe, LiZZie Senior production and development executive at the BFIs Film Fund, she was previously an executive producer for EM Media where her credits include THIS IS ENGLAND, CONTROL and A COMPLETE HISTORY OF MY SEXUAL FAILURES. She co produced VINYAN and produced UNMADE BEDS , which featured in the 2008 Berlinale Generation. (p.33) FuJiwARA, CHRiS Writer, film critic, journalist, editor and translator, he is the author of various books on film. He is editor of Defining Moments in Movies and of the online filmcriticism magazine Undercurrent and contributes to numerous journals such as Film Quar t erly. In 2011 Fujiwara was appointed the new artistic director of the Edinburgh International Film Festival. (p.59) FuNAHASHi, ATSuSHi Japaneseborn writer, director, editor and producer. He is a Campus 2004 alumnus, whose feature films include ECHOES, BIG RIVER and DEEP IN THE VALLEY , which premiered in the Berlinale Forum in 2009. His latest film, the Fukushima docu mentary NUCLEAR NATION, runs in this years Berlinale Forum. (p.26, 50) GATLiF, ToNy FrenchAlgerian filmmaker, whose themes are often inspired by his Kabyle and Romani heritage. His films such as LATCHO DROM, THE CRAZY STRANGER and EXILES have won several awards in Cannes and Locarno. His latest documentary INDIG NADOS is featured in this years Berlinale Panorama. (p.47) GAZDAG, GyuLA Hungarian director of theatre, film and television, his feature films include: A HUNGARIAN FAIRY TALE, STAND OFF and SINGING ON THE TREADMILL. He is the artistic director of the Sundance Filmmakers Lab, teaches at the Binger Filmlab and is a distinguished professor at the UCLA School of Theatre, Film & TV. (p.55) GeRTTeN, FReDRiK Swedish documentary filmmaker, producer and founder of WG Film. His films in clude AN ORDINARY FAMILY, THE SOCIALIST, THE ARCHITECT and THE TWISTED TOWER. His film BANANAS!*, which screened at the 2009 Berlinale, became subject of an infamous lawsuit, when the food company Dole tried to ban the US festival screenings. He is part of the FOCUS FORWARD initiative. (p.44) GHoSSeiN, AHMAD Lebanese filmmaker, performer and video artist. He has directed several films, including the awardwinning OPERATION N and the documentary AN ARAB COMES TO TOWN. His latest short film MY FATHER IS STILL A COMMUNIST INTIMATE SECRETS TO BE PUBLISHED is screened in the 2012 Berlinale Forum Expanded. (p.47)
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GiBSoN, BeN Director of the London Film School, he has commissioned and produced films by Terence Davies, Derek Jarman, John Maybury and many others as an independent producer and as the head of production at the British Film Institute. He is the founding chairman of The Script Factory. (p.47) GiNZeL, LARS German rerecording mixer and sound designer who worked on a variety of international films such as WALTZ WITH BASHIR, ENTER THE VOID, IF NOT US, WHO? and THE FUTURE. He won the German Film Award for best sound for REQUIEM. His recent works include RUSSENDISKO and JUST THE WIND, the latter will feature in this years Berlinale Competition. (p.48) GoLDBeCK, CHRiSTiAN German production designer and art director. He has worked on films such as THE READER, KRABAT and REQUIEM; he was nominated for the German Film Award for all these three films. He is production designer of HansChristian Schmids HOME FOR THE WEEKEND, which premieres in this years Berlinale Competition. (p.30, 42) GooDRiDGe, MiKe Editor of Screen International, he is in charge of all editorial content of the brand which covers Screendaily.com, Screen print dailies at Berlin, Cannes, Toronto and AFM, the monthly print magazine and the European production database. His new book Directing comes out in April 2012. (p.49) HANiSCH, uLi Production designer and art director for films such as Tom Tykwers THREE, THE INTER NATIONAL and HEAVEN as well as for films by Enki Bilal, Peter Greenaway, Christoph Schlingensief and Leander Haumann. He won a German Film Award for his production design of Oliver Hirschbiegels THE EXPERIMENT and the German and European Film Award for Tykwers PERFUME. (p.44) HAuG, HeLGARD Since 1996 she has been involved with projects which are on the borderline of theatre, documentation, radio play and the applied arts. In 2000 she cofounded Rimini Protokoll, producing theatre pieces and works in the urban environment in a variety of collaborative partnerships. (p.42, 43) HAyASHi, KANAKo Festival director of the TOKYO FILMeX International Film Festival, which has a com petition section by Asian emerging filmmakers and showcases both contemporary and classic cinema, she was a member of the Berlinale International Jury in 2002 and the Manfred Salzgeber Prize of the Panorama section. (p.33) HeiNeN, SoNJA Head of the Berlinale CoProduction Market and project manager of the World Cinema Fund, she has been the driving force behind the international copro ductions of films and funding films from developing countries. (p.51) HePP, DoRiS Longtime commissioning editor with ZDF/ARTE since May 2000, she is commis sioning editor of the TV drama and documentary department, specializing on feature films. Her most recent productions include ARSCHKALT, WESTWIND and the Oscar nominated AJAMI. (p.55) HeRZoG, weRNeR German director of over 50 fiction and documentary features, including AGUIRRE, FITZCARRALDO, GRIZZLY MAN, INTO THE ABYSS and ENCOUNTERS AT THE END OF THE WORLD, which earned him an Oscarnomination. He won prizes at all major film festivals, including a Silver Bear for his feature debut LEBENSZEICHEN in 1968. His latest documentary DEATH ROW features in this years Berlinale Special. (p.44) HeZeL, BeRND Member of the Potsdam Institute for Climate Impact Research and of the Climate Media Factory, where scientists and filmmakers develop media formats and edu cation concepts to communicate climate impact knowledge. (p.42) HGeL, JAKoB KiRSTeiN Artistic director of New Danish Screen, and previously a film consultant at the Danish Film Institute. He was founder and coowned Cosmo Doc, producing films such as the highest grossing Danish documentary ever, GASOLIN. (p.56)
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HoJeiJ, MAHMouD Lebanese video artist, filmmaker and writer. He coedited several books on photo graphy and video and directed such awardwinning short films as BEIRUT PALERMO BEIRUT, SHAMELESS TRANSMISSION and WE WILL WIN. His latest work IMPOSSIBLE EXCHANGE will compete in this years Berlinale Shorts section. (p.47) HoPe, TeD Awardwinning independent film producer and cofounder of legendary pro duction companies Good Machine, This Is That and Double Hope. Hope is famous for producing the feature debuts of Alan Ball, Todd Field, Michel Gondry, Hal Hartley and Nicole Holofcener as well as 21 GRAMS, AMERICAN SPLENDOR, THE SAVAGES, MARTHA MARCY MAY MARLENE and many more. (p.50) JAMeS, ALBy Former head of development at EON Screenwriters Workshop, he continues to work in the film business as a producer, script consultant and trainer of emerging talent, and as a teacher. In the first 15 years of his career, he worked mainly in theatre and he has produced, directed and written a large number of notable theatrical and radio plays. (p.46, 61) JoSTeN, CLAuS-PeTeR German director and consultant for French and German TV channels like ZDF/ ARTE , SWF / France3 and WDR . Josten has commissioned around one hundred documentaries for themed evenings, and has written and produced several documentary films himself. Since 2004 he has held workshops in the method of screenplay constellations syst all over Europe and North Africa. (p.43) JuRi TiLi, ANKiCA In 2003 she founded the production company Kinorama, and her films have been screened and awarded at numerous national and international festivals. She is the president of the Croatian Producers Association, EAVE graduate, member of EFA and ACE. (p.46) KABoR, GASToN Documentary and narrative filmmaker, whose films WEND KUUNI (which won a Csar), ZAN BOKO and BUUD YAM are regarded as landmark films for African cine matic culture. He was a member of the Berlinale International Jury in 2009. His decades of commitment to African filmmaking resulted in him founding and ex panding the IMAGINE film school as well as the FESPACO film festival in his native country Burkina Faso. (p.41) KAeGi, STeFAN Founding member of Rimini Protokoll, who