Mas y Mas May 2012

más ymás

monthly newsletter of NISI MASA

MAY12 THE RED CARPET PHENOMENON interview:

María Valverde

report:

New Members Matthieu Darras

Gloria Swanson in "Sunset Boulevard" by Billy Wilder (1950)

editorial Flashes, photographers, fans screaming, bow ties, high heels, jewels... Glamour! That's what the red carpet is all about: to arouse the admiration of the public, those ordinary people who can only dream about the glamour of cinema (or at least the apparent glamourous way of life the red carpet stands for).

Cinema is fantasy, it eludes us in our miserable routine and makes us live lives that we will never have. Precisely, since the early beginnings of cinema, we decided to elevate the movie stars to the highest level and since then, we want to be like them, dress like them, wear the same hairstyle, have the same amount of money and even marry the same woman or man.

The red carpet just keeps alive that feeling and desire of "aspiration to be like a movie star" and a famous walk down the red carpet at an event like the Film Academy Awards or an International Fim Festival.

The red carpet is always in the spotlight and media discusses every and each detail of the celebrities and their outfits, forgetting, most of the time, that they are there to promote a film and that it can be (or not) a master piece.

Salma Hayek at 64th Cannes Film Festival by Eric Gaillard (Reuters)

But...at what level is the red carpet related to the true art of filmmaking? Is it really necessary or its aims is just to make us admire/envy the stars?

Those are the basic questions that we try to answer in our new issue of “Mas y Mas”, coinciding with the 65th Cannes Film Festival (16 – 27 May), where the last films of great filmmakers are screened and also, where we can see one of the largest and most anticipated red carpets of the year.

We have asked photographers, actresses, festival co-organizers and old Nisimazine Cannes participants to tell us about their experiencies on the red carpet...

Tie your bow-ties and walk through the red carpet!

by Lucia Ros Serra lakatarsisdelcinespanyol.blogspot.fr

Mas y Mas is a monthly newsletter published by the association NISI MASA. EDITORIAL STAFF Coordination & Layout Lucia Ros Serra

Contributors to this issue: Lucia Ros Serra, Éva Kincsei, Jass Seljamaa, Carlo Migotto, Luis Sens, Maria Valverde, Lasse Lecklin, Jude Lister, Wim Vanacker, Eric Gaillard (Reuters), Yves Herman (Reuters)

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France Tel/Fax: +33 (0)9 60 39 63 38 + 33 (0)6 32 61 70 26 Email europe@nisimasa.com Website www.nisimasa.com

credits.

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Red Carpet

dossier

The Red Carpet PhenomeJournalists, photographers, festival organizers and actors live the red carpet phenomenon in a very different way. We ask some of them to share us their experiences and impressions "sur le tapis rouge".

A carpet.

Picture by Luis Sens "I am a mortal, a man; I cannot trample upon these tinted splendors without fear thrown in my path", says Agamemnon in the play by Aeschylus after being asked to walk the red path. This, according to some sources is the first mention of the “red carpet”. Since then it's come a long way. To describe it, I'd gladly say: it's a carpet. I have a few at home too, and occasionally even immortal guests.

Picture by Yves Herman (Reuters)

THE WHOLE WORLD ON A CARPET There’s only one more important locale than the screening room during the annual Cannes Film Festivals: the Red Carpet, and its actual extension, the secret parties on fancy yachts swaying in the bay or in deluxe residents high up in the Cannes hills.

Why the red carpet is such a big deal?

The question would pose itself in the minds of all individuals who are not interested in Marion Cotillard’s latest haute couture or the new facial hair style of Brad Pitt. The answer is quite mundane: because the whole world is there. The whole show business with all the glamour icons and highest profile figures. All that matters, all we ever aspire for is on the carpet: wealth, beauty and acknowledgement.

Everyone wants to make it at least once on the Red Carpet; everyone wants to stroll down the path of success even if

it lasts only for fifteen minutes. We all want to swing together with the big guns, and all those hunger, yearning and craving for the glamorous route make us forget that real achievements hide inside (the darkened room), and that sauntering down the promenade of showing-off is just the exterior. But we keep discussing all that happens on that piece of rug and talking about it is almost being part of it: we have the illusion of being part of something great and substantial even if we do not belong to the glamorous cast.

