World of Shorts, the Berlinale Issue

world of shorts the berlinale edition

a shortfilm magazine published by daazo.com - the european shortfilm centre

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World of Shorts

by Daazo.com -the European Shortfilm CentreCentre World of Shorts

by Daazo.com -the European Shortfilm

Young filmmakers’ party at the Berlinale!

February 13th, from 8 PM Szimpla Badehaus Musiksalon Revaler Straße 99. 10245 Berlin We’d love to meet you!

RSVP at info@daazo.com

World of Shorts by Daazo.com -the European Shortfilm Centre

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Daazo.com in 2012: Shorts Are All Around Us

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Mapping your mind Directors from the official selection of the Berlinale Shorts start drawing

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Berlinale Talent Campus 2012 An interview with Christine Tröstrum, the programme manager of the Berlinale Talent Campus La Cinéfondation - Festival de Cannes L’Atelier and La Résidence User’s guide for ambitious filmmakers Small is beautiful ‘Shooting People’ say it well The European Short Pitch By NISI MASA

The sweet road to the Oscars: The success story of Zaid Abu Hamdan

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Mapping Hungary Directors from the Berlinale Shorts special put their pencils to the test The Teddy Awards The world’s most prestigious queer film prize

Developing a personal style An interview with Maike Mia Höhne, curator of the Berlinale Shorts The more special, the better they remember Unusual practice of self branding

Has Hollywood lost its way? Short of the Week is on a quest Sarajevo Talent Campus The piece that was missing

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Short Film Festivals in 2012 Your festival guide 4 Tips to Getting the Most From Your Music Video by Raindance and Radar Music Videos

Engage. A training programme for emerging filmmakers

content

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World of Shorts by Daazo.com -the European Shortfilm Centre

the Brave New World of Shorts Last year, when we at Daazo.com - The European Short Film Centre - decided to make short interviews with some of the directors from the Berlinale Shorts competition, we did not really believe at first that we had found such a big black hole in the film industry.

On the one hand, it was a disappointment that the accomplished ‘established’ media had nothing else in their sights but red-carpet with A-listers and the world of feature films. On the other hand, we felt that this was the perfect time to create a World of Shorts.

It started as no-budget blog entries, continued as low-budget, but beautifully designed, .pdf magazines at the Cannes and Sarajevo IFFs, and now we have got to the point when we are able to print a real live, proper, paper magazine, with the same creativity and enthusiasm as standard of course!

The Berlinale is the perfect occasion to come up with the printed version of World of Shorts. This is a well-curated short film competition, which presents one-minute spicy animations to 30-minute-long heavyweights - no matter who they come from, whether it’s an accomplished director or a newcomer.

World of Shorts by Daazo.com -the European Shortfilm Centre

Illustration by Cristina Groşan 4

interview editorial editorial We strongly believe that the current Nothing else counts: just the overall qualclimate - despite the economical difity and style of the work and - even more ficulties - is perfect for the brand new important - the general standards of the world of short films. As we experience Berlinale: being personal, self-reflecting

day by day, there are more and more and telling a universal story, having it

new platforms for presenting shorts: worked out with the filmmaker’s own handwriting. So we asked this year’s Bersmart phones, smart TVs, tablets, linale Shorts directors to map their minds VOD platforms etc. People need and and send us a drawing if their films. It want these gadgets, but the really excould be a symbol, a landscape or the main citing news is that these gadgets (and character’s childhood phobias - anything. their manufacturers) need talented There were no rules. Just pure, spontanepeople who create content to watch ous thought-drawing. and enjoy. So there are plenty of opportunities for young filmmakers, There is no doubt that the Talent Campus which is good news, but that alone is one of the most important forums of doesn’t make things simple: being today’s short film marketplace. Nowhere up-to-date is crucial in this business. else do so many young filmmakers come That’s what we do with the World of together to get to know each other and Shorts magazine. to get familiar with the freshest waves in the film industry - both from an artistic But this is just a part of our job regardand technical point of view. Besides having short films. We also have a freshly ing lectures about the newest 3D techredesigned community web platform: nologies and the new ways of short film www.daazo.com, where you can watch distribution, the Talent Campus has an quality short films, upload your own even more important aspect: it provides works to build your portfolio or subself-awareness for young people who have mit them to film contests to win valujust started their career in the filmmaking able prizes. You can find us on mobile business. platforms, smart TVs, tablets, etc., and we also organise short film events.

After participating in the Talent Campus So we welcome everybody to the they can identify themselves as profesWorld of Shorts. We would be very sional filmmakers, who are part of an inglad to be your guide during the Berternational network with dozens of conlinale’s short film-related programmes tacts. You can read about the expectations and we hope you will stay with Daazo. of this year’s talents, and we also asked com and the World of Shorts magaZaid Abu Hamdan to tell his own charmzine for the rest of the year too. ing success story after having taken part in the Talent Campus.

Digitally yours, the Daazo team .

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World of Shorts by Daazo.com -the European Shortfilm Centre

“Say Goodbye to the Story” is this year’s tagline of the Berlinale Shorts. If storytelling, as we know it, has come to a halt, what do we have to welcome? What are we looking for now?

What is the next step in the short film-making?

We spoke to the curator of the Berlinale Shorts, Maike Mia Höhne to find out more.

Photo by Mara Ploscaru

berlinale shorts: developing a personal style

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Photo by Mara Ploscaru

interview Your tagline for this year is: “Say Goodbye to the Story” - if storytelling is over, what do we have to welcome? What’s new? What is the next step in short film-making?

What is the process of selecting short films? What do you have in mind when selecting films for the competition? Or is it the other way round: after seeing all these short films, do you know what you want to SAY GOODBYE TO THE STORY is the LEIT- see at the Berlinale?

MOTIF of this year’s selection - to say goodbye to what is known as the 3-act-structure of The process of selection is a long process a story is only one fact. The other fact is that of watching films and getting very deep the variations of HOW TO TELL STORIES is into the vast variety of films that have a wonderful, unlimited field of exploration. been sent to Berlin or have been collected Many filmmakers, especially from Asia, un- throughout the whole year by me and the derstand the tools of making films, to shape delegates of the festival - I am looking for their view onto the world - and this view is the pearls - of the spearheads. Spearheads never the same. The tools of making films, that show, encourage, try out - where film like working with video, already help to keep can also go to, belong to. These are the a certain distance to a thoroughly declining films I want to see at the Berlinale and I story outline. want to present them to a big, wonderful The wish to talk about the circumstances and audience. An audience that follows the the situation of low budget productions sup- artists to their different fields of exploraport a different way of storytelling and sup- tion. port the wish to be free in articulation. In South America, storytelling in its known way How many films have you seen this year? is much more appreciated, but still - the film- How many applicants were there, from makers determine the topics and later the way how many countries? How can you watch they pay attention to detail, perhaps tiny little all these films without falling asleep in events - as they take them much longer into front of a DVD player? the focus - changes everything. It is their way of interpreting and personalising films - and It is not so much about the quantity of making a film more than just telling a story. films - at least not for me. It is more about That’s what the Leitmotif of this year’s selec- the quality of films and about the discustion is about. sion we have about all the films that find About going beyond. It is interesting that half their way onto the waiting list - discusof the filmmakers are women - and women do sions about films, trends, movements, tell stories again in another way- so the pos- feelings - discussions that we can imagine sibility of getting inspiration and courage to to happen in the cinema later, during the really follow your own path in filmmaking is festival as well. These are the moments very high this year. when film becomes real.

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World of Shorts by Daazo.com -the European Shortfilm Centre

You have seen a huge number of shorts: can you recognise trends in filmmaking? Is there a hype around a country, a theme, a motif, a form, a genre? Besides leaving the story out of the context, of course.

One topic is for sure that reality got very close - to everyone of us. So many of the selected films throw back the questions raised to the viewers and make them to think about one’s Photo by Simone Scardovelli own attitude in such situations - without a raised index finger, but a right to involve eve- What do you have in mind when creating ryone in certain ethical questions. screening sections from the selected short If you want to say goodbye to the story you films? Do short films have to be related or have to tell a story. So: storytelling in what- similar somehow, or on the contrary - do ever way is important for many filmmakers. they have to be totally different to create a Animation is very powerful this year and Asia powerful section? is very powerful in all its different aspects of seeing the world.