produces documentary theatre plays, radio shows and works in the urban environment. Using research, public auditions and conceptual processes, they give voice to experts, who are not trained actors but have something to tell. Since 2003 Rimini Protokoll are artistsinresidence at HAU Berlin. (p.42, 43) KARKouTi, ALAA Founder and managing partner of MAD Solutions, focusing on film marketing and promoting Arab films. He started his career as a journalist and is still writing for a large number of Arabic and international media outlets. From 2004 to 2009 he was editorinchief of Good News Cinema Magazine, the most influential Arab film magazine, by 2008 it expanded to include Good News TV Magazine. (p.31) KAuFMANN, JuDiTH German cinematographer. She has won the German Camera Award twice and worked, amongst others, with directors Vanessa Jopp, Angelina Maccarone, Chris Kraus and Andres Veiel, whose IF NOT US, WHO? was presented in the Competition of last years Berlinale. (p.42) KeLANi, TuNDe Nigerian cinematographer, producer, writer and director, and one of Africas most prolific filmmakers. His films include THE NARROW PATH, ARUGBA and his latest one, MAAMI . He is also a member of Mokolo, an African Film and TV Platform for exchange and distribution. (p.50) KeNNeDy, ADRiAN Actor/comedian, TV writer and senior producer of Deutsche Welle DW-TVs daily show Euromaxx and Inside Germany. He is a founding member of the Berlin & Brandenburg Society for Authentic and Historical Music. (p.42)
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KNAF, JoACHiM Tutor at the Film & Television University (HFF) Konrad Wolf for interdisciplinary film economics, with a focus on financing and calculation. He has been working in international feature and documentary production since 1996 and was producer and line producer of numerous international coproductions. (p.30) KNLLeR, BRiTTA Managing director of 23/5 Filmproduktion. She has produced debut feature films ALONG COME TOURISTS and THE EDGE, as well as HansChristian Schmids last three films THE WONDROUS WORLD OF LAUNDRY, STORM (both Berlinale 2009) and HOME FOR THE WEEKEND (to premiere in the 2012 Berlinale Competition). (p.40) KNoPPeRTS, FLeuR Former director of the Forum for international cofinancing of documentaries at IDFA in Amsterdam. In 2007 she set up MeetMarket, an international marketplace for independent documentary projects at Doc/Fest Sheffield. Since 2009, she has been head of development at Volya Films. (p.46) KoNRAD, KRiSToF Polish film, television and theatre actor, who has worked with directors Kenneth Branagh, Ron Howard and Roland Emmerich. He has conducted acting workshops in New York, Los Angeles, Milan, Berlin, Toronto and Vancouver and worked with the Royal Shakespeare Company, as well as with numerous film ensembles on im proving performance and preventing injuries. (p.43, 46, 61) KoRDA, SuSAN Editor of the Oscarnominated and Sundancecrowned FOR ALL MANKIND and Teddy winner TREMBLING BEFORE G-D. She also writes and directs, and was most recently a producer on WILLIAM KUNSTLER: DISTURBING THE UNIVERSE. Her own work includes VIENNA IS DIFFERENT and ONE OF US. She teaches at Columbias Graduate Film Program and Binger Film Lab, Amsterdam. (p.41, 48, 57) KoSSAKoVSKy, ViCToR Russian documentary film director, who had his breakthrough in 1992 with THE BELOVS, which won numerous awards. Further films include PAVEL AND LYALYA, WED NESDAY 07.09.1961, and HUSH!, which was nominated for Best Documentary at the European Film Awards in 2003, as was his latest film VIVAN LAS ANTIPODAS!, which premiered in Venice 2011. (p.41) KRuGeR, BeATRiCe Casting director based in Rome, she is responsible for the European and/or Italian casting of films such as the recent NERO FIDDLED, BORGIA, THE AMERICAN, THE TOURIST, THE INTERNATIONAL, CASINO ROYALE, OCEAN'S TWELVE and many more. She is also founder of the European casting platform eTalenta. (p.33, 61) KuRZ, SiByLLe Pitching trainer and consultant for film schools and film institutes all over Europe, she specialises in intensive pitching training, project presentation, proposal devel opment, dramaturgical doctoring and consultancy work. (p.58) LACHMAN, eDwARD Oscarnominated USAmerican director of photography and filmmaker. He has worked with directors such as Steven Soderbergh, Paul Schrader and Robert Alt man. His extraordinary filmography includes ERIN BROCKOVICH, FAR FROM HEAVEN, Todd Haynes awardwinning miniseries MILDRED PIERCE and most recently Ulrich Seidls new film PARADISE. (p.49) LZARo, PAZ Programme manager at Berlinale Panorama and member of the selection com mittee for the Competition. She has produced several feature films and docu mentaries, including NMADAS, FALLEN ANGELS: GRAM PARSONS and SHORT CUT TO HOLLYWOOD . She is also a member of the Spanish Film Commission (ICAA) for new directors. (p.48) LeiGH, MiKe British film and theatre director, who has made films like SECRETS AND LIES, VERA DRAKE and HAPPY-GO-LUCKY, which won a Silver Bear for Best Actress at the 2009 Berlinale. His latest work ANOTHER YEAR was nominated for an Oscar and a European Film Award. He is this years President of the International Jury at the Berlinale. (p.47)
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LeViNe, SyDNey With over 35 years of experience in the entertainment industry, she was a pioneer acquisitions executive and founder of FilmFinders, the first database used for track ing new films worldwide. She established the video rental division of Republic Pictures and Lorimar Home Video. (p.30, 45) LiM, DeNNiS He writes about film and popular culture for various publications including The New York Times and the Los Angeles Times. His work has also appeared in The Village Voice, The Independent and in The Guardian. He is currently editorial director at the Museum of the Moving Image and teaches at the NYU Journalism Institute. (p.52) LiMPReCHT, SiGRiD Head of the Bonner Kinemathek and several arthouse cinemas, she is also a board member of the exhibitors consortium AG Kino Gilde deutscher Filmkunsttheater e.V., director of the International Silent Film Festival in Bonn and founder of the distribution company Rapid Eye Movies. (p.48) LiNSSeN, DANA Since 1997, she has written film criticism for the Dutch daily newspaper NRC Han delsblad, became editorinchief in 1998, and later copublisher of the Dutch independent film monthly De Filmkrant. She runs the Slow Criticism Project to counterbalance the commodification of film criticism. (p.59) LiVNe, AMi Israeli filmmaker and Berlinale Talent Campus alumnus. His first feature film SHARQIYA will be screened in the Berlinale Panorama section. (p.26, 50) LueKeN, VeReNA German film journalist and author, who has been with the Frankfurter Allgemeine Zeitung since 1989. She has been a cultural correspondent in New York and associate editor of the feuilleton section. She won the Joseph Roth Award for Journalism in 1992 and has published several books on cinema. (p.52) MACDoweLL, ANDie USAmerican actress, famous for starring in festival favourites like SEX, LIES AND VIDEOTAPE which won the Palme dOr in Cannes, and SHORT CUTS, which won the Golden Lion in Venice, as well as in international hits like GROUNDHOG DAY and FOUR WEDDINGS AND A FUNERAL. She was nominated for three Golden Globes and received an Honorary Csar in 1997. (p.42) MADDiN, Guy Canadian writer and director of both features and short films, his career spans over two decades and 25 films, including BRAND UPON THE BRAIN!, which was pre sented at the Berlinale Forum in 2007, THE SADDEST MUSIC IN THE WORLD and MY WINNIPEG. He was a Berlinale International Jury member in 2011, and his latest film KEYHOLE will be shown in this years Berlinale Special. (p.42) MALCoLM, DeReK Film historian and critic for The Guardian for decades, he is President of the British Federation of Film Societies and the International Film Critics Circle, as well as Honorary President of FIPRESCI. He writes for the London Evening Standard. (p.59) MARTeN, GeSA German editor, dramaturge and lecturer, she was nominated for Best Editing at the German Television Awards for ABNEHMEN IN ESSEN and at the German Camera Award for KROKODILE, GESCHWISTER VOGELBACH and LOST IN LIBERIA. She won Filmplus Schnitt Prize for WAS LEBST DU? in 2005 and for NEXT DOOR PARADISE in 2010. (p.57) MARTeNS, MeiKe German producer of creative documentaries, with a focus on international co production and CEO of Blinker Filmproduktion. She participated in the Berlinale Talent Campus in 2009. Martens has worked on numerous films including NOSTALGIA DE LA LUZ, directed by Patricio Guzmn, which won the Prix Arte at the European Film Awards 2010. (p.56) MARTeSKo-FeNSTeR, KARoL Austrianborn producer, film industry advisor and crossmedia executive. He pro duced eight feature films and over 20 TV programs and launched several internet
