NisiMazine *3 NOVEMBER 07
Scriptwriting: Workshops & Residencies
Editorial
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or me the most overwhelming experience is still watching a movie at the cinema. It is so huge! To realise a film, to capture the light, sound, people and time… it is a lot of work, a complex task that can’t be done alone. Filmmakers need to work together, otherwise they simply won’t manage. So when we talk about cinema, we are talking about a form of human expression which asks us to move heaven and earth. I guess scriptwriters need to be aware of this. If not, things won’t turn out well.
So our scriptwriting friends turn out to be quite special people. They aren’t the kind of individuals who ‘hide’ to write. They have strong personal views and opinions, but at the same time want to open their work to other people’s participation. To make something bigger than they themselves. By doing so, don’t they lose control over their writing? Is this a good thing? Well, yes. I believe it is. To lose control is a big plus, it makes cinema exciting. Of course with this attitude new challenges occur… I guess a convincing piece of cinema art should be made without compromise. The result cannot be mediocre or ‘in between’, a democratic result of too many different viewpoints. But how can this kind of collective mass-medium project be realised without compromises? The bigger the budget for a film, the more it will be sucked into the inf luence of external powers, mostly being led by money and profit. It is an unavoidable pain in the artistic ass. But in the end, is this a bad thing? I believe it is not. It is a unique side of filmmaking.
Agenda
November, 9th~15th Kars (Turkey) Script Contest Jury Meeting + ‘Snow’ Workshop
November, 17th Prague (Czech Republic) Screening of NISI MASA films at Prague Short Film Fest November, 22nd-25th Turin (Italy) ‘Script&Pitch’ Session 3 November, 23rd-December 2nd Turin (Italy) Nisimazine Torino’ Workshop November, 30th In all the network Deadline for applying to ‘Nisimazine in Helsinki’
The more stubborn or unknown writers are, the more strategies they will need to use to avoid undesired compromises. The question is not if but how they will gain the interest of external powers, and after see how the film can benefit from it. So scriptwriters need to be tactically smart and open-minded. They continuously receive all kinds of feedback and have to process it. It must be exciting to see your creation evolve into something different, something new: a group artwork. The writer must believe a group ‘knows’ more than an individual, and will contribute to the project. The script can be seen as the important beginning of a cinematographic collaboration. If well written, it can bring a group together, get them focussed and inspire everyone that works on the film. So for me, the screenwriters are those wonderful people who use their writing to help make something bigger and larger… something huge: a film. It is with huge pleasure that I invite you to read the 3rd issue of Nisimazine, which focuses on scriptwriting residences and workshops in Europe. This month we interviewed professionals in the field of scriptwriting, such as Savina Neirotti of Script&Pitch, Script Doctor Antoine LeBos and Producer Sanford Lieberson in order to get the benefit of their experience. Scriptwriters Çağla Zencirci, Guillaume Giovanetti and Maya Vitkova also contributed their own personal viewpoints. In addition, we have provided you with the latest info on the NISI MASA Script Contests 2007 and 2008, and European Short Pitch 2008! Enjoy reading before writing... Fedor Limperg 2007 Contest Manager
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Next Issue...
NISIMAZINE 4 ~ December 2007 SPECIAL FOCUS : DEBATING CINEMA
SNOW WORKSHOP IN THE SPOTLIGHT: NM TURKEY
NISIMAZINE is a monthly newsletter published by the association NISI MASA. EDITORIAL STAFF Editor-in-chief Matthieu Darras Secretary of the editorial Jude Lister Art director, layout Emilie Padellec Contributing writers for this issue Matthieu Darras, Fedor Limperg, Sanford Lieberson, Jude Lister, Marta Musso, Maya Vitkova Cover picture: Still from “The State of Things” (“Der Stand der Dinge”, 1982) by Wim Wenders NISI MASA 10 rue de l’Echiquier, 75010, Paris, France. Tel.: + 33 (0)1 53 34 62 78 + 33 (0)6 32 61 70 26 Email europe@nisimasa.com Website www.nisimasa.com
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Special Focus Scriptwriting: Workshop & Residencies
criptwriting was bound to come up sometime in Nisimazine, as one of the core interests of our network. In fact it would impossible to cram all aspects of this subject into just one small magazine. So in this issue we aim simply to bring you some events across Europe that can help young writers to fine-tune their talents.
The NISI MASA Script Contest: future & innovation!