To curate a programme every year, different aspects lead me to the programmes The Berlinale is the first major short film fes- basically, it is about me, feeling the films tival in the year, so your selection shapes the and trying to build bridges & gaps, possitaste and trends in short film making. Do you bilities to jump and to relax, to deepen a agree with this statement? Do you see your, or feeling or follow another aspect of a certain the Berlinale’s taste in trends? subject. Like every year, the films are very different to each other - so every year the Yes, I absolutely agree with this assumption - way of combining, the art of curating them because we select the latest films of the pre- is different. The curated programmes are vious and the first films of the new year, we possibilities to get involved - with or withhave - and this goes for all sections - the finger out talking - that’s what I want. on the pulse of the time. Short films are often faster in production so we are even closer than This year you have an actress, a Palestinian feature length films - but still: it is the begin- artist, and one of the Berlinale’s favourite ning of a new year and the audience wants filmmakers, David OReilly in the jury panto see what the movements for the new year, el. How do you select the jury members for interests etc. are. The Berlinale Shorts selec- the short film competition? tion allows a certain spirit of freedom in style, form and approach - to give such a sign in the David and Sandra are both very much beginning of the year evokes power and free- related to the Berlinale - they both have dom in other artists. bears in their houses. Emily Jacir is one of the most interesting artists - not only of her region, but far beyond that.

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interview The art world has known her for a long period of time - and as she is working with video and film a lot I thought that it could be very interesting to combine her point of view with that of the two others - everyone coming from a very special corner in filmmaking! I like it when jury members of the International Short Film Jury in Berlin have a certain link, connection, feeling, movement, interest in the short form - that makes it much easier, but it is not necessary. An artist is an artist and will always be able to receive films in the way they want to be understood.

You have a special screening focus on Hungary’s omnibus film. Why did you decide to make an exception with this movie? You even have a discussion about that with the Hungarian mastermind Béla Tarr.

It is necessary to put into focus what is happening in Hungary at the very moment. The very right-wing situation and the actual laws show tendencies that are dangerous. Dangerous for everyone, except for the rich. It is far beyond feeling pity for a country. Hungary is a country known for its cinematographic art - now, with the right-wing government, restrictions are getting more and more intense - in money and, I suppose in not such a far future, censorship. And Hungary is not the only country in the area… Is it a tendency, a trend?

How can artists resist and follow their path?

What about changes? We want to focus on the political and social situation in Hungary with Béla Tarr. The film itself is an outcry for the injustice happening - so please come along and join the discussion!

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You will have a discussion after the regular screenings as well. What will it be like?

Will you have Q&A sessions? Will there be any other events related to the Berlinale Shorts?

After every screening in the afternoons, we will have an intensive Q&A at the Cinemaxx5 with the filmmakers present.

We have time - there is no hurry. So we can speak about more than just the idea from where the oeuvre comes. Throughout the last years this extra hour or two with the filmmakers widened the horizon for every single film, artist and audience.

Lovely moments of concentration- knowing about the hustle and hustle and bustle outside the cinema!

We will have another wonderful event at the Embassy of Canada - presenting Trevor Anderson’s (selected to Berlinale Shorts 2009 with “The Island”) latest film: “The Man That Got Away”: a musical documentary that tells the true life story of Trevor’s great-uncle Jimmy in six original songs.

We will also head over to the Talent Campus, together with Forum Expanded.

We’ll present a selection of Beirut’s contemporary video artists - all selected for this years Berlinale. Marcel Schwierin, an expert in the whole area, will screen their works and relate to the special and leading role that Lebanon has had in Video Art since the inauguration of Askhal Alwan in the middle of the 1990s. This artists’ talk will also be followed by drinks - all shortfilm lovers are welcome to join us!

World of Shorts by Daazo.com -the European Shortfilm Centre

berlinale talent campus “The first Talent Campus was amazing, when everybody, the Campus team, the founding partners and the colleagues from our festival realised that the concept worked.“ A talk with Christine Tröstrum, project manager of the Berlinale Talent Campus. The Campus is 10 years old! Surprises are bound to be revealed. Read on!

Photo by Mara Ploscaru

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talent campus special The Talent Campus is celebrating its 10th The Campus also became more of a maranniversary in 2012. What was the initial ket place where the next generation could present their projects and work. idea behind starting the Campus?

Berlinale festival director Dieter Kosslick had an idea to build an international network for co-production and cooperation between young filmmakers from all over the world and to integrate them into a renowned international film festival. He wanted to foster cultural exchange between young filmmakers and established film professionals and engage them with public debates about politics, society and film. We give our thanks to many cooperative partners worldwide, the support of regional and federal funding institutions, the European Union, embassies, the Goethe-Institutes, and the Federal Foreign Office, who’ve all helped to create this platform.

Can you recall the first Talent Campus? What was it like? What has changed since?

The first Talent Campus was amazing, when everybody, the Campus team, the founding partners and the colleagues from our festival realised that the concept worked. I think it was a relief for the upcoming generation of filmmakers to get easy access to a festival like the Berlinale and to meet people from around the globe who had the same experience when they were trying to enter the film business.

The basics of the Campus structure are still in our programme: the five Ps – PHILOSOPHY, PRE-PRODUCTION, PRODUCTION, POST-PRODUCTION and PROMOTION, designed by the first Campus manager Christine von Fragstein. After 10 years, the Campus is more focused on the individual coaching of our participants, more hands-on, and the reflection on the process of filmmaking is more holistic and considers teamwork.

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The Campus was born out of the idea of helping emerging young filmmakers.

Can you tell us what kind of blanks the Campus aims to fill ?

The Campus idea was a missing piece in the puzzle: to get practical advice on how to work internationally, to encourage emerging filmmakers, to create new impact and to spread ideas. We know from many participants that the Campus has been a turning point in their careers. The filmmakers learn a lot about why it is so important to create a network and to see that everybody in the world has to struggle with production workflows, financing their projects etc. And the Campus closed the gap between the upcoming filmmakers and the established film industry. The industry knows that we present the next generation of filmmakers every year and they can discover rising talents very easily through the Campus events or our online community of around 4000 filmmakers.

How will you celebrate the anniversary - are you planning any special programmes or events?

We will celebrate it with long-time companions, friends and partners, like the Media Programme of the European Union, the Medienboard Berlin-Brandenburg, the Robert Bosch Stiftung and many more. FOCUS FORWARD, the new Cinelan documentary initiative from New York, supports the tenth anniversary of the Campus and will host the Closing party alongside other events.

World of Shorts by Daazo.com -the European Shortfilm Centre

And the Campus alumni will get a birthday present: together with my colleague Matthijs Wouter Knol we designed a new Berlinale programme, the Berlinale Residency. It will be open not only to Campus alumni, yet our motivation was to continue to support the alumni by offering a four-month scholarship in Berlin to sharpen their scripts and to help them find the right markets and sales – from script to the public.

The Talent Campus is one of the most desirable places for aspiring filmmakers.

This year there were more than 4000 applicants from more than 130 countries.

This year’s topic is Changing Perspectives - What is so special about the Talent Camwhat basic perspectives are changing nowa- pus - what is the secret ingredient? days?

One of the secrets is the atmosphere creOne reason why we had the idea of “Chang- ated when people come together from ing Perspectives” was the high demands that over 100 countries and share their passion are placed on everybody nowadays, to have to for film over the course of six days. The be flexible in many levels of our society, espe- second thing is that we invite all fields of cially in this day and age when many differ- work: directors, producers, screenwriters, ent spheres of life are subject to such tremen- actors, cinematographers, editors, producdous digital changes. The challenge, not only tion designers, score composers, sound for filmmakers - is to react to these changes designers, distributors and film critics, in a positive way, to be open to new ideas and encourage exchange between them. while keeping and preserving what has been acquired. We said in this context, “Changing How can you determine that the Talent perspectives means a process that requires Campus has been successful? How can active participation: sharing ideas and expe- you measure it? In prizes, in connections riences, approaching filmmaking in an inter- between filmmakers? disciplinary way, getting inspired by visionary pioneers and being open to the unexpected The realisation rate of projects we’ve sealong the way…” lected in a development stage either for the Talent Project Market, or the Doc and In your opinion, what is the best way to Script Station is very high. Most of these bring out the most of the Talent Campus? finished films are screened worldwide at major international film festivals. Around A good team spirit, nice participants, perfect 30-40 filmmakers who’ve participated in locations, a good balance between one-on-one former editions are selected to the Berlimeetings, workshops, master classes, parties, nale every year in the official programme. food and drinks.

Nice encounters between rising talents and masters of cinema, and partners who are eager to invest in the next generation.

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talent campus special Many alumni have won international prizes, the short films of the Berlin Today Award series have won many prizes as well, among them the German short film prize for Best Documentary etc.

We opened the Editing Studio two years ago and realised that many of the projects we chose were very successful internationally. We began worldwide collaboration with other festivals in Guadalajara, Buenos Aires, Durban, Sarajevo and Tokyo and adapted the Talent Campus model to their regions successfully. And last but not least, the concept was copied many times by other institutions and festivals.

I know that Dine & Shine is one of your favourite programmes - can you tell us some scoops or stories about this special event?