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platforms such as indieWIRE.com and Cinelan. After 20 years of consulting for and managing in the international independent film industry, he is currently president of film and media at S2BN and is part of the FOCUS FORWARD initiative. (p.31, 44) MAuCH, BRBeL Producer and founder of Brbel Mauch Film, she has considerable experience in production, consultancy and distribution as well as with film festivals in Germany, France and Africa. She coproduced FARO LA REINE DES EAUX , which premiered at the 2007 Berlinale Forum, and JEAN GENTIL premiered in Venice 2010. (p.33) MCCANCe, RuTH Stockholmbased lecturer and advisor Ruth McCance has been working with SOURCES 2 since 2004. Previously she worked as head of development at Potboiler Productions in London and as a development and production executive at the BBC, Film Four and Path Pictures. As a script editor and consultant, she has worked on screenplays like SON OF RAMBOW, IT'S ALL ABOUT LOVE, RATCATCHER and others. (p.55) MCDoweLL, ALex Production designer and film producer, he has worked with Tim Burton, Steven Spielberg and David Fincher. His filmography includes FEAR AND LOATHING IN LAS VEGAS, FIGHT CLUB, MINORITY REPORT and the upcoming SUPERMAN reboot. He is also founder and director of 5D Institute, an interdisciplinary network focusing on the impact of technologies in design fields. (p.44, 45) MeHTA, JiGAR Previously a Knight Journalism Fellow at Stanford University and a video journalist at The New York Times, he currently is president of the South Asian Journalists Association and the cofounder of the collaborative storytelling platform Group Stream. His current documentary project using GroupStream technology is the online platform 18 Days in Egypt. (p.47) MeieR, DiRK German colorist and postproduction consultant, he is an expert at colour man agement and postproduction for digital projects. He has worked for German and international postproduction companies like Farbkult, The Post Republic, Platige Image and Zentropa, and on films such as RUSSIAN ARK, THE CITY BELOW, ANTICHRIST, STREETDANCE (3D) and the upcoming DREDD (3D). (p.41, 52, 57) MeNDoZA, BRiLLANTe Filipino filmmaker. His films such as TIRADOR, KINATAY, SERBIS and LOLA have won him awards in Cannes, Locarno and at the Berlinale. His latest film CAPTIVE , starring Isabelle Huppert, will be screened in this year's Berlinale Competition. (p.47) MLLeR, SiRKKA Sirkka Mller is a freelance film curator, documentary consultant and a regular jury member and moderator at international film events. She works for DOK Leipzig, the Berlinale Panorama and the Fribourg International Film Festival and for the international Sales Agency Deckert Distribution. (p.49) MoNZieR, ADeLiNe Creator and director of Europa Distribution, a network of 110 leading independent European distributors representing 26 European countries, which acts as a lobby, thinktank and network. She is also cofounder of Black Rabbit Film, a company bringing together European and US filmmakers, producers and distributors. (p.45) MuRPHy, KeViN Visual artist and mediaarts curator, Kevin Murphy is a member of the Berlinale Talent Campus selection committee and coordinator of the Editing Studio since 2009. (p.48) oNeiLL, eiTHNe Irishborn writer and film journalist for publications like Nouveau Monde and the leading French film magazine Positif. She also cowrote books on Stephen Frears and Ernst Lubitsch and published a collection of poems. (p.52) PASquALi, ARNAuD Arnaud Pasquali is head of MEDIA Promotion (markets and festivals) and MEDIA Training at Education Audiovisual and Culture Executive Agency (EACEA), the EU institution in charge of implementing the MEDIA programme. (p.46)
experTs
PeTeRSeN, NiKoLAi As head of programme at the GoetheInstitut Johannesburg, he was crucial in the cooperation between the Berlinale and the Sithengi Film and Television Market and responsible for the Institutes grant programme for the Talent Campus in Cape Town in 2006. Since 2008 he is the head of the GoetheInstitut in Caracas, Venezuela. (p.31) PoLAK, SACHA Dutch writer, director and former Berlinale Talent Campus participant. Her short film BROTHER will be presented in this years Berlinale Generation, and her film HEMEL will feature in the Forum section. (p.26, 50) PoweLL, SANDy British costume designer for film, opera and theatre is most famous for her work on the films of Derek Jarman, Neil Jordan, Todd Haynes and Martin Scorsese. She has been nominated for the Academy Award ten times and won in 1999 for SHAKESPEARE IN LOVE, in 2005 for THE AVIATOR and in 2010 for THE YOUNG VICTORIA. The latest film she worked on was Scorseses HUGO. (p.46) RABARTS, MARTeN Entered the film industry in the New York and L.A. independent production scene in the mind 80s and from 1990 continued in London for the Polygram group in sales and production, particularly with Working Title Films. Rabarts has headed the Binger Filmlab programmes since 2000 as artistic director. (p.42, 55) ReeVeS, KeANu One of Hollywoods most prolific actors, who earned fame early on for complex performances in RIVER'S EDGE and MY OWN PRIVATE IDAHO. Besides later mainstream success with films such as POINT BREAK, SPEED and THE MATRIX, he has worked with independent icons like van Sant, Raimi. He produced the documentary SIDE BY SIDE, which can be seen in this years Berlinale Special. (p.51) ReiLHAC, MiCHeL Michel Reilhac is the executive director of ARTE France Cinma and the director of film acquisition for ARTE France. For Canal+, he made TO BE A MAN in 1999, and in 2000 directed KENYA ISLANDS for ARTE. He produced CRY WOMAN, which was in Un Certain Regard of the Cannes Film Festival in 2002, and THE GOOD OLD NAUGHTY DAYS which he directed was presented in the Filmmakers Fortnight in 2002. (p.30, 44) ReuSSwiG, FRiTZ Author and sociologist at the Potsdam Institute for Climate Impact Research, speci alizing in on lifestyle and consumption issues as drivers for global climate change. He is currently teaching sociology at Potsdam University, at the Brandenburg University of Technology and at the Offenbach Art and Design University. (p.42) RiSSeNBeeK, MARieTTe Managing director of German Films, she is also responsible for public relations and press, international festivals and Das Rendezvous, an annual GermanFrench film meeting. (p.40) RoDeNKiRCHeN, FRANZ Script advisor and tutor in international workshops and individual project devel opment, he is based in Berlin. He is head of selection for Torino Film Lab, and a script advisor at the Binger Filmlab, where he also teaches script editing to industry professionals. (p.55) RoDRiGue, JeAN-LouiS Acting coach on faculty at the UCLA School of Theater, Film and Television. Past and current students include: Ian McKellen, Hilary Swank, Kirsten Dunst, Juliette Binoche, Mary McDonnell in her Oscarnominated performance in PASSION FISH and Leonardo DiCaprio in J. EDGAR. He has trained and coached performers, amongst others, at the Royal Shakespeare Company and on Broadway. (p.43, 46, 61) RoDRGueZ, ALexANDRo FrenchMexican film editor, who has made a name for himself editing the films by Alfonso Cuarn (as well as those of his brother Carlos Cuarn) and the directorial de but of Gael Garca Bernal, DFICIT. He was nominated for an Academy Award for his work on CHILDREN OF MEN. (p.57)