But walking down the red carpet and the small talk about dresses and parties will only last for days, while inside the screening rooms we see things that can linger on in our minds and mould our spirits and dreams long after the hype is gone.

by Éva Kincsei

I have participated in two festivals, which are considered A-list and at both of them also went to red carpet screenings, but on quite different conditions. In Moscow, I was introducing the movie about to be seen (and we won the jury special prize afterwards!), while in Cannes I was a mere mortal. We had to dress up, then stand in line to find out that my regular tie just does not cut it and I should be wearing a bow tie. But the organizers are not stupid – they had a solution: a counter where one could buy 3€ clip-on bow ties (how ironic!) for 15€. We finally made it in and sat down, I switched back to my regular tie and then found out that we have to sit there for half an hour and watch from the screen how all kinds of people (essentially mortal) walk in through another entrance wearing regular ties. Anyway, I had seen it all by then (except the movie - The Artist) and decided to bail. I left my companions with surprised faces and continued upstream. As soon as I got outside, I lit a cigarette and walked in the opposite direction to everybody – aside feeling rebellious I felt good.

I went to see The Artist 8 months later in one of my favorite cinemas in Tallinn, wearing a casual suit as always, no tie.

I'd say both times going to see the movie were pleasant experiences - I just wish rebellion wouldn't have to involve ties. Or carpets.

by Jass Seljamaa

dossier

Red Carpet

4

QUENTIN IS COMING!

“Quentin called, he said he's gonna come!”, she yelled out of breath...

There are things that belong to the cinema industry; and things about cinema that don't belong to the industry. Yet. Lago Film Fest is an international festival of independent cinema. It's been taking place in Italy for eight years now. So after eight years of activity, of passion spent on the silly mirage of no-profit-work-as-a-sure-sign-of-the-purity-ofone's-commitment, we decided it was time to greet Quentin Tarantino as our guest in Lago (which means “Lake”, literally; the Festival took its name from the town that takes its name from its Lake: hence, “Lake”.)

It wasn't easy: dozens of intercontinental calls, linguistic gaps, yawning secretaries - but in the end we made it. How did we manage to appeal to Quentin, to have him promise he'll pack up and fly pronto to a small festival in a tiny Italian town?

Quite simple: “Quentin, dude, there won't be a red carpet!”

That was enough to sum it up, really; having Quentin understand that a red carpet is something univocal, only apparently meant to bring the Stars to us, the public; that we, on the other hand, like our festival to be one, massive, kingsize carpet that everybody can thread on happily – for cinema Stars are many of a kind: your actors, directors, members of the audience, critics, onlookers... All joining in, in a virtuous social rite of meeting and exchange, sharing and reciprocal contamination. Which is what a festival is and shall remain.

That's the kind of unique experience we'd treat Mr. Tarantino to.

If we only did that call.

But Quentin, will never come to Lago.

Carlo Migotto, Lago Film Fest www.lagofest.org Picture by Luis Sens

PHOTOGRAPHING IN CANNES OR HOW TO MAKE FRIENDS

High fives, friendly padding on the shoulder. That's what you have to do, says Elina, the only other photographer from Finland among this armada of photographers at the Festival de Cannes, trying to support the combat for best pictures.

She's here for the first time and already got the habits. And I'm happy to have a friend with whom to wait and run between photo calls, interviews and the red carpet.

Working for the press in Finland, I’m there especially for the Finnish filmmaker Aki Kaurismäki whose film competes in the main competition. At our first meeting with him I’m photographing him during an interview for a daily in a restaurant.

Not really possible to get so much out of the situation between the talk, chain smoking and sips of wine, but some of the close-ups turn out pretty ok.

Aki Kaurismäki by Lasse Lecklin

The next day I get to read that the journalist mentions three times in his article how this academician filmmaker is giving me instructions from which angle he should be photographed from.

The following day I have another shooting with him for another magazine. We're sitting on the dock of Hotel Majestic. The “fancy” terrace looks messy, parasols, ugly chairs everywhere, booze adverts all around. Not photogenic at all. Luckily my friend Elina is there and starts to explain Aki: we didn't become photographers for taking pictures in crappy cafés like this, let’s move! Elina tells him how I fought to get in to see his film Le Havre after photographing the premiere on the red carpet the previous night, and – as I had confessed to Elina earlier – cried at the film.

His reply: “Well, Lasse has always been a sentimental old fool.”

Aki finishes his cigarette, gets up and says: “Show me the way where you want to take the pictures – but don’t ask, just give orders.” And so we get our pictures by the sea, just like we wanted. Making friends at work – it works.

by Lasse Lecklin www.lasselecklin.com/

5

Red Carpet

dossier interview...

María Valverde

María Valverde is one of the most promising actresses of the Spanish Cinema. She's only 25 years old and she has already worked with some of the most interesting film directors in Spain and worked in international projects in the UK and Italy.