Our guests have liked the idea since the beginning because it is different to ordinary evening events, as we do a kind of “musical chairs” over dinner. It has become a secret hot spot as a Berlinale evening event, where festival guests can meet the Talents over a three course dinner. Many people who are now collaborating first met at the Dine&Shine dinner.

“One of the secrets is the atmosphere created when people come together from over 100 countries and share their passion for film over the course of six days.”

Painting by Judit Fischer

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just days before the campus I applied to the Talent Campus a couple of times before actually being selected. This time, I felt I had a really strong script for the Script Station application. I can’t say I wasn’t pleasantly surprised with the invitation! I’m looking for inspiration and some added winds in my sails!

-Ivan, 27, scriptwriter, Serbia Where my strength lies is hard for me to tell. What I know is that I feel myself ready, despite the conditions, to go on making films - films that I like, stories that concentrate on small details, on small but powerful changes. I try to focus on finding more and more simple stories that can have a thought-provoking and self-questioning effect on the viewer.

-Dénes, 31, scriptwriter/director, Hungary

I think I was chosen for various reasons.

First of all, having attended the Sarajevo Talent Campus I believe gave me an insight to the Berlinale Talent Campus. I gave quite a bit of thought to my application, took my time in answering the questions and wrote down what I felt described my passion and my strengths the best. And the main part, of course, was choosing what to include in the portfolio. I spent a great amount of time in writing my first feature, so I applied with the script of that one. But it all comes down to writing the most intriguing synopsis because that is what presents your film. Even if you have the best screenplay, if you don’t pitch it well on paper, it won’t matter.

-Basak, 31, scriptwriter/director, Turkey

“It all comes down to writing the most intriguing synopsis, because that is what presents your film. Even if you have the best screenplay, if you don’t pitch it well on paper, it won’t matter.” -Basak

Illustration by Cristina Groşan World of Shorts by Daazo.com -the European Shortfilm Centre

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talent campus special Hopefully the Script Station will help me polish “Working Class Heroes” to an extent my co-writer and I are happy with. Also, the chances of the project reaching various film markets and such will definitely rise. As a personal goal, I hope I’ll get a better understanding of screenwriting as an art, and that the exposure to some of the best and brightest minds in the world, both established and upcoming, will enable me to find new ways to challenge myself!

-Ivan In preparation for the Talent Campus, I made DVDs with Gobbel and printed a few business cards. Having read the news about the award that Meryl Streep is going to receive made me realise I could actually see her in person, which would mean a lot to me.

-Raluca, 23, scriptwriter/director, Romania There are so many talent campuses, film labs, film fellowships out there but I believe that the Berlinale Talent Campus is the one that brings together unique filmmakers.

Not only its popularity and high application numbers are motivating but I also love the idea that it is open to not only the usual suspects - directors and writers - but also editors, sound designers, actors, critics and now, distributors.

-Basak

I hope to extend my professional network and also to share my experience with other young directors. A great scenario following the Talent Campus would be to open new collaboration paths for future projects, international or Romanian.

-Raluca It is a very difficult time now for filmmakers in Hungary. Many of my rookie colleagues stopped their activity as filmmakers, mostly because of financial reasons: the almost total lack of possibilities for financing your film. I feel that the only way to think in is a European co-production.

-Dénes I have high expectations from the Script Station of the Campus, the hands-on training programme for selected screenwriters.

Having worked with a story editor one-toone at the Sarajevo Talent Campus, I know the importance of having a mentor who will spend quality time with you on the weaknesses of your project, who can look at the big picture when you’re too close. I think the Campus, in general, will teach me a great deal of “lessons” you can’t learn in any film school.

-Basak

the talents speak:

Raluca David

Dénes Nagy 15

Basak Buyukcelen

Ivan Knežević

World of Shorts by Daazo.com -the European Shortfilm Centre

Photo by Cristina Groşan

The sweet road to the oscars:

the success story of zaid abu hamdan.

First of all, please introduce yourself to our readers: we would like to know who you are - what are you interested in, how old are you, where do you live, and what are you up to?

It was later proven to me that taking part in the Talent Campus was absolutely one of the highlights of my young filmmaking career.

It allowed me to meet several film industry professionals that really supported me and are still guiding me with advice whenever needed.

My name is Zaid Abu Hamdan, born in Amman, Jordan and raised by warm and supportive parents. After working in several TV positions in Amman, Lebanon and Dubai, I decided that it was time to listen to my calling and pursue my MFA degree in Filmmaking, and therefore I moved to Hollywood, California. My main interest in life is to Your biggest success so far is your short film make my surroundings happy and to advo- called Bahiya & Mahmoud. What is this short cate for children’s causes. about and what was your inspiration for it?

You were part of the Berlinale Talent Campus The greatest passion motivating my decision in 2011. Why did you choose to participate? to make this film was my growing love to my grandparents and their seemingly loveless To be honest, I was interested in the Berli- and unbearable life. Bahiya & Mahmoud is nale Talent Campus as I heard a lot about about an uncommon kind of love. As I was the Festival itself and a few people I know progressing in my career, I realized my fasexperienced the campus and came back with cination with the first and last years of a huexciting stories about films and work, and man’s life. that’s why I submitted my application.

World of Shorts by Daazo.com -the European Shortfilm Centre 16

interview In my short film Bahiya & Mahmoud, I decided to write a story inspired by love, This is what I want the audiences to take about people I love, who are Bahiya & from my film, a message of love and a reMahmoud, my real grandparents. minder that love can come in so many different forms.

Visiting my grandparents over the years and living several unforgettable moments You have been to several places in the world. with them, I started noticing their percepWhat is your opinion: what are the most imtion of love, and life’s perception of them. portant festivals out there for short films?

The daily life of elderly people can be much more charming than we could imagine.

Yes, I have been fortunate enough that my It was a thrilling challenge crafting a film short films have been circulating in many ininspired by my grandparents’ daily routine ternational festivals and I was lucky to be able and making it all fit in a 14 minute short to attend most of them. After this entire festifilm, while still being truthful to their realval round, and if you ask me precisely about ity. short film, I have to say that the Palm Springs International Film Festival is absolutely the Bahiya & Mahmoud is very popular at interbest film festival for shorts, and I say this renational festivals - why do you think that is gardless of my win there. The Berlinale and so?

Cannes were also film festivals that amazed me by the number of audiences for short I strongly believe that any successful short films, which to any beginning filmmaker is film must tell a very simple, yet heartfelt an absolutely wonderful thing. Of course I story. I believe that my story had an inhave heard a lot about the Clermont Ferrand ternational appeal due to a fact I figured shortfest, but that one I haven’t attended yet. out later; Bahiya & Mahmoud are not my grandparents only!

They are actually so many other people’s grandparents, parents, neighbors or simply a different version of an old bickering couple in love.

My biggest satisfaction is when my film touches the heart of the audience. 2 lines of feedback I heard several times in different forms were: “Your film made me remember how much I love and miss my grandparents, I want to call them now”.

The second is when older couples come up to me after the film, very touched and say: “Thanks for reminding us how much we love each other”.

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Your short film won in Palm Springs, this way Beside festivals, there are new platforms it got qualified to the Oscar race. What did you for short films: the Internet, smartphones, feel then? Did you buy a tuxedo immediately? smart televisions. What is your opinion about these outlets?

To be extremely honest, I went to the awards ceremony (note: Palm Springs) with a little I am actually pleasantly surprised as there sparkle in my heart as the audience received are several outlets for short films these days my film extremely well, but I was not expect- and they are increasing. I can see the numing anything in particular as the majority of ber of platforms increase noticeably as I the films in competition were really, REAL- have made a short film professionally every LY, RRREALLY very good. So, the festival di- 18 months over the past 4 years, and with rector and wonderful man Darryl McDonald every next short I make I am approached starts announcing awards along with the jury by more distribution companies, online members, each announcing different awards. short film providers, and even more international distributors from the Middle East All the awards were announced and there and China which are regions I doubted was still the big Oscar-qualifying one, and would distribute short films anytime soon. that’s where I knew heartbeats were not nec- Of course, with feature films, any distribuessary for human life, because by then my tion deal would be good financial return heart had stopped beating for a few minutes and a great exposure to the market. Yet, with shorts the financial return remains and I think I was still alive! limited and in most cases would not cover Then, the jury members announced they had the budget of the film on the short run disselected the film that won “Best of the Fest” tribution, but I believe us short film makers unanimously, and said a wonderful sentence should bank on the exposure that puts our before announcing the winner: “Bahiya & names and work out there to the public.

Mahmoud”! The first thing I did instead of going up to stage to say my award speech was What are you working on now? Are you goto put my head between my knees and take a ing to stick to short films, or was your short while there to realize what just happened. I film career just a ticket to the feature film world? was absolutely over the moon.