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RoRViK, PeTeR Director of the Durban International Film Festival, a flagship project of the Centre for Creative Arts, which Rorvik has headed since 1999. He is also the director of three other major annual festivals produced by the CCA; Time of the Writer, Jomba! Contemporary Dance Experience, and Poetry Africa. (p.33) RoSeNTHAL, LiZ Expert of crossmedia storytelling, distribution, and filmmaking, she is the founder and CEO of leading crossmedia company Power to the Pixel, based in London. Power to the Pixel runs The CrossMedia Forum, The Pixel Lab and advises inter national media organisations, producers and creators. (p.44, 47) SAKAMoTo, RyiCHi Internationally renowned Japanese composer and musician, Sakamoto wrote the scores for films such as MERRY CHRISTMAS, MR. LAWRENCE by Nagisa shima, BABEL by Alejandro Gonzles Irritu and THE LAST EMPEROR by Bernardo Bertolucci, which won him an Oscar, a Grammy and a Golden Globe. He was awarded his second Golden Globe for the score of THE SHELTERING SKY, also by Bernardo Berto lucci. (p.48, 50, 52, 54) SALTZweDeL, DANieL Funding advisor for featurelength documentary films at the Medienboard Berlin Brandenburg, he has worked extensively in film production as a producer at Zero Film. (p.40) SAuPeR, HuBeRT Austrianborn and Parisbased documentary filmmaker. His films SO I SLEEPWALK IN BROAD DAYLIGHT and KISANGANI DIARY won multiple awards. His latest docu mentary DARWINS NIGHTMARE received the Best Documentary Prize at the European Film Awards and was nominated for an Academy Award. (p.56) SCHATTNey, GeoRG Managing director of the Forest Carbon Group, responsible for finance, part nerships and market development. Before founding the company, he spent twelve years in the financial sector. He has specialized in marketbased solutions for issues related to climate, water and biodiversity. (p.42) SCHoRy, KATRieL Executive director of the Israel Film Fund since 1999, he founded the production company Belfilms and produced over 200 films including awardwinning feature films like the Oscarnominated BEYOND THE WALLS as well as TV dramas and international coproductions. (p.49) SCHweRBRoCK, MATHiAS German producer, his film portfolio includes AIME & JAGUAR, NIGHTSONGS and JOHN RABE. In 2009 he worked as a producer on 24H BERLIN, a 24hour documentary told in real time. He has been coproducing the Shah Rukh Khan production DON THE KING IS BACK with Excel Entertainement, that will be presented as Berlinale Special 2012. (p.30) SCHwieRiN, MARCeL Curator, filmmaker, cofounder of the Werkleitz Biennial and the experimental film database Cinovid. He curated film programmes for ISFF Oberhausen, Tate Modern, and Sharjah Biennial. Since 2010 film curator of Transmediale and artistic director of Arab Shorts. (p.47) SHAFiK, VioLA GermanEgyptian film scholar and filmmaker, she has directed documentaries including THE LEMON TREE, PLANTING OF GIRLS and MY NAME IS NOT ALI. She is also the author of the books Arab Cinema: History and Cultural Identity and Popular Egyptian Cinema: Gender, Class, and Nation. (p.52) SHoBeN, ANDRew Founder of Greyworld, which has created works in hugely coveted locations across the world and has permanent installations in twelve countries. Notable works include The Source for the London Stock Exchange, Paint for Nokia, and Sun for Trafalgar Square, London. He is professor of public art at Goldsmiths, University of London. He has recently been nominated as president of the Royal Society of Sculptors. (p.44) SiLVeR, oLiViA
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US director and screenwriter of the short films AISLE 73 and LITTLE CANYON, which
premiered at Sundance in 2009 and inspired her feature debut ARCADIA, starring John Hawkes, which will be shown in this years Berlinale Generation section. (p.26, 50) SiMoNeN, uLLA Finnish producer, and founder of MADE, working also as a consulting producer for other companies and as a documentary script advisor for SOURCES 2. She lectures both nationally and internationally on different aspects of documentary produc tions and is a member of the European Film Academy. (p.56) SKJDT, HANNe Director of the European Documentary Network (EDN) based in Copenhagen. Since 2000, she has been with the Danish Film Institute as distribution and pro motion consultant and head of unit for the promotion and distribution of shorts and documentaries. (p.33) SMiTH, DAMoN New Yorkbased curator (Cinelan, Project: New Cinephilia) and critic (Time Out, The Boston Globe, Cinema Scope). A contributing editor of Filmmaker Magazine, he coproduces the Reverse Shot Talkies video series and is the editor, most recen tly, of Michael Winterbottom: Interviews. (p.31, 52) SoLoMoN, FRANCeS-ANNe Artistic director and president of two companies she founded, Leda Serene Films, her film and TV production vehicle, and CaribbeanTales, a prolific nonprofit com pany that makes multimedia products aimed at the educational market. (p.50) SoNNeN, CASPAR Dutch film programmer, journalist and festival organizer. He is founder and curator of IDFA DocLab and he set up the New Media department IDFA TV. Besides his work at IDFA, he is cofounder and programme director of Seize the Night, the annual Open Air Film Festival Amsterdam. (p.44, 45) STeNSGAARD, MoLLy MALeNe Danish film editor who has edited most of Lars von Triers films including THE
KINGDOM, THE IDIOTS, DANCER IN THE DARK, DOGVILLE, MANDERLAY, THE BOSS OF IT ALL and MELANCHOLIA. From 20062010, she was commissioning editor for feature films at the Danish Film Institute. She is a lecturer at the Binger Filmlab, and in 2007, she was a member of the Berlinale International Jury. (p.42, 57) SuReZ MoReNo, FeRNANDo Film professor and critic. He alternates his academic work with his advertisement production company and various film journalism contributions, including the weekly radio cinema show El Cine y aired in Mexico City for the past six years. He has directed documentaries and fiction shortfilms. (p.52) uKwuoMA, SeLiNA Formerly a development executive at EON Screenwriters Workshop and Cuba Pictures, she now works as a freelance script editor, consultant and tutor. She has worked on a number of projects including the feature BOY A, which screened 2008 in the Berlinale Panorama. (p.55) VACHoN, CHRiSTiNe Awardwinning producer and cofounder of Killer Films, which has produced more than 45 indie features including I'M NOT THERE, FAR FROM HEAVEN, BOYS DON'T CRY, ONE HOUR PHOTO, HEDWIG AND THE ANGRY INCH, HAPPINESS and SAFE. In television, Vachon executive produced the Emmywinning programme, THIS AMERICAN LIFE, and Todd Haynes miniseries MILDRED PIERCE. (p.50) VAN HeLM, MiReiLLe Founder of Londonbased Ginger Film Services, an international film consultancy and servicing company offering sales agents, producers and distributors full post production and distribution services on theatrical and television productions. She also offers lectures and workshops for film students and industry professionals with a focus on how to prepare your film for international delivery at an early stage in production. (p.30) VAN HoeiJ, BoyD Contributing critic for Variety and a freelance film writer for outlets such as Indiewire, Cineuropa and Filmkrant. He also edits the film pages of Winq maga zine and its Englishlanguage twin, Mate. (p.52)
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VoN STADeN, iNGA Media architect, coach and educator for creative industries. She directs the pro gramme Interactive Media at the Film Academy Ludwigsburg. Having initiated, founded and directed various projects such as The Academy of Converging Media, she also initiated the Innovative Audiovisual Content Fund at the Medienboard BerlinBrandenburg from 20042007. (p.47) VuoReNSoLA, TiMo Finnish film director, who has directed short films and music videos. He is interes ted in the effect the internet has on traditional production models. He has directed STAR WRECK and most recently IRON SKY which premieres at the 2012 Berlinale Pano rama. (p.47) weNDT, uLRiCH KoDJo German composer who did music for feature films such as IN JULY, directed by Fatih Akin, as well as the documentary films SCORING BLUE by Christian Bau. His work in theatre includes The World Is Big and Salvation Lurks around the Corner and live performances. (p.33) weNNeR, DoRoTHee Documentary filmmaker, author and journalist, she has been on the selection committee of the Berlinale Forum since 1990 and serves as the Berlinale delegate for India and SubSaharan Africa. Her new film DRAMA.CONSULT will feature the Rimini Protokoll theatre company. (p.42, 50) weRNeR, MiCHAeL J. HongKongbased producer and cochairman of the film production, sales and distribution company