María Valverde was only 16 when she got her first and main character in the movie "La flaqueza del bolchevique" along with Luis Tosar. Now, she's one of the most famous young actresses in Spain thanks to her role in the blockbuster "3 metros sobre el cielo" and she has also become the muse of the auteur cinema filming "Madrid 1987" by David Trueba.

Despite her youth, María Valverde is an expert in red carpet issues and she always gets to be self-confident and beautiful.

Why it is so important for an actor/ actress to make a good impression on the red carpet?

The important thing is to feel good about what you’re wearing. It’s not easy to choose clothes for an event. It's a whole ceremony. It is important to be consistent with the event because it’s your image that you’re showing and I think it’s necessary to take care of it. It is part of our work and we must take it seriously.

How does an actress get ready for the red carpet?

It is sometimes quite stressful but otherwise it’s really fun. We are very lucky because fashion brands provide us with clothes for red carpet events. Not only dresses, shoes, bags and / or accessories are important, hairstyles and makeup are very important too. Sometimes, finding the best look for each occasion can take you a long time, but sometimes, it's that it is very easy. We become princesses for a few hours.

When you’re on the red carpet you act like yourself or in some way you’re also playing a character?

I think you should be yourself within that environment. It is not easy to move. You must be outgoing and try to have fun.

You have to be invested with all your senses in what you're doing to be faster than the press, photographers or fans, and not be caught doing any gesture that might damage your image.

Do you think that a film event such as the Cannes Film Festival or a film premiere can be done without a red carpet?

The red carpet is very important. It’s the meaning of glamour and that's part of cinema too.

It would not be the same if there wasn't red carpet.

Is it necessary for the promotion of a film?

It helps a lot because it ends up being the most striking, but it’s usually the least important part of the promotion. What is really important for the promotion of a movie is to defend it well with a good coverage in the press conference.

During the red carpet walk, an actress / actor has to deal with photographers, press and fans…Which is the most bizarre anecdote you have lived there?

Before going through the red carpet, you are very nervous. You begin to study yourself to the smallest detail, and you get smaller and smaller.

You feel like your clothes are going to rid and that you're going to be naked in front of the whole world. But when you step on it and all the camera flashes start, all the anguish is over. Here you're quiet and you smile.

It is, somehow, a surreal situation: seeing people behind huge cameras screaming your name so that you look at them.

The most bizarre thing that happened to me was in Paris, during a fashion show by Christian Dior. I was wearing a pair of sandals that were a little big for me, and the photographers started taking pictures like crazy while my heels were being buried in the sand on the ground . It was endless and I kept thinking I was going to fall any minute. I grabbed the sandals as I could, and I didn't stop smiling.

by Lucia Ros Serra Official Website:: www.mariavalverde.net/

spotlight

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MEET THE NEW NISI MASA'S MEMBERS! CINEMAPOLIS During NISI MASA's General Assembly in Zagreb, our observer members were upgraded to full members (Breakin Ground, CinemaHall, Munich Film Festival, Kaunas Film Festival and Encounters Bristol, it's nice to "have you fully!") leaving some space for new members. Here, we are proud to introduce our 5 new oberserver member associations. Keep an eye open, because a lot of new and interesting projects are coming with them!

KINO PRAHA Kino Praha is a non-profit organization founded by young, enthusiast filmmakers in 2011 in Czech Republic and is part of the world wide network of the KINO MOVEMENT. The main objectives of Kino Praha include organizing Kino Kabarets and international film seminars, lectures, conferences and film screenings, establishing cooperation between Czech and international film organizations, training courses, attending international youth exchanges, and also short-term and long-term volunteering projects with the audiovisual theme etc. www.kinopraha.cz

GENERATION CAMPUS FILMKRAFT

Generation Campus is an International Film School in Russia, a program of creative and professional development of young, talented filmmakers, created using the model of Berlinale Talent Campus. The campus is held anually since 2007.

The Training Course is absolutely free of charge and the participants are selected on a competitive basis.

They are introduced to the world of filmmaking technologies based on the specific examples and the entire amount of information received from the professionals in practice. www.generationcampus.ru

FilmKraft is a regional film centre (nonprofit) situated in the city of Stavanger in Norway.

We support film and television production in the county of Rogaland and aim at the regional industry to become sustainable.

Cinemapolis is an association from Montenegro established by young dedicated professionals in the film industry (producers, directors and screenwriters). Their mission is to show, to present and to promote the new talents and their creativity through projects with strong authentic and original ideas.