The next morning it hit me, “wow, I am Oscar Qualified!!” Then on a daily basis I spent months preparing 100 versions of different Oscar speeches; what I will say to my favorite actors and directors when I see them, what my father’s face would look like when I win an Oscar, down to imagining what color bow tie I would choose especially for this occasion. Ah, what a wonderful experience that all was and still is. And that Oscar, I am so getting one day.

At the moment I am working on developing and funding my feature film under the working title “Nostalgia”, which will hopefully be an international co-production.

Another story inspired by love, but this time inspired by my love to 4 sisters who were born and raised in a less fortunate area in Amman. One of those 4 sisters is my mother. Nostalgia will be a bold femaleempowering film from Jordan, a story that it is about time someone told.

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COPRODUCTION FORUM

Maribor 2-4 March 2012

Photo and illustration by Cristina GroĹ&#x;an

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the teddy awards The first Teddy took place in 1987 - can you recall that year? What happened then that made you decide to create an award for films with an LGBT content?

film festivals worldwide - this way we have an all-international look at the films: all films have a different impact on different viewers with different cultural backgrounds. We have the same issues and topics shown in the films which makes it all very interesting. Berlinale time is also THE meeting time for LGBT filmmakers from all over the world.

There were hardly any “gay” films in the programme of the Berlinale - lesbian topics started to be part of it even later. Back in 1987, we had Pedro Almodóvar and Gus van Sant with their first films in the programme and it felt like a must to start the TEDDY AWARD. Sometimes you give more than one award, sometimes not even one in a catWhere does the name TEDDY come from? egory. You also have a special award, a jury award, and a guest award. What is The name TEDDY refers to the Berlinale Bär, the difference, and how do you decide? as a little brother or child of the big bear, a cute cuddly animal of no specific gender.

The jury is independent. They decide if they like to give a special mention or a The TEDDY is also a non-profit organisation. Jury award. Only the “Special TEDDY” What is its profile? is selected by the TEDDY The TEDDY foundation foundation for the Teddy awards: was created in 1997 with special lifetime The Berlin International the idea to create a supachievements Film Festival is proud of the porting award - which of a certain unique TEDDY AWARD the means to find money for person in the only queer film award worldthe winner. The queer framework of wide within a premiere film fims were low budget queer film. festival productions and had a hard time to find distribWhat is the utors. The TEDDY founmechanism and dation was also the tool to collaborate with the intention behind the Teddy award? queer community locally in Berlin - but also worldwide with other festivals. The TEDDY Our main goal is to help queer films reach foundation is also active internationally by a wider audience, to make them known, supporting “new” initatives like those in War- and, with the help of the Berlinale Festival, saw or St. Petersburg. to use the international media attention.

All the problems of a queer life worldThe Teddy gives out awards in three catego- wide, from coming out to HIV issues, are ries: feature, documentary, and shorts. How naturally and repeatedly discussed in the do you choose your jury? films we show.

The Jury are ALL programmers of other queer 21

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Photo and illustration by Cristina Groşan

Now in its fifth year, ENGAGE is a nine-month training and development programme for emerging writers, producers and directors that aims to foster creative collaborations and spark innovation across borders – pooling talent, ideas and innovative approaches to co-production.

In 2011, ENGAGE welcomed a new global element: ENGAGE Plus, with participants, staff and industry experts from China and Canada joining participants from across Europe.

engage ain’t no mountain too high for this powerful network of filmmakers

We hear from three ENGAGE alumni, Katherine Fitzgerald (screenwiter, Canada) Paula Mononen (screenwriter, Finland) and Joseph Atkinson (producer, Scotland) about their experience of the programme and find out how it has influenced their projects and careers.

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opportunities First, please introduce yourself briefly to our readers and tell us about the project you applied Czech producer and fellow ENGAGE participant Jana Bebrová and I started to ENGAGE with. working together on the story. ENGAGE Katherine: I have 25 years experience as a tutors gave us some useful critical feedsound editor. I started to make short films and back, thanks to which the story now has returned to school as a mature student to study a strong foundation. directing and screenwriting. I’m very interested in science and nature, and this is reflected in my filmmaking. My latest short, Bread & Kisses, has done well on the festival circuit. I’m actively working on the feature project Scalpel, and also writing a new short.

Joseph: I’m a producer/script editor from Edinburgh who came to the film world from a radio production background. My latest short, No More Shall We Part, an alternative Western, premiered at Reykjavik International Film Festival. I’m curScalpel is the story of a young Edwardian wom- rently producing two animated shorts. an whose ambition to become a doctor is stymied by her conservative family. It is a story of I initially applied with a feature idea for loyalty, choice, moral obligation, and a woman’s a children’s novel adaptation. At the first workshop, I met Rioghnach Ni Ghristruggle for self-determination. oghair and got excited by one of her proBefore attending the ENGAGE Plus workshop jects, Death Rattle. We share the same in Edinburgh I met an ENGAGE mentor in To- tastes when it comes to film projects, so ronto, got some feedback on my treatment and working together felt natural and fluent reworked it in time for the Edinburgh work- from the get go. We took that project shop, where we met the rest of the ENGAGE through to the final pitch, winning secparticipants, staff and mentors. I then attended ond prize, and will be writing our first the final ENGAGE workshop in Tallinn and draft in 2012.

Helsinki with a new draft of the treatment and am now processing the industry feedback I re- Why did you choose the ENGAGE proceived. My plan is to write a first draft screen- gramme? Why was it so special to you? play in 2012.

Katherine: ENGAGE was very special: Paula: I am a Finnish screenwriter, working a unique opportunity to work with inin both film and TV, recently graduated from dustry experts and other filmmakers in a Aalto University. I’ve been involved in writing concentrated forum that produces great results. It was really exciting to see how a drama series that has been s our projects evolved and matured from old to a couple of European countries.

I am currently working on the feature that I de- one workshop to the next. veloped on ENGAGE 2010 and on a new conPaula: Classmates who’d attended ENcept for a drama series.

GAGE 2009 recommended it, as did my I applied to ENGAGE with an idea for a feature screenwriting professor. film about a young girl desperate to find love.

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Paula: It’s a lot of work, sometimes stressful, but How did you benefit from taking part in the projects really progressed. Also, it was great ENGAGE? What was the best outcome? to meet so many filmmakers from Ireland to Lebanon.

Katherine: The feedback and advice of the mentors and industry experts was Joseph: The ENGAGE programme struck me as invaluable, particularly their European a very unique, exciting opportunity to do some- perspective. The best outcome was the thing different and challenging. The most attrac- positive response to Scalpel, which entive aspect was meeting film-makers from other courages me to keep working on it. parts of Europe and sharing different viewpoints on film and finding out what we do and don’t Paula: I am really glad how the story have in common when it comes to story-telling. is alive and progressing at the moment. We shared 1st prize at the ENWhy do you think you were selected and what do GAGE 2010 pitching competition. We you believe your strength is? received additional feedback at the Helsinki workshop, ENGAGE 2011. I Katherine: Scalpel is an interesting story with an would like to continue working with unusual main character. My strength is my life Jana (the Czech producer I met on ENand industry experience.

GAGE) and her production company in the co-production of the film.

Paula: I already had some professional writing experience. I think my strength is a kind of pro- Joseph: Undoubtedly my working relafessionalism: I commit to my work and really tionship with Rioghnach, the writer of give it my best. And most of the time I manage the project I picked up in the course of to enjoy it.

ENGAGE 2011. I’m sure that we’ll be part of each other’s careers for a long Joseph: Having a background in English Litera- time to come. ture has been immensely useful; a grounding in story-telling from Chaucer to Murakami gives you a sense of what the fundamental building blocks of a story are. It helps me articulate a project and find the best angle from which to pitch it and start building a coherent package.

engage alumni speak: Paula Mononen Joseph Atkinson Katherine Fitzgerald

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opportunities ENGAGE concentrates on three key areas: lowbudget screenwriting, development and co-production, and distribution in the digital age. Which of the three is most important to you, and why?

Katherine: I’m new to writing so the lowbudget screenwriting aspect of ENGAGE is very important. Discovering the possibilities for development and co-production with countries outside Canada, particularly Europe, was really eye opening and inspiring.

The three ENGAGE workshops offered events, pitching sessions, feedback meetings and case studies. Which activity did you find most useful for you and your work and why?

Katherine: The group sessions allowed us to pitch our projects to one another and get peer-to-peer feedback; the individual meetings provided in-depth analysis about structure, character… .. The pitching session was also useful because it culminated in an individual Q&A and feedback from industry experts. It was great to see whom the projects resonated with, what their concerns were, and how we could improve our pitching skills and our projects.