Fortissimo Films. He has produced several awardwinning independent films by, amongst others, Gregg Araki, John Cameron Mitchell, Peter Greenaway, Bla Tarr and Apichatpong Weerasethakul. (p.45) weTZeL, DANieL Cofounder and member of the avantgarde theatre company Rimini Protokoll. Since 2004 the company is artist in residence at the Hebbel am Ufer (HAU) in Berlin. Rimini Protokolls original plays have won several international awards like the European Theatre Award in 2007 and the Silver Lion at the International Theatre Biennale Festival in Venice in 2011. (p.42, 43) yAN, GeLiNG Chinese American author and screenwriter, who cowrote the screenplay for Chen Kaiges FOREVER ENTHRALLED. Her novel Siao Yu was adapted for the screen by Ang Lee and Sylvia Chang, and her novella 13 Flowers of Nanjing was the basis for Zhang Yimous latest film THE FLOWERS OF WAR. (p.42) yu, JeSSiCA Academy Awardwinning American filmmaker, she directed documentaries such as BREATHING LESSONS: THE LIFE AND WORK OF MARK O'BRIEN and IN THE REALM OF THE UNREAL as well as her fiction feature debut PING PONG PLAYA. Her new docu mentary LAST CALL AT THE OASIS is featured in this years Berlinale Culinary Cinema. She is part of the FOCUS FORWARD initiative. (p.44) ZACHAReK, STePHANie Chief film critic for Movieline, she was the senior writer and film critic for the web site Salon.com for many years. Her writing on books and pop culture has also appeared in The New York Times, The Los Angeles Times, Rolling Stone and Sight and Sound. (p.59) ZARGARPouR, HABiB Iranianborn visual art director and effects specialist. He has done digital effects for films like STAR WARS EPISODE I, STAR TREK: FIRST CONTACT and THE BOURNE IDENTITY. He was nominated for the Oscar for his effects work on TWISTER and THE PERFECT STORM. Since 2003 he has been senior art director and creative director at Electronic Arts and the Microsoft Game Studio. (p.44, 45) BANi, JASMiLA Bosnian screenwriter, artist and director, she won the 2006 Golden Bear for GRBAVICA. In 1997 she founded the artists association Deblokada, through which she has directed and produced her films. Her latest film ON THE PATH was presented in the Berlinale Competition 2010 and distributed worldwide. (p.42)
parTicipanTs
A Abbruzzese, Giacomo Abramovich, Manuel Abu Musaed, Heba Actis, Federico Adorno, Federico Agoston, Christopher Ahmad, Kamar Ajao, Aderinsola Al Mahmood, Khalid AlGhaly, Abdullah Alguacil, Jos Manuel Aliyev, Tahir Alvarado, Renato Alves, Maria Aly, Mohamed Amdur, Gabriel Andersen, Geir Andersson, Erik Araiza, Estrella Araj, Suha Aristopoulos, Marios Arrangoiz, Esteban Arthur, Stanley Ashman, Jessica Aubert, Sbastien Aubert, Louis Avellan, Karina Azad, Abdull Ghafar Aziz, Ammar B Baeckeland, Jonas Bagnarello, Erika Bakacs, Rita Bakanova, Aygul Balazs, Alberto Balbuena, Bianca Barker, Jason Barreiro, Francisco Barreras Canales, Ral Basa, Joze Batra, Ritesh Beck, Gustavo Becker, Eva Bela, David Bellhouse, Geoffrey Beltran Kleinert, Francisco Bergholm, Hanna Bigdely, Mina Biggins, Emma Bilsen, Kristof Bliese, Miriam Bliss, Jeremy Bojorquez, Ana Virginia Borchu, Uisenma Bosankic, Davor Bratila, Ioana Buntar, Garid Bustos Sierra, Felipe Buyukcelen, Basak C Caballero, Irina Caballero, Lucille Caroli, Miguel Carpignano, Jonas Carsenty, Daniel Carton, Nathanal Cassano, Liso Castanheira, Pedro Chaves, Andrs Chen, Anthony Cheryl, Ladya Chesterman, Marc Choe, Christina Choijoovanchig, Khoroldorj Chung, Kyung Rok iigoj, Katja Coley, Rebecca Connelly, Peter Cox, Emily Cunningham, Deanne Cuzzillo, Roberto D Daley, Nicola Danusiri, Aryo Daugelaite, Rimante David, Raluca Decker, Uli Deis, Riyad Delgado, Maria Daniela Denes, Nagy Denningmann, Marlene Desoky, Ibrahim Detiger, Allard Dombrovszky, Linda Dosios, Theologia Drevenek, Jurij e Eastwood, Michelle Eek, Kristian Engel, Nicolas Erde, Tamara Escobar, Maria Clara F Fan, Jian Fantoni Modena, Giovanni Fingscheidt, Nora Fleischmann, Christoph Fracassa, Marco Freiin von Cramer, Jule Funk, Jannis G Garca, Manuel Gt, Anna Gaynor Bailon, Lucas Gestsdottir, Ragnheidur Gevaerd Neves, Andr Gkoulioni, Aikaterini GlasgowMaeda, Neigeme
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Gloger, Thijs Goodman, Sarah Graizer, Ofir Raul Grassiant, Jimmy Grunenwald, Ryley Guddat, Anna Katharina CarrerasCandi, Guillermo Guirguis, Danielle Gl, Demet Gull, Jane Gmrhan, Mete Gngr, Selim Pekin Gunjak, Una Gupte, Pooja Guzmn, Michelle H Hahn, Daniel Hahn, Linus Hamed, Chaled Hamzeh, Nadia Harbottle, Oliver Hasanov, Rufat Hassannia, Tina Hauru, Hannaleena Hefferon, Thomas Helgason, Haukur Mr Hepburn, Neil Hild, Jonathan Horak, Petr Houver, Nicolas Hutawet, Wasunan i Ibrahim, Muhammad Idanan, Aiza Jane Insinga, Sebastiano Ireeta, Alex J Jger, Camilla Fredikke Jansen, Itandehui Jimenez, Maria Jirmanus, Mary Joalland, Stphanie K Kamal, Elie Kamm, Henning Kamya, Caroline Karikurve, Yogesh Krpti, Gyrgy Mr Kea, Sran Kengne Kamga, Regis Keville, John Khan, Sami Khatami, Alireza Khneisser, Marwan Kim, Young Hei Knezevic, Ivan Kojevnikov, Anna Komem, Tamar Kotzamani, Konstantina Kuschnig, Christoph
L Lalla, Christine Lamah, Elie Landquist, Martin Langham, Tianna Lapeyre, Jason Lasri, Hicham Lszl, Sra Latham, Michael Leo, Marco Lee, Melissa Lee, Evelyn Legraie, Johan Lehtola, Veera Lelliott, Kitso Leo, Maximilian Leonard, Lilium Li Causi, Salvatore Liao, Jiekai Linke, Anna Liubarskyi, Mykhailo Lorenz Fonfra, Ana Lowen, Cynthia Lubbe Bakker, Sabine Ludik, Ben Breda Lukoeviius, Saulius M Machutta, Laura Magoola, Nathan Manatad, Carlo Francisco Manta, Zoe Maranan, Jewel Marin, Rodrigo Marly, Sieber Martine, Doyen Maye, David Maziarzewski, Marcin Mbiyu, Peggy McIntosh, Zoe McKenzie, Joshua McKenzie, James McLoughlan, Louisa Meiser, Christoph Menndez, Arturo Meul, Kevin Mischie, IoanaMaria Montero Recio, Roberto Morsch, Sebastian Morsi, Reem Mrth, Markus Mosese, Jeremiah Mubarak, Makbul Mueller, Mauro Mugwaneza, Richard Muhoho, Sarah Murard, Ambre N Naulainen, Ando Navarro, Janaina NazMandray, Nora
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Nersisyan, Narek Nguyen, Bao Nicolau, Ozana Noto, Jason Nowacka, Magdalena Nussbaum, Jeremias o Okita, Randall Oleszczyk, Michal Omerovic, Armin Onah, Anthony Oostrik, Sjoerd Orr, Adiya Imri Osheroff, Noa Ott, Liliane Ottesen, Tinna P Paetau, Simon Palme, Nicolas Palo, Nicole Pariselli, Mark Pastras, Nikos Pedicini, Valentina Pellegrini, Guido Pello, TiiuAnn Peltonen, Jani Pereyra, Alejandro Prez Arancibia, Renato Pico, Pablo Piperno, Alex Pohjola, Elina Pojer, Carola Powell, Aimee Pushpakumara, Sanjeewa R Raabe, YorkFabian Radcliff, Christopher Radivojevic, Iva Radosevic, Maja Rapisarda, Simone Rauniyar, Deepak Razanajaona, Luck Recchia, Marc Refseth, Oistein Reis, Juliana Relea, Ariadna Riley, Eva Rinland, Jessica Sarah Riso Soto, Luciana Robinson, Ben Roggon, Andrea Johanna Rookus, Aaron Rot, Anna Ruditskaya, Yulia Ruiz, Juan Mauricio Ruiz Hueck, Daniel S Salgado, Fernanda Salmi, Arttu Salumaa, Stella Saman, Heidi Savage, Robert Schppi, Timon Scheermann, Christoph Scherbak, Tamara Schmidt, Daniel Schreuder, Thijs Sciandrone, Enrica Settasuk, Eakarpon Shaban, Ariel Shabankareh, Hassan Shafi, Atiq Shannon, April Therese Shaw, Nicholas Shllaku, Aldo Siahtiri, Hoda Siam, Mohamed Siano, Tal Skodras, Vasileios Slikaite, Agota Soler, Benoit Stankovic, Zoran Steenkamp, Annalat Stremler, Stephanie Stupljanin, Jelena Surez, Fabin Suon, Guillaume Svansson, Anton Mni Sveinsson, Erlendur Szab, Blint Szot, Krzysztof Szymanowski, Mathew T Tajdin, Amirah Tamhane, Chaitanya Titz, Florina Tomashevich, Ilya Trifu, Mara Tsernov, Jevgeni Tskvitinidze, Giorgi TuzaRitter, Bernadett Tzur, Daniel u Ugeux, Jean Ulgado, Vanessa Umar Ahmad, Ismail Urbonaite, Gabriele V Valerio, Adriano Van den Broeck, Olivier Van der Ven, Maarten Vasovic, Vojin Vesnakov, Pavel Vettiger, Fabian Viduin, Dijana Vuinovi, Danko w Watson, Robert Webster, Anielle Wegrzyn, Radoslaw Welter, Nikos Werner, Anne Wiesner, Cynthia Williams, Rabia Wotzke, Anders Wydra, Anna y Yanmis, Derya Yepes, Alexandra Yong, Thomas Yong, Gary Yoshisaki, Marcos Z Zatarain, Mikel Zikowski, Tomasz Ziqubu, Thishiwe Hong Kong Hungary Iceland India Indonesia Iran Ireland Israel Italy Jordan Kenya Korea (South) Kosovo Lebanon Lesotho Libya Lithuania Luxembourg Macedonia Madagascar Malaysia Mexica Moldova Mongolia Morocco Nepal Netherlands New Zealand Nigeria Norway Pakistan Palestinian Territory Panama Paraguay Philippines Poland Portugal Puerto Rico Qatar Romania Russian Federation Rwanda Serbia Singapore Slovenia South Africa Spain Sri Lanka Sweden Switzerland Syria Thailand Turkey Uganda Ukraine United Arab Emirates United Kingdom United States Uruguay Venezuela