Their main objectives are to enhance the link between education and culture; to present original ideas and talents of both local and regional film industry by fostering individual creativity, skills and talent.

PSAROKOKALO

Psarokokalo is an association settled in Greece, whose firts aim is to promote and develop the cinematic art and practice through festivales, screenings, lectures and workshops.

Talent development makes up a significant part of its work and it has, since 2009, been one of their main foucs areas.

They're currently working on a number of projects for children and youth aimed at developing them as film producers, but also as film consumers.

Psrokokalo organizes the Athens International Film Festival; PSAROLOCO, a kids programme and its in charge of the promotion of Greek Awarded Shorts programme to other festivals.

www.filmkraft.no

www.psarokokalo.gr

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spotlight

MATTHIEU DARRAS, A MAN AND A MYTH It’s fair to say that in NISI MASA circles, Matthieu is more than just a man - he’s a legend. So when he decided to leave his position as General Delegate, it was hard to imagine.

As founder, president, and then head of the European Office team, during over 10 years of activities he’s the one who’s had the most consistent and longest lasting influence on the shape of the network. His energy and ambitious vision have been behind a great number of projects, whether visibly or hidden in the background.

This sometimes enigmatic character’s presence surely means a lot of different things to different people: from the warm nostalgia of the old-timers (La Rochelle, anyone?) to the reverence - and occasional confusion - of newcomers towards his knowledge and authority on everything NISI MASA-related.

Matthieu always juggled multiple roles: journalist, festival director, programmer, talent scout… but a constant theme in all of this has been a drive to support emerging film talent. So it’s no surprise that his new incarnation is as Head of Programmes of TorinoFilmLab, which helps develop first and second features from all over the world.

And don’t think you’ve seen the last of him yet… we may have lost a General Delegate, but we’ve also gained a volunteer and mentor!

Matthieu Darras by Lasse Lecklin

PLACES I'VE BEEN TO WITH MATTHIEU DARRAS & NISI MASA La Rochelle, France Sodankylä, Finland Surgères, France, Gonfreville-L’Orcher, France Le Havre, France Angers, France Lyon, France Courmayeur, Italy Barcelona, Spain Budapest, Hungary Paris, France

Turin, Italy Ankara, Turkey Sofia, Bulgaria Kars, Turkey Berlin, Germany Cannes, France Istanbul, Turkey Helsinki, Finland Warsaw, Poland Teheran, Iran Alba, Italy Linz, Austria

(Draw a map here. And add the destinations where you have met Matthieu.)

Note that the list may be incomplete and is hopefully not definitive.

By Lasse Lecklin

Matthieu Darras by Lasse Lecklin

news

NISI MASA new board aNNOUNCEMENT

You already know NISI MASA's new network members (see Spotlight), but during the General Assembly in Zagreb, we have also chosen the new Supervisory Board and Executive Board members, who are going to bring new and extraordinary projects and adventures to NISI MASA. Filipe Pereira (Portugal) was voted as new President of NISI MASA, replacing Hannaleena Hauru (Finland), who will be Head of the Film Lab department.

Maartje Alders (Netherlands) is the brand new General Secretary and Severine Beaudot (France) becomes the new Treasurer.

The other Heads of Department, who will take care of different fields, are Wim Vanacker (Belgium), in charge of the Script department; Giovanni Vimercati, in the Debate department and Michaela Pnacekova, who will take care of the Network department. Keep and eye open, because in the next issue we'll introduce them!

God Save the new Board!

or Targeting Larger Audiences, among many others.

We have invited a series of experts and top class speakers who we'll be announcing very soon.

The event will take place between the 1st and the 8th of July 2012, in Espinho, Portugal, during FEST – International Film Festival and FEST – Training Ground (www.fest.pt). Deadline 25th May. So we are currently looking for 24 participants, among the Nisi Masa network, interested in playing a part in the event.

The budget will cover accommodation and 70% of travel expenses.

More info: www.brightyoungscreens.fest.pt

8 kinodynamique vienna Call for registration

International filmmakers, a multitude of ideas and little time.

In 36 or 60 hours per session short films are drafted, shot and edited.

Professionalism meets improvisation, film meets music, video artists meet the audience.

Bright YOUNG screen festival training seminar From the 16th till the 25th of May 2012 we will have our 8th Edition of KinoDynamique in Vienna. Once a year people get together and produce short films in 36 or 60 hours, then show them on a cinematographic screen.