Paula: Story development and getting feedback in an international environment were the things I enjoyed the most. Stories should have universal appeal and not just rely on one’s own culture. In a workshop programme like ENGAGE you can Paula: In addition to story development, see which ideas work on that basic human I really got a grasp of pitching. I used to level. It’s rewarding to find that connection. hate it but I now see how essential it is to communicate your idea in a way that Joseph: As a young film-maker, I think a allows the listener to get emotionally instrong grasp of distribution as it is now and volved. Pitching in a foreign language is as it’s going to be in the future is really imeven harder, but I learned not to stress portant. We’re witnessing the beginning of about it: it is not the choice of words that a massive shift and it’s essentially up to us matters but how you present yourself and to figure out how this new model is going interact with your audience. to work.

Joseph: Working with screenwriters and helping them shape an idea or even a finished screenplay into a viable project is thrilling and a great exercise.

ENGAGE and ENGAGE Plus are funded through the MEDIA Programme of the European Union and MEDIA Mundus.

To find out more about ENGAGE go to www.engage.eu.com.

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news The encouraging story of the website Daazo. com started back in 2006, when two slightly naive university students, Zoltán Aprily and Dániel Deák wanted to see their and others’ films on the Internet. Every filmmaker knows those scratched, unplayable DVDs very well (oh yes, the bloody -RW format), not to say that you run out of them at the most important moment when you have to burn one ASAP for the potential producer of your first feature film.

Uploading the films to the Internet seemed to be the solution for all these problems at that time; your shorts are online, available anytime, anyplace, anywhere. When this idea was being discussed by Dániel and Zoltán, YouTube appeared and achieved exactly what they wanted.

This proved that the concept was good - in fact, good enough to set up a billion dollar company in Silicon Valley - so they continued planning and made the idea a bit more specific. Instead of a video sharing site, Daazo.com started as a short film sharing portal: on this platform, quality beats quantity: your film won’t get lost in the crowd of viral or karaoke videos. Friends, and then the friends of friends started using the site. But still, it was a hobby project, a kind of a B-plan.

Naivety started to turn into reality, with numbers and plans. The idealistic goal, however, stayed the same: building the ultimate platform for short films.

That’s what Daazo.com hopes to achieve this year, releasing the new, redesigned version of the website.

With its fresh design and new technical features, Daazo.com has become one of the most relevant places on the Web for short film makers who want to upload their films in HD (either in public, private or password protected versions), to build their own professional portfolio and to submit their work for film contests (right now, the Berlin Edition of the Impossible Film Contest is up and running); to enter them for “challenges” (which are funky online games to gather films around a certain topic or motive, like long shots); and to get the most relevant news and info about the world of short films. These features are combined with the additional platforms of Daazo.com: its films and news are now available on iPhones, mobile browsers, and on Samsung Smart TVs. Other applications (Android and iPad among others) are coming later this year.

Daazo.com in 2012: shorts are all around us

Things all changed when the MEDIA Programme of the EU got involved and decided to support the project.

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Besides giving the opportunity for filmmakers to show their talent online, Daazo.com continues to present unique, award winning shorts from the past - Academy Award, Palm d’Or and Silver Bear winning artworks are available to watch for free.

Using the latest technology (for example full HD uploading and HTML5 player) is necessary but not sufficient for a website nowadays.

That is why Daazo.com is organising several projects in 2012 to improve community life (both real and virtual) for short film buffs.

Several online film contests are going to be launched and there will be a short film tour in the Visegrad countries (Czech Republic, Hungary, Poland, Slovakia) combined with an online competition. Daazo’s short film projections are coming up in various European cities to screen fresh and unique works on the one hand, and to offer a networking opportunity for young filmmakers on the other. Also, the next issues of the World of Shorts magazine will be available at the Cannes Film Festival and at the Sarejevo IFF. Don’t miss anything, connect your Facebook account to Daazo.com and you will be updated about all these projects.

“With its fresh design and new technical features, Daazo.com has become one of the most relevant places on the Web for short film makers who want to upload their films in HD (either in public, private or password protected versions), to build their own professional portfolio and to submit their work for film contests (right now, the Berlin Edition of the Impossible Film Contest is up and running); to enter them for “challenges” (which are funky online games to gather films around a certain topic or motive, like long shots). ”

Year by year, the team at Daazo.com (since it’s not just Dániel and Zoltán any more, but a superb team of short film enthusiasts) is busier and busier realising their seemingly idealistic plans. Hopefully many filmmakers and film lovers will be able to enjoy the fruit of this labour.

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mapping your mind To better illustrate the relationship between directors and their films, the filmmakers from the official selection of the Berlinale Shorts 2012 were asked to spontaneously draw something about their film - using a pencil and a piece of paper (or any other medium they could think of).

Anything would do - a symbol, a landscape, fresh and raw, out of their minds. Turn the page to see what happened.

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Illustration by Cristina GroĹ&#x;an

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An das Morgengrauen

Mariola Brillowska, Germany

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berlinale shorts special

Erotic Fragments No. 1, 2, 3

Anucha Boonyawatana, Thailand

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Gurehto Rabitto

Atsushi Wada, France

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berlinale shorts special

Zounk!

Billy Roisz, Austria

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Vilaine Fille Mauvais Garรงon

Justine Triet, France

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berlinale shorts special

Licuri Surf

Guile Martins, Brazil

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PUSONG WAZAK! Isa Na Namang Kwento Ng Pag-ibig Sa Pagitan Ng Isang Kriminal at Isang Puta

Khavn De La Cruz, Philippines

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berlinale shorts special

Mah-Chui

Kim Souk-young, Republic of Korea

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Uzushio

Naoto Kawamoto, Japan

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berlinale shorts special

Nostalgia

Gustavo Rond贸n C贸rdova, Venezuela

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StrauSS.ok

Jeanne Faust, Germany

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berlinale shorts special

Enakkum Oru Per

Suba Sivakumaran, USA/Sri Lanka

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Karrabing! Low Tide Turning

Liza Johnson, Elizabeth A. Povinelli, Australia

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berlinale shorts special

The Man that Got Away

Trevor Anderson, Canada

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Yi chang ge ming zhong hai wei lai de ji ding yi de xing wei

Sun Xun, People’s Republic of China

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interview Illustration by Cristina Groşan

Due to the political events in Hungary, the Berlinale Shorts is presenting a special screening on February 18, 2012 at the Haus der Berliner Festspiele: Magyarország 2011 (Hungary 2011) – an omnibus film, which reflects even in its aesthetics the radical political and social developments in this crisis-ridden country.

Berlinale Shorts Special, 2012.

Focus Hungary. The drawing continues.

World of Shorts by Daazo.com47 -the European Centre WorldShortfilm of Shorts

by Daazo.com -the European Shortfilm Centre

Magyarorsz谩g 2011 (Hungary 2011)

Jancs贸 Mikl贸s Hungary

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berlinale shorts special interview

Magyarorszรกg 2011 (Hungary 2011)

Ferenc Tรถrรถk, Hungary

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Magyarország 2011 (Hungary 2011)

Péter Forgács, Hungary

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berlinale shorts special interview

Magyarorsz谩g 2011 (Hungary 2011)

Simon Szab贸, Hungary

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Magyarorszรกg 2011 (Hungary 2011)

Andrรกs Salamon, Hungary

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interview

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Illustration by Panni Bodonyi

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opinion If you travelled back in time fifteen years, you would see an entirely different picture of short film distribution and a thing I would call the “self branding of a director”. I remember spending nights creating and copying screener DVDs, BETA tapes and VHSs for preview, and submitting my films to film festivals in the hope to be selected. I did all these things because I believed that having my films screened at festivals would give me a good reputation as a director (as a measure of how successful I am) and by travelling to these events would also mean that I could meet some people who could help me get closer to my next film. I always wanted to develop a special marketing campaign for my film so that I could catch people’s attention. Then step by step, film by film I’d get to the point where I would be ready to direct a full-length feature film.

Festivals are still a very good way to present your film to the audience, but maybe it is a bit more difficult to keep their attention, or make them remember you as an artist. It is also very difficult to be selected to A-category film festivals like the Berlinale or Cannes. Instead, there are a couple of great events around the world, which offer a unique experience to the audience. The screening series of Rooftop Films in New York take place at different, often abandoned locations, where a screen is set up for the films. An old can factory in Brooklyn, a football field in Jersey, a Basilica on the Hudson are among their locations. You can have your films screened in the subway as well. Barcelona and Berlin have also organised underground film festivals in recent years.

There are more and more festivals offering something extraordinary to the audience, because the power of surprise is often a priceless marketing tool for them. It is also for you, especially if you are not afraid to advertise your online portfolio and your other works.