MeeT PARTiCiPANTS FRoM 99 CouNTRieS: Afghanistan Albania Argentina Armenia Australia Austria Azerbaijan Bangladesh Belarus Belgium Bolivia Bosnia and Herzegovina Botswana Brazil | Bulgaria Cambodia Cameroon Canada Chile China Colombia Costa Rica Croatia Cuba Czech Republic Denmark Dominican Republic Ecuador Egypt El Salvador Estonia Finland France Georgia Germany Ghana Greece Guatemala
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Danke schn!
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Ambassade de France Charles Malinas, Nathalie von Bernstorff and Carole Lunt. A&O HOTEL and HOSTEL Mitte Robert Hering, Tina Bierwolf, Denitza Babekova, Katharina Ptter Krouse. ARTE Deutschland Doris Hepp, Kathrin Brinkmann. ARTE France Michel Reilhac, Annamaria Lodato. Auswrtiges Amt (Federal Foreign Office) Dr. Guido Westerwelle, Werner Wnendt, Uwe Wolfgang Heye, Helmut Lrsch. Berliner Pilsner Bettina Pttken. Berlin Today Award Producers 2012 Ambrosia Film: Eva Illmer, Halina Dyrschka; DETAiLFILM: Fabian Gasmia, Henning Kamm; Filmgestalten: Manuel Kinzer, Florian Gerstenberg; Lichtblick Media: Ruth Ersfeld, Martin Heisler; Sunday Filmproduktion: Ren Frotscher, Thomas Jeschner. Binger Filmlab Gamila Ylstra, Marten Rabarts. BKM Der Beauftragte der Bundesregierung fr Kultur und Medien Dr. Bernd Neumann, Dr. Ingeborg BerggreenMerkel, Sandra Wemmel, Ulrike Schauz, Michael Knoche. BMW Karsten Engel, Johannes Seibert, Manfred Brunl, HansReiner Schrder. British Council Briony Hanson, Christine Bardsley, Will Massa, Elke Ritt. Camelot Broadcast Services Victor Nikolaidis, Bojana Nikolaidis, Christian Klimpke. Cinelan/FOCuS FORWARD David Laks, Karol MarteskoFenster, Damon Smith, Nelly Petit. COLT Dr. Adelino Santos. Daazo Film and Media Ltd. Dniel Dek, Zoltn Aprily, Anita Libor. Deutsche Weine Monika Reule. Deutsche Welle Eric Bettermann, Rainer Traube, Melanie Matthus, Bettina Kolb, Dieter Roser, Hanne Kehrwald, Fred Oelschlegel and the Deutsche Welle trainees. Deutsche Welle Akademie Gerda Meuer, Bernhard Graf von der Schulenburg, Pamela Schobess and the Deutsche Welle Akademie volunteers. Deutsches Filmorchester Babelsberg KlausPeter Beyer and the musicians. dffb German Film and Television Academy Prof. Jan Schtte, Maximilian Mllner, Kathrin Ostern dorff, Stefan Beckers, Laura Gintar, Debora Neumann. Dolby Julian Pinn, Hubert Henle. Durban International Film Festival Peter Rorvik. Embassy of the Republic of South Africa, Berlin Sarah Phlmann. European Film Market Beki Probst, Catherine Buresi. Euromed Audiovisual Programme of the European union Valerio Caruso. ewerk Oliver Rbenkamp, Miriam Linnert, Friedrike Helmchen. fatboy P.F.H.A. van den Maagdenberg, Denise Bruens. Festival internazionale del film di Locarno Nadia Dresti, Mario Timbal. FFA German Federal Film Board Peter Dinges, Christine Berg, Birthe Klinge. FIDMARSEILLE JeanPierre Rehm, Fabienne Moris, Analle Bourguignon. FILMeX Kanako Hayashi, Shozo Ichiyama, Shigeo Kanaya. FIPRESCI Klaus Eder. fluter.de Silke Kettelhake. Fraunhofer / Heinrich-Hertz-Institut Michael Witte, Ralf Schfer. Gahrens & Battermann Michael Kugel. Goethe-Institut Buenos Aires Stefan Huesgen, Inge Stache. Goethe-Institut Johannesburg Katharina von RuckteschellKatte, Henrike Grohs. Goethe-Institut Lagos MarcAndr Schmachtel. Goethe-Institut Mexico Folco Nther, Sebastian Huber. Goethe-Institut Tokyo Raimund Wrdemann, Mihoko Tanno. Goethe-Institut Mnchen Prof. Dr. KlausDieter Lehmann, Dr. HansGeorg Knopp, Dr. Christian Lffe, Marina Ludemann. Gorol & Partner Stephan Gorol, Verena Zimmermann, Leonie Wrfel. Guadalajara International Film Festival Raul Padilla, Ivn Trujillo Bolio, Andrea Stavenhagen, Alejandra Pauln Albor. HBC Stephan Rothfuss. Hebbel am ufer (HAu 1-3) Matthias Lilienthal, Sonja Hildebrandt, Elisabeth Knauf, Kirsten Hehmeyer, Matthias Schfer and the entire HAu team for their cool theatre. Hugo Boss Philipp Wolff, Claudia Schmidt. IDFA Cathalijne de Wilde. Internationale Kurzfilmtage Oberhausen Marcus Schtte. London Film School Ben Gibson, Suzy Gillett. LORAL PARiS Jrme Bruhat, Yvonne Rostock, Heike Leder. Manfred Durniok Foundation Michiko Teramoto. MEDIA Training Programme of the European union Aviva Silver, Costas Daskalakis, Arnaud Pasquali, Piedad Rivas Lopez. MEDIA Mundus Irina Orssich Slavetich, Emmanuel Cocq. Medienboard Berlin-Brandenburg Kirsten Niehuus, Elmar Giglinger, Daniel Saltzwedel, Rangeen Horami. Nipkow Programme Uta Ganschow, Petra Weisenburger. Power to the Pixel Liz Rosenthal, Tishna Molla, Ines Braga. Rabenhorst Johannes H. Mauss. Robert Bosch Stiftung Dr. Ingrid Hamm, Dr. Kurt Liedtke, Dr. Olaf Hahn, Frank W. Albers, Karin Angela Schyle. Sarah Wiener GmbH Michael Lammert. Sarajevo Film Festival Mirsad Purivatra, Amra Baksi Camo, Jovan Marjanovi. Serve-u Phillip Snderhauf. SOuRCES 2 Dr. Renate Gompper, Marion Gompper. Talent Campus Buenos Aires Mara Marta Antin, Manuel Ferrari, Agustina Arbetman. Talent Campus Durban Monica Rorvik. Talent Campus Guadalajara Lorena Rossette Riestra, Ana de la Rosa Zamboni. Talent Campus Sarajevo Ivana Pekui, Ivana Kalember, Asja Makarevi. Talent Campus Tokyo Akiko Yukawa, Eiko Mizuno. Talent Project Market Sonja Heinen, Dr. Kathi Bildhauer. TESIRO Richard Shen. Theaterkunst Susanne Franke, Nikola Flster and Birgit Raabe.
many Thanks
The Film and Television university (HFF) Konrad Wolf Prof. Dieter Wiedemann, Prof. Martin Steyer, Holger Lochau. Tokyo Metropolitan Government Yusaku Imamura, Masahiro Seki, Yuuji Izawa, Hiroaki Endo, Katsuhiko Funaki. TOP-IX Torino e Piemonte Internet Exchange Silvano Giorcelli and the entire team. u.S. Embassy Berlin Philip D. Murphy, Elizabeth Corwin, Yasmin Gner, Kerstin Reichert. VFF Prof. Johannes Kreile, Prof. Norbert Flechsig, Prof. Georg Feil. Viva con Agua Benjamin Adrion. Wave-Line Matthias Behrens. Wirtshaus am ufer Thomas King and the entire team. 20sec.net Jens Rietdorf, Robert Wagner. KBB Kulturveranstaltungen des Bundes in Berlin GmbH Charlotte Sieben, Johannes Emig, Andrea Schreiber, Petra Hemprich, Stefan Martin, Dr. Albert Drgemller, Jana Daubitz. Berlin International Film Festival Our colleagues Thomas Hailer, Solmaz Azizi, Sabine Gebauer, Susanne Wienemann, Diana Kallauke, Karin Hoffinger, Daniela Weber. Johannes Wachs and Wolfgang Janen. Anne Gebhardt, Kerstin Iskra, Melike ztrk and Eva Simhart. The section heads Christoph Terhechte, Maike Mia Hhne, Dr. Rainer Rother, Maryanne Redpath, Florian Weghorn, Linda Sffker, Wieland Speck and their teams. Vincenzo Bugno, Stefanie Schulte Strathaus, Wilhelm Faber, Frauke Greiner, Dagmar Forelle, Anne Marburger and their teams. Hans von Trotha. Markus Hnle, Nina Orda, Albrecht Wendel, Gunnar Gilgen and Irena Akopjan; Jose Carlos Avellar, John Badalu, Alexis Grivas, Dominique Greene, Elisabeth Lequeret, Luciano Monteagudo, Nikolaj Nikitin, Norman Wang and Dorothee Wenner for strategic expert approach. Last but not least Dieter Kosslick! Our juries: Score Competition KlausPeter Beyer, Martin Steyer, Martin Todsharow, Ziska Riemann. Doc Station Kathrin Brinkmann, Fabienne Moris, Sirkka Mller. Script Station Alby James, Franz Roden kirchen, Merle Krger. Talent Project Market Katriel Schory, Roshanak Behesht Nedjad, Ellis Driessen and Prof. Georg Feil. Talent Press Klaus Eder, Marina Ludemann, Oli Baumgarten, Aily Nash and Frauke Greiner. Berlin Today Award Jury Guy Maddin, Jasmila bani and Judith Kaufmann. Berlin Today Award pre-selection Alexandra Gramatke, Brbel Mauch, Christiane Steiner, Daniel Saltzwedel and Gerhard Meixner. Special thanks to Peter Cowie, Sigrid Limprecht, Gabriele Brunnenmeyer. Campus team 2012 Aily, Andrea, Anja, Ana, Anna, Anne Flavie, Andreas, Arne, Christiane, Cressida, Daniel, Jana, Janne, Jona, Kathi, Katrin, Kevin, Lira, Marcie, Marcus, Marjorie, Merle, Michael, Nicole, Oli, Sebastian, Sirkka, Sophia, Stefan, Susann and Tobi; to all photographers, volunteers, angels, service suppliers and technicians. Many thanks to our location partners
Service | 06
Team / Imprint
Page
The campus Team 2012