Nisimasians, be ready! Together with FEST- International Film Festival, we are organizing an event called Bright Young Screens, in which, during 6 days, you will be able to attend talks, discussions, conferences and master classes about a big an interesting theme: Festival organization!

We will focus on the exchange of ideas and perspectives on how to best set up events such as festivals and screenings, covering themes like Developing Thematic Programs

Join us as a director, actor, DOP, editor, sound designer, musician, make up artist, scriptwriter, whatever you can or would do in a film production.

International people with different experiences share visions and skills but also equipment.

Register until the 1st of May and show us you´re COLOR! See you on set!

You can register on our website: www.kino5.net.

european short pitch participant in cannes aNNOUNCEMENT

We've always believed very profoundly in the potential of the European Short Pitch candidates. We've always believed they were in for something big. In the end, that's what we do it for.

Our faith got confirmed with the news that Eicke Bettinga, one of this year's participants of European Short Pitch, got selected with his short film Gasp for the short film competition of the Cannes Film Festival.

Congratulations Eicke! Bonne Chance! www.festival-cannes.com/en/article/58874.html

FEST WAVE

CALL FOR ENTRIES

FEST- International Film Festival (NISI MASA Portugal), one of the most important cultural events in Portugal adds a new section to its 2012 edition related to the beach and the sea with the screening of several productions related to surf.

FEST SURF films will be screening close to Espinho’s beach, the perfect spot to see films related to this sport considering that Espinho is one of the most recognized areas for surface in Europe.

You can submit your long or short film (surf or sliding sports related) till the 7th of May with no entry charges.

Besides, FEST – Training Ground, a parallel activity of the festival, has announced new tutor names to their workshops, such as Oscar Winners David Macmillan, Eugenio Caballero, Cannes Winner Scandar Copti and Oscar Nominee Eduardo Serra.

Detailed info on www.fest.pt Entry form: fest.pt/?page_id=1521&lang=en

news

0117 HOUR FILM CHALLENGE 2012 CALL FOR PARTICIPANTS

To celebrate the arrival of the Olympic Torch this May in Bristol, filmmakers are invited to create a short film in just 117 hours based in and focused on Sports, Games and Play in the city.

The 0117 Hour Film Challenge, organized

by Encounters Bristol, will be held between 19 – 25 May and every film participating, must contain some elements of the three themes that are the core of the M. Shed museum of Britol, focused on sport and games. The best film will have the chance to win £1000.

The finished films will be screened as part of a celebratory event at the museum on 25th May and they will form part of the city’s memory and will join the museum collections.

The deadline to register the challenge is 18th May and it’s free to enter.

Online registration: www.encounters-festival.org.uk

DOK.INCUBATOR CALL FOR PARTICIPANTS

DocIncubator and DOK Leipzig launch an innovative training programme for the support of outstanding, artistic and creative European documentaries which enter the crucial phase of editing, post- production and distribution.

The DOK.Incubator workshops (taking place in Prague, Bratislava and Leipzig) will give individual support in the phase of finishing participants films, with the help of International tutors, who will guide them to find fresh ways of thinking about editing, distributions and other post-productions issues DOK.Incubator is looking for teams (producer, director and film editor) working on a strong European Documentary.

Deadline is 15th May More info and application form: dokincubator.net/

ZEBRA POETRY FILM FESTIVAL

CALL FOR PARTICIPANTS

agenda 1 may

Deadline for registrations KynoDinamique Vienna

2 may

Deadline for ZEBRA ¨Poetry Film festival

7 may

Deadline for entries FEST SURF

15 may the ZEBRA Poetry Film Festival calls for entries for its 6th edition and they are looking for the best poetry films!

The films must be based on poems and all the prizes will be awarded to a total value of € 10,000.

The Programme Commission would be in charge to nominate the films for the competition, and the winners will be selected by an international jury.

The Festival will be held from 10 - 21 October 2012, but the deadline is the 2nd May. More info: w w w. zebra-award.org/index. php?id=1127&L=1

Depict!

CALL FOR PARTICIPANTS During Encounters International Film festival, "DepicT!" will be also taking place. A competiton of invited filmmakers from all around the world to show their stuff in just 90 seconds.

The short films, of any genre or budget, must be 90 seconds or under. A great challenge to young filmmakers where they can explore their creativity.

The winners will win amazing prizes and will have priceless industry exposure.

Deadline is 9th July.

For more info a entry form: www.depict.org

Deadline call for participants Dok.Incubator

18 may Deadline for participants 0117 Hour Film Challenge 2012

15 - 28 may

Nisimazine Cannes 2012

25 may

Deadline "Bright Young Screens"