The more special the better they remember

Things have changed significantly since then. Thanks to some online services, it is easier to submit your films to festivals, easier to get in touch with industry professionals and with some smart self-marketing, it is easier to position your film to reach its perfect audience and to build up a fan base or promoter background for you. While back in the old days your film’s only chance to get out there was to be bought by a broadcaster or an organisation - and this You can also search for different art prowas the greatest possible recognition -, to- jects, which are based on special screenday you have very different, creative tools for ing circumstances. building up yourself as a brand and to get the attention of the audience and professionals.

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Daazo.com will have one like that this summer, where you can watch short films through tourist telescopes in Budapest. There are online options as well. Emerging VOD platforms offer visibility on different devices (Daazo.com also does this). Making your films available on smart phones, or on a Smart TV screen makes it much easier for industry professionals to see your film. Screening your films online is not necessarily killing your offline festival chances. Your films can be password protected, but you can also communicate with your viewers more easily and reach micro-communities with a responsive audience. The VOD scene has also changed in recent years, for example in-flight entertainment is a very effective way of communicating to the audience, who spend hours in the air, being bored and looking for content.

If you are smart enough to get into a portfolio of an airline, you might make your fortune.

There are a lot of filmmakers out there who want the same as you. Maybe you are talented enough to be identified by your artistic style or point of view, but it seems your voice can easily get lost in the noise. Building up your own audience, your own network of industry professionals is not impossible. What makes you more attractive to them is how you communicate and how special you are. Fortunately there are a lot of ways to be just that.

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opinion

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opinion SHORT OF THE WEEK

Short films will lead the way.

Has Hollywood Lost Its Way? Painting by Judit Fischer

We love short films, but we also follow the larger film industry and how the web is changing how we watch films.

Much has been said over the last few days about the bleak year for theatrical films with year-end box office sales down 3.8% compared to last year and attendance down 4.7% (Box Office Mojo). But there’s been less coverage of a bigger problem looming over the film industry—one that would be hard to blame on a bad year—the growing scarcity of original stories coming from Hollywood.

And if that isn’t frightening enough, the success of The Lion King 3D is already kicking off what may become a new creative low—re-releases. The Lion King 3D, at a cost to Disney of less than $10M, took in nearly $100M—not a bad ROI for a struggling industry. Titanic, Beauty and the Beast, and Star Wars, all planned for 2012 releases, may mark the dawn of an era of blockbuster re-releases as Hollywood longs for its glory days.

WHY IS THIS HAPPENING? Read on to find out.

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interview

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At first, you might think box office numbers are down because of all these unoriginal films. But that’s actually backwards. In fact, unoriginal movies are being made BECAUSE numbers are down. Let me explain: Hollywood filmmaking is an investment business - studios give money to filmmakers hoping to make more money back. Now put yourself in the shoes of an investor. When times are good, you have extra cash flowing in, and you can invest in riskier investments where many fail but a few hit big.

storytelling are fast becoming the preferred way of understanding this complex world.

To someone like me, who wants to tell stories for a living, or someone like my compatriot, Jason, who watches stories for a living, all this change means looking broader. Theatrical may no longer be the place to bring a grand vision to the public. Those “risky” original stories are more and more being told elsewhere on But when times are tight, one failed investment television and in new media formats like can sink you, so you’re more inclined to turn branded and interactive films. to safer investments. And in movies, the safest investment you can make is in either a sequel or I once dreamed of making a feature film. a story built from an existing franchise with a Now I’m building an app. Look beyond large fan base. In other words, making a sequel the standard model. is Hollywood’s way of playing it safe. Because right now, original stories are just too risky.

We can’t know what making and watching films will look like in 10 years, but How difficult is it to get an original story made whatever becomes the dominant model, in Hollywood today? Even director Christopher it’s likely to make its first appearance in a Nolan (The Dark Knight) had a difficult time short film. Always a testing ground, short getting Inception made (The Day the Movies films are where the most interesting new Died by Mark Harris). That’s how hard it is. models are being explored today. Filmmakers like Spike Jonze and Chris Milk Now I hate to say “Hollywood” like it’s one en- are experimenting with new formats and tity because in reality it’s made up of people, distribution models with shorts like We some of whom are very talented and inventive Were Once a Fairy Tale, I’m Here, and people who want to tell great, original stories. The Wilderness Downtown.

But like many other industries facing the speed and transformative power of the web, its size We’re in the hazy stage where the old and bureaucracy have made the film industry structures are falling and new ones are slow to recognize and react to change. yet to be built. The landscape is open. Go explore it.

Despite all the prophecies, this won’t mark the end of Hollywood or the film industry as we ‘Short of the Week’ has been serving up know it. In fact, filmmaking is more important epic bite-sized films to over 1 million now than ever. Roger Ebert said it best in his filmmakers and fans since 2007. recent article on the current state of the indus- We seek to discover and promote the try that, “Americans love the movies as much as greatest and most innovative storytellever. It’s the theaters that are losing their charm.” ers from around the world.

It only takes a few minutes with Facebook, Kickstarter, and Vimeo to see that movies and shortoftheweek.com World of Shorts by Daazo.com -the European Shortfilm Centre

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Illustration by Cristina Groşan

“Despite the fact that short films are rarely money spinners, they still represent bountiful creativity and experimentation.”

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shooting people

opinion Painting by Judit Fischer

small is beautiful Online competitions are also upping their games. Virgin Media Shorts offer cash, the UN’s recent 7 Billion Actions campaign offers the chance to flex philanthropic filmmaking muscles, and Shooting People’s own Film of the Month competition offers a unique opportunity to garner feedback on your film from some of great and good Despite the fact that short films are rarely in independent filmmaking - John Wamoney spinners, and contrary to British ters, Matt Groening and Morgan Spurlock prime mimister David Cameron’s recent all stepped up to the judges chair last year. ill thought-out comments about the need to focus on commercially successful films, Shorts are set to rule the world shorts still represent bountiful creativ- in 2012 - you heard it here first. ity and experimentation. In January’s London Short Film Festival, stand out films Shooting People helps members get their ranged from Robert Morgan’s self funded, films made and find the audiences they detrippy, surrealist animation Bobby Yeah to serve through a community of filmmakers, Medeni Griffiths’ understated and beauti- sharing resources, skills and experience. ful meditation, Summit. Commercial this There are over 36,000 subscription-based is not, fascinating and challenging, yes. members in the UK and US and 200+ films each week are cast and crewed using the With a cache of amazing short film festi- services. Shooting People members can crevals and competitions, it’s little wonder that ate their own profiles, which are searchable filmmakers are so eager to get involved - by the rest of the membership, and can also Sundance in the US, Jersey’s Branchage, upload their films. The site maintains the Underwire exclusively for representations of UK Independent Film Calendar, hosts lots women in film, Soho’s Rushes, Bristols’ Brief of interviews, blogs and free filmmaking reEncounters - from boutique to all-out glam, sources, and members-only special offers. shorts makers know they can get parties, recognition and an appreciative audience, shootingpeople.org even though they might not be making their millions (just yet).

World of Shorts by Daazo.com -the European Shortfilm Centre 63 There’s a definite feeling, both in the UK and spreading into Europe and across the great ponds, that there’s a bit of a heyday in short filmmaking at the moment. Despite global economic meltdown and tough times all round, innovative and mould breaking shorts are proving to be the order of the day.

sarajevo film festival Painting by Judit Fischer

Call for entries: March 2012 www.sff.ba

The 6th Sarajevo Talent Campus: the piece that was missing Following the successful development of the Sarajevo Film Festival’s programme sections and its industry segment, the Festival went further in its development of the networking platform.

In cooperation with the Berlin International Film Festival and the Berlinale Talent Campus, the Sarajevo Talent Campus was launched in 2007, offering an intensive programme of lectures, workshops, discussions and screenings dedicated to talented young directors, actors, producers and screenwriters from the region.

From 2012, film critics are also invited to apply for the Sarajevo Talent Campus programme.

To find out more information about the Sarajevo Talent Campus, the networking platform for emerging filmmakers from Albania, Armenia, Azerbaijan, Bosnia and Herzegovina, Bulgaria, Croatia, Georgia, Greece, Hungary, Macedonia, Montenegro, Republic of Moldova, Romania, Serbia, Slovenia, Turkey and Kosovo, please visit the website www.sff.ba or contact the Talent Campus team at talent-campus@sff.ba.

Sarajevo City of Film Make a short film on a micro budget with maximum production value.

Step 1: Attend the Sarajevo Talent Campus.

Step 2: Meet your peers, develop an idea together and submit your script.

Step 3: Get selected.

Step 4: Develop your project.

Step 5: Get a green light.

Step 6: Shoot the film for 3 days in Sarajevo with a professional crew.

Step 7: Screen your film during the Sarajevo Film Festival and let us promote your talent!