Berlin International Film Festival Festival Director Dieter Kosslick Berlinale Talent Campus 2012 Programme Manager Matthijs Wouter Knol Project Manager Christine Trstrum Programme Coordination Andrea Rieder Events & Administration Nicole Mnch Communication Coordination & Project Manager Berlin Today Award Christiane Steiner Head of Press Susann Pataki Assistant Press & Communication Assistant Berlin Today Award Katrin Wirth Assistant Events Sebastian Gutierrez Perez Editor Website Daniel Bickermann Online Editor & Community Manager Marcus Forchner Talent Administration Coordination Marjorie Bendeck, Lira Lousinha Selection Commitee Marcie Jost, Kevin Murphy, Marjorie Bendeck, Ana de la Rosa Zamboni Hands-on training Score Competition Marcie Jost, Janne von Busse Campus Studio Andreas Westphal, Kevin Murphy, Stefan Pethke Doc & Script Station Sirkka Mller, Arne Kohlweyer; Meet Coordinator: Gabriele Brunnenmeyer Talent Project Market Dr. Kathi Bildhauer, Sonja Heinen Talent Press Oliver Baumgarten, Aily Nash Talent Actors Stage Anja Joos Berlin Today Award Christiane Steiner, Katrin Wirth Guest Managers Jana Daedelow, Anna Lsser Trainee Merle Kasprzak Intern Programme Jona Armborst Intern Press Cressida Greening Interns Talent Administration Anne Flavie Germain, Sophia zu Lynar Administration Support Michael Hoffmeister Event Agency Gorol & Partner Stephan Gorol, Verena Zimmermann, Leonie Wrfel IT Project Management 20sec.net Jens Rietdorf IT Technology serveu Phillip Snderhauf Consultants Peter Cowie, Sigrid Limprecht Imprint Circulation 4.000 Editorial Office Oliver Baumgarten, Aily Nash, Matthijs Wouter Knol, Jona Armborst, Daniel Bickermann Cartography Runze & Casper, Berlin Photography Berlin International Film Festival, David Ausserhofer, David von Becker, Andreas Bhmig, Chiara Ferrau, Lydia Hesse, Peter Himsel, Ute Langkafel and cooperation partners, distributors, film productions Photography Cover Nora Bibel Print Druckzone GmbH & Co. KG, Cottbus Design jobs und bhm, Sonja Jobs Publisher Berlin International Film Festival Berlinale Talent Campus Potsdamer Strae 5, 10785 Berlin Phone: +49 30 259 205 15 Fax: +49 30 259 205 19 campus@berlinale.de www.berlinaletalentcampus.de
An initiative of the Berlin International Film Festival, a business division of the Kultur veranstaltungen des Bundes in Berlin GmbH.
78
Campus Team 2012 (from left to right): Marjorie Bendeck, Marcus Forchner, Marcie Jost, Ana de la Rosa Zamboni, Kevin Murphy, Sebastian Gutierrez Perez, Anja Joos, Christiane Steiner, Andrea Rieder, Anna Lsser, Lira Lousinha, Katrin Wirth, Matthijs Wouter Knol, Christine Trstrum, Tobi, Anne Flavie Germain, Nicole Mnch, Cressida Greening, Jona Armborst, Daniel Bickermann, Merle Kasprzak, Susann Pataki, Arne Kohlweyer, Andreas Westphal and Michael Hoffmeister.
We would like to thank our international network for its support
Celebrating Our Official Partners
Main Partner
Co-Partner
Supporter
The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of , funded by the Federal Government Commissioner the Kulturveranstaltungen des Bundes in Berlin GmbH for Culture and the Media upon a decision of the German Bundestag. In cooperation with MEDIA Training programme of the European Union, Medienboard Berlin-Brandenburg and the Robert Bosch Stiftung.
www.berlinale-talentcampus.de