Stay tuned!

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Illustration by Cristina GroĹ&#x;an

the EUROPEAN SHORT PITCH NISI MASA – the European Network of Young Cinema organises annually the European Short Pitch, bringing together 25 young European talents to rewrite, discuss and pitch their short film projects.

The European Short Pitch is an initiative aimed at promoting the European coproduction of short films. It combines a scriptwriting workshop in residency, an online session and a coproduction forum bringing together scriptwriters and industry professionals from all over Europe.

Selected on the basis of their short film projects, 25 European talents gather to discuss, rewrite, and learn to promote their stories on a European level with the support of 5 tutors.

They eventually pitch their projects in front of a panel of 35 producers, financers, buyers, and distributors.

The European Short Pitch aims to bring young European talents into the spotlight, to give them a high-end promotion opportunity, and to develop short film coproduction in Europe.

This initiative is about enhanced economic viability and European visibility for short film projects. From the previous editions (2007-2011), around 100 projects were presented that have resulted so far in the making of 20 short films - many of them having a very successful international career.

World of Shorts by Daazo.com -the Shortfilm Centreby Daazo.com World of Shorts 66-the European Shortfilm Centre 66European

OPPORTUNITIES The Programme During the scriptwriting workshop in residency (2012 edition: 3rd - 8th January in Luxembourg City), participants are divided into groups, with a tutor heading the process. For four days, they work intensively on their projects, also giving feedback for other participants, alternating collective & group sessions, one-to-one sessions with the tutor and a lecture on an initiation to pitching. This first session enhances the quality of the script and prepares participants to promote their projects in an international context.

Then over a period of one month, an online session represents an opportunity to rewrite the scripts following the workshop, and get feedbacks from the tutors. Participants submit their final script, which is made available – along with the Book of Projects – to invited professionals two weeks prior to the coproduction forum.

For more information on European Short Film Coproduction, read our booklet available at: www.nisimasa.com/?q=node/409 The Call for Projects for the 2013 edition of European Short Pitch will be launched during the summer of 2012.

Keep an eye or our website www.nisimasa. com or contact us to subscribe to our newsletter...

About NISI MASA NISI MASA is a European network of associations, currently present in 26 countries.

These associations consist of young professionals, students and enthusiasts with a common cause - European cinema.

Our main aims: - to discover new film talents - to develop cross-cultural audiovisual projects - to foster European awareness through cinWithin the coproduction forum (2012 ema edition: 2nd - 4th March in Maribor, Slo- - to create a platform of discussion and colvenia - European Capital of Culture), par- laboration for young European filmmakers ticipants first have one day to prepare and rehearse their pitching with their tutors. Our main activities: For the pitching in the presence of invited - organising filmmaking & scriptwriting professionals, each project has 7 minutes – workshops, conferences & seminars on cinquestions included. Following this, there ema are one-to-one meetings. As of this year, an - promoting short films via screenings & annual award ceremony will also take place, DVDs with three prizes of 1 000 Euros each for the - editing books & festival magazines Best Pitchings. This third session creates a platform of promotion for the projects se- NISI MASA European Office lected, to encourage encounters and col- 99 rue du Faubourg Saint Denis, 75010 Paris laborations between film professionals and +33 (0)9 60 39 63 38 europe@nisimasa.com to initiate short film coproductions. nisimasa.com

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World of Shorts by Daazo.com -the European Shortfilm Centre

Photograph by Ildi Hermann

Cinéfondation Give things another glance.

The Cinéfondation was created to inspire and support the next generation of filmmakers: besides selecting short films from film schools all over the world and presenting them at the Cannes Film Festival, the Cinéfondation has developed complementary programmes to help achieve its goal - to inspire and support the next generation of international filmmakers. Let’s meet the Résidence programme and the Atelier!

Résidence

Every year, a dozen young directors working on their first or second feature film move to the heart of Paris - that is what the Résidence is all about. To ease their life to the maximum, a monthly 800 euro grant is given to them, and they can access a large number of Paris cinemas as well. There are two sessions a year, each lasting four and a half months (from October 1st to mid February, and from the end of February to mid July) - the next open Résidence programme starts on 1st October 2012 and lasts till February 2013. The application for the Résidence is still open until 6th April go and apply now!

The Résidence programme also contains two festival invitations - film projects are presented in a booklet distributed through the framework of the Locarno and the Rotterdam Film Festivals, and participants visit the Cannes International Film Festival where they meet each other and other industry people. At the end of the Résidence programme, the best screenplay is awarded the Opening Shot Prize of 20 000 euros, presented by the Groupama Gan Foundation for Cinema.

Since its creation in 2000, the Résidence has welcomed more than seventy filmmakers from more than forty different countries.

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opportunities Over the years, directors like Rebecca Daly (with her project The Other Side of Sleep), Adrian Sitaru (with his project For Love with Best Intentions) Alexis Dos Santos (with his project Unmade Beds) and Kornél Mundruczó (with his project Delta) have enjoyed the hospitality of the Résidence programme.

Festival de Cannes - Cinéfondation 3, rue Amélie - 75007 Paris - France Tel: 33 (0) 1 53 59 61 20 Résidence@festival-cannes.fr

L’ ATELIER Since 2005, L’Atelier has also been about the next big thing: the creators of fifteen feature length projects from all around the world are invited to the framework of the Cannes Film Festival, where they can meet everyone who matters in the film industry.

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L’Atelier has no call for applications and no application forms - the Cinéfondation is responsible for selecting the projects according to the quality of their creators’ present project and that of their previous films, as well as based on the state of progress of their finance plan.

Among many very important things, L’Atelier issues a Livre des Projets (Project Brochure) in order to promote the film projects and the directors, and more importantly, organises appointments with producers, distributors and grant distribution managers in the L’Atelier pavilion during the Cannes Film Festival. Directors like Catalin Mitulescu (with project A Heart Shaped Balloon / Loverboy), Ming-Liang Tsai (with project Salome), Apichatpong Weerasethakul (with project Utopia), and Benedek Fliegauf (with project Womb) have been part of L’Atelier in recent years.

The Atelier Contact: tel: 33 (0) 1 53 59 61 26 latelier@festival-cannes.fr

World of Shorts by Daazo.com -the European Shortfilm Centre

Raindance has been promoting music video and music video makers since 1995, whilst Radar Music Videos is arguably the best place to launch a career as a music video filmmaker. Some of the most interesting filmmaking is coming from the world of pop promos and music videos. And you just need to take a look at the careers of David Fincher, Michel Gondry and Anton Corbijn to see where it can take you. But you’ve got to do it right; there’s a lot of competition out there.

Photograph by Mara Ploscaru

4 Tips to Getting the Most From Your Music Video

by Raindance and Radar Music Videos

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TIPS’N’TRICKS 1. Research the kind of video you want These sites find and feature the best music videos on the internet, use them for inspiration: RadarTV Vimeo Lost At EMinor Music Vid Kid Submarine Channel VideoMilitia

3 Video Description Use your video to pull potential fans into your own networks.

Include a call to action and a link in the first sentence, preferably in the first 65 characters - this is how many characters you see in Youtube’s preview, +/- a few.

If you’re concerned calls to action and links smack of hard sell, consider instead that When you’re working with others, give them it’s good manners to help people find your links to music videos you like and take the links easily. time to explain what you like about them: cinematography, editing, effects etc. Ask cli- Example calls to action are “join our newsents for examples that they like. letter”, “follow us on Twitter”, “like us on Facebook” or “buy us on iTunes”. Always fol2. Thumbnails low up with the link.

Thumbnails are the MOST important aspect of presentation and by far the biggest reason A good, short story about the video or someone will click to view your video or the artist in the rest of the text encourages not - particularly if they don’t know you and comments and helps your video turn up in your music. If the pre-selected thumbnail Google (also known as SEO: search engine isn’t excellent, without question you need to optimisation). change it.

4. Pay for an advertising campaign.

This is about getting direct access to potenMost sites allow you to choose thumbnails tial fans. You’re buying access to the right – YouTube partners and Vimeo users can people and enough repeated visibility to get upload images. Dailymotion allow video your message across. scrolling and frame selection. If you’re not a YouTube partner, the pre-selected images How many times do you need to see an ad you’re offered are taken from the beginning, before you act? Current thinking seems to middle and end of the video. Try to end the be between 3 and 7 times. Paid for advertisvideo with static footage of the thumbnail ing ensures that happens. you want, so you can be sure the thumbnail will be included in the three pre-selected Advertising includes Google Ads, Facebook Ads and adverts on music blogs and images offered. newsletters. Do a lot of small advertising campaigns on different platforms and testIdeal images include a close-up face with ing different messages. Always have a call eyes looking to camera. Simple, strong, col- to action and measure the success of each ourful images also work well. If you’ve got campaign relative to the cost. Check out Raa few thumbnails to choose from, half-close dar Music Video’s site which has some great your eyes and note which image stands out guides for this sort of thing. most.