Berlinale Talent Campus Magazine 2012

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Hebbel am ufer 11 16 feb 2012

berlinale talent campus

welcome to tHe berlinale talent campus 350 talents from 99 countries

Berlinale Talent Campus #10

We would like to thank our international network for its support

Berlinale Talent Campus #10

let tHe campus cHange your perspectIve

Dieter Kosslick Festival Director, Berlin International Film Festival

never too late to cHange

Matthijs Wouter Knol Programme Manager

Christine Trstrum Project Manager

Congratulates the Berlinale Talent Campus On Its 10th Anniversary

Get Involved In The $200,000 FOCUS FORWARD Filmmaker Challenge

Be part of it and have a great time!

PROFESSIONAL DEVELOPMENT & TRAINING

SOURCES 2 at Berlinale Talent Campus

Berlinale Talent Campus #10

the first ten years

Walter Salles Filmmaker | Brazil Expert in 2005 and 2007

Life is more than realism film is the key to it.

Stephen Kang Filmmaker | New Zealand Talent in 2007

Berlinale Talent Campus #10

15 cinema is a team effort; you want people with fearless

Maria Daniela Delgado Viteri Filmmaker | Ecuador Talent in 2012

17 i guess you can say that at the talent campus i found

making films is a wonderful excuse to make a living out of day dreaming.

Kerry Fox Actress | New Zealand Expert in 2011

Fernando Eimbcke Filmmaker | Mexico Talent in 2003, expert in 2010

19 everything i know goes into my films.

i need to know more.

Rumbi Katedza Filmmaker and writer | Zimbabwe Talent in 2004

IDFAcademy Summer School

Distributors at the campus

campus alumni | manfred Durniok Foundation

Hctor Ferreiros PACHA features in this year's Berlinale Generation

Meet the Expert

viS viS diScuSSionS

Meet the Expert

Meet casting director Beatrice Kruger

Meet the Expert

viS viS diScuSSionS

More information: www.berlinale-talentcampus.de

8:30 Ticketing 9:30 Rise and Shine Breakfast

12:30 14:00 1 7:00 20:00

12:45 Meet the Expert

Michel Reilhac. At Fox Bar. Pre-registration required. (p.30)

Berlinale Talent Campus #10

Events open to the public ticket required

Hands-on training events for pre-selected Talents only

Page numbers (p.) refer to corresponding texts in the Magazine

HAU 3 / BlAck StAge

HAU 3 / top Floor

Talent Project Market (p.58)

12:45 Meet the Expert

Christian Goldbeck. Pre-registration required. (p.30)

16:00 Meet the Expert

Sydney Levine. Pre-registration required. (p.30)

More information: www.berlinale-talentcampus.de

12:45 Meet the Expert

Isabel Arrate Fernndez. At Fox Bar. Pre-registration required. (p.31)

Speed Matching Directors meet cinematographers. Pre-registration required. (p.40)

16:00 Meet the Expert

Nikolai Petersen. At Balcony. Pre-registration required. (p.31)