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Illustration by Cristina GroĹ&#x;an

Short Film Festivals in 2012: your festival agenda 73

World of Shorts by Daazo.com -the European Shortfilm Centre

This is your festival agenda for 2012. So take a pencil and look around, because you’ve got places to go, and people to see! Enjoy.

FEBRUARY The Berlin Film Festival, Germany One of the biggest film festivals in the world, the Berlinale has a special place in its heart for shorts. The Berlinale Shorts category features around 25 fresh films right out of the cinematic oven. The Berlinale also has a TalJANUARY ent Campus attached, a good opportunity for The Clermont-Ferrand International young filmmakers to make their first steps Short Film Festival, France into the professional world of film.

A film festival dedicated exclusively to this year: February 9-19 shorts, with a big film market attached.

I’m here. So cool!

It’s been in the business for 21 years, launching careers and getting filmmakers and the industry together. It’s an absolute MARCH must, if you’re into shorts, both for filmTampere International Film Festival, Finmakers and film buffs. land this year: January 27 - February 4 From the south of Finland comes one of the on my list for next year! most exciting short film festivals in Europe The Rotterdam International Film Festival, the Netherlands It’s a big festival, with features and docs, and short films, of course. There is a Tiger Awards Competition for Short Films, and a Spectrum Shorts section, just to mention a few opportunities to see shorts at the festival. The festival is known for its very friendly and open atmosphere, where filmmakers befriend the audience. this year: January 25 - February 5

(and the oldest in Scandinavia!) The programme covers national, international competition along with special short film projections. this year: March 7-11 going!

APRIL Oberhausen International Short Film Festival, Germany One of the oldest short film fests in the world.

It’s got an International Competition, a Geron my list for next year! man Competition, an International ChilSundance Film Festival, Utah, US dren’s and Youth Film Competition. It also The largest indie film festival in the US (and rewards the best German music videos. All in known throughout the world) also has a all, it launches careers. It’s a must-see festival. category for short films. Films selected at this year: April 26 - May 1 the Sundance will definitely attract attention! going! this year: January 19-29 on my list for next year!

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festival agenda MAY Cannes Film Festival, France This festival doesn’t need an introduction.

It’s known worldwide, although it might be hard to understand all its different categories and mechanisms at a first glance. It’s got an Official Selection for shorts and hosts the Cinéfondation programme, featuring shorts by students. A parallel programme, the International Critics Week features short and medium length films. Another parallel programme is the Directors Fortnight, held as an independent section, which also selects short films. The Festival offers the possibility for short film makers to do business with their film at the Short Film Corner. Anyone can register, show up in Cannes and start screening their own film (in special designated places) and mingling around in search for a buyer or two. this year: May 16-27 going!

Krakow International Film Festival, Poland Krakow is the place where many Polish filmmakers saw their career take off. The Krakow International Film Festival has an international short film competition in its programme, documentaries, and a non-competitive section. It’s got various types of awards to shower talented filmmakers with, awarded by a national and international jury of filmmakers and professional critics. this year: May 28 - June 3 going!

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JUNE Palm Springs International Festival of Short Films, USA The largest short film festival in the United States, it is a spin-off of the Palm Springs International Film Festival which takes place each January. The winner of the festival’s biggest prize also qualifies for the Oscars! this year: June 19-25 going!

JULY Sarajevo IFF, Bosnia and Herzegovina SFF is the largest film festival in the Balkans and an A-list festival too! It has a competition dedicated to regional (South East European) short films, and a special “New Current Shorts” category, “a panorama of recent international creations, a subjective selection of film from all over Europe”. In co-operation with the Berlinale Film Festival, they put together the Sarajevo Talent Campus, an educational and networking platform for young filmmakers. this year: July 6-14 going!

Curtas Vila do Conde, Portugal Celebrating its 20th edition this year, Curtas Vila do Conde is held annually in July, as one of the coolest short film events in Portugal. It has six different categories to submit films to. The festival organises a short film market, too. this year: July 7-15 going!

World of Shorts by Daazo.com -the European Shortfilm Centre

AUGUST Locarno IFF, Switzerland A renowned film festival in Europe and in the world, Locarno has a special category for short films, called “Pardi di Domani” (Leopards of Tomorrow), showcasing student films.

There is a large array of prizes to be won, from the classical “Best International Short Film” to the “Locarno short film nominee for the European Film Awards”. Since 2010, the Locarno Summer Academy has been organised every year, “designed for film students th and for young professionals beginning Jameson Cinefest, 9 Miskolc International Film Festival, Hungary their careers in cinema.”

Held anually at the beginning of September in this year: August 1-11 the city of Miskolc, in the Northern part of Hungoing! gary, Cinefest manages to attract press, filmmakers and film buffs as well. It’s got many films in its Odense Film Festival, Denmark Odense is a cosy and inspiring film programme, and a special international compefestival dedicated exclusively to short tition for short films. The festival is known for a films. It takes place in August every cosy, friendly atmosphere. year, with open-air projections. All this year: September 14-23 programmes are free of charge. going! this year: August 20-25 going!

SEPTEMBER Raindance Film Festival, UK A strong voice in the world of indie films is The raindance film festival, coming straight from the UK. Raindance has been committed to promoting independent filmmakers from the UK and the world for the past 20 years, projecting around 200 short films in their festival. this year: September 26 -October 7

Filminute, online A special film festival, organised exclusively online, it brings together one minute short films.

It’s been running for some years now, gathering more and more exciting new one minute films.

One minute might not seem like much, but it takes a whole lot of strength and talent to tell a story in a glimpse. Exciting for both filmmakers and short film lovers. Awards are given out in September. this year: to be announced online checking it online

going!

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festival agenda OCTOBER Reykjavik IFF - the Transatlantic Film Lab, Iceland This is a rather young but growing film festival.

It is oriented towards first or second feature films, but it has a Transatlantic Film Lab for young filmmakers from Europe and America.

The Golden Egg competition screens a short film selection from the Film Lab’s participants. this year: September 27-October 7 going!

Seoul International Extreme-Short Image and Film Festival, South Korea Quite a young film festival, it’s one of a kind in its region. One of its aims is to introduce foreign short films to the Korean public. It has both competitive and non-competitive sections. They screen films of maximum 3 minutes. It even has a section for films shot on mobile phones! this year: to be announced going!

Kurzfilmtage Winterthur, Switzerland Switzerland’s greatest short film festival, Kurzfilmtage Winterthur is a fresh festival, for both short film lovers and filmmakers. Short films of all genres are screened in front of an audience of 14,500 people, every year in November. this year: November 6-12 going!

DECEMBER European Film Awards, travelling in Europe Every year, the various activities of the European Film Academy culminate in the ceremony of the European Film Awards.

Seventeen categories honour the greatest achievements in European cinema. There is a prize for shorts, of course! this year: to be announced checking to see who won!

The Viennale, Austria The Viennale is a non-competitive film festival, showing a large array of films. They curate foreign shorts and Austrian shorts, in different categories. The festival is known as a well organised, friendly and open film event. this year: October 20-November 2 going!

NOVEMBER International Short Film Festival Berlin 2012, Germany Organised in Berlin every November, it presents around 500 films in 7 competitions. The interfilm Berlin organises this festival, as well as managing the interfilm Short Film Distribution. this year: November 13-18 For more news on festivals, competitions, and workshops, visit blog.daazo.com. going!

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World of Shorts by Daazo.com -the European Shortfilm Centre

World of Shorts - the Berlinale issue

by Daazo.com - the European Shortfilm Centre

editors in chief: Dániel Deák, Zoltán Aprily editors: Anita Libor, Zsuzsanna Deák art director: Cristina Grosan contributors: Mara Ploscaru, Judit Fischer, Ildi Hermann, Panni Bodonyi, Cristina Grosan, Simone Scardovelli special thanks: Maike Mia Höhne, Christine Tröstrum, Zaid Abu Hamdan, Georges Goldenstern, the directors of the official selection of the Berlinale Shorts, and the Berlinale Shorts Special

The World of Shorts magazine is published

by Daazo Film and Media Ltd. You can also find a paper copies of the magazine at the Berlinale Talent Campus headquarters or at Berlinale Shorts screenings. www.daazo.com info@daazo.com World of Shorts by Daazo.com -the European Shortfilm Centre

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This magazine was printed entirely on recycled paper.

Daazo.com - the European Shortfilm Centre is supported by the MEDIA programme of the EU. This material does not necessarily represent the views and opinions of the EU.

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World of Shorts by Daazo.com -the European Shortfilm Centre

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