The 2007 edition of the script contest is nearly over. The names of the 24 finalists have just been announced. The jury members will meet mid-November in Kars (Turkey) during the 13th Film Festival On Wheels and then the results will be announced on the 15th of November 2007. The three best scripts on the theme “Circle” will receive help from NISI MASA for their production. Also, the jury members will brainstorm on the new theme for next year. Then, the 2nd edition of ‘European Short Pitch’ will hopefully take place (MEDIA grant to be confirmed) by the end of January 2008, gathering contest finalists and carefully selected writing talents (more info on www. nisimasa.com). 2007 was already the 6th edition of the contest: it was bound someday to reach the age of reason. Maybe the time has come to renew the formula! As the Board members brainstormed in September in Budapest, one suggestion appeared. The idea is to refresh the initial concept of the contest and to support the winners in a more Nisimasian style! This means not necessarily trying follow the classical way of producing (in any case, it’s getting difficult to finance the production of the awarded movies with sponsors) but monitoring the production process by encouraging cross-national cooperation and sharing resources in a single event. Why could the awarded scripts not be shot simultaneously during a big international summer workshop (to be supported by the Youth in Action Programme for instance)? After all, NISI MASA has been getting more and more experience of audiovisual workshops and short film production. The idea is to create a synergy between these experiences, producing the three winning films together. One specific place could be chosen relating to the contest’s theme… or it could also be an ‘on wheels’ workshop. NISI MASA could also launch a call for participants among its members in order to build a shooting team for each movie. This would be a true and unique European co-production! A lot of points have to be discussed, matured and defined in detail. Still, innovation is necessary if we want the script contest to last & develop into the future…
Script&Pitch 2008: Call for participants! Brilliant piece of news: Script&Pitch has just been granted by the MEDIA Programme of the European Union for its 2008 edition (whereas – bad news – a budget cut of 40% on all European trainings has been carried out, meaning many have to shut their doors!). Deadline for Script&Pitch 2008: 1st February 2008 Applications should include a synopsis, 25-page treatment, motivation letter & CV. More info: www.scriptpitchworkshops.com
Q&A: Savina Neirotti, Script&Pitch Savina Neirotti is co-founder of the Turin-based ‘Scuola Holden’, which provides unique and contemporary courses focussing on the techniques of narration; from scripts and novels to ads and news articles (www.scuolaholden.it). She’s the director of Script&Pitch Workshops NISI MASA has been a partner & co-organiser of since the first edition. What is Script&Pitch? Script&Pitch is an advanced scriptwriting and development course for 20 selected European scriptwriters and story editors. It is a 10 month course, running from March to December and consists of 3 residential workshops in Italy and France, 2 on-line sessions and an Alumni meeting. The final workshop is a pitching session, where all projects are presented to a group of invited producers and sales agents during the Torino Film Festival. How does it benefit young scriptwriters? Scriptwriting is a difficult task: it is the first and fundamental basis of every film, writing a story. A story that has to be both personal and universal, that has to connect with people. Writing can become very lonely and frustrating: Script&Pitch creates the right context in which ideas are shared between professionals of different nationalities, and the writing process is followed by professional story editors who can help the author get the best out of his/her story. Have there been any concrete results so far? The Swedish/Finnish co-production Kid Svensk by Nanna Huolman has already been presented in competition at the Gothenburg Film festival. Lara by Slovenian Blatz Kutin won the Media New Talent Award 2006 and Ego te absolvo by Italian Alessandro Bignami won the Media New Talent Fund. Other projects are in pre-production or are now seeking coproducers.
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Special Focus Scriptwriting: Workshop & Residencies
What makes a good scriptwriting workshop? By Maya Vitkova*
W
orkshops are similar to love relationships - as soon as you burn out in the fire of the first one, you’re more or less prepared to break into flames again afterwards. Good or bad, the first will teach you the most for ever and aye.
The scripts of your colleagues are never as good or bad as you have assumed. Analysing them provokes your intellect and imagination, and is the best warm up for your own work. The next step is learning how to get feedback on what you have thought to be brilliant – your own script. Half of the people won’t understand it, the other half won’t like it - still better than everyone saying that it’s brilliant. If that was the case, why did you need a workshop? So do not underrate or overestimate your qualities or faults. Try not to get upset when somebody is critical, but find a way to take their opinion into consideration. The collective brain is an amazing medium; it creates a group prayer to the dramaturgy divinity. Last but not least, don’t disregard the role of the tutors – your matchmakers. You can be both blessed or cursed with them. They can either choose for you the best “playmate” or the worst. They can help you solve various writing problems, but you can also wake up with a different story – someone you don’t know at all.
What makes a good scriptwriting workshop? Only you. If you know what you want, the workshop can help you get it. Think of it as a lifelong marriage… with at least five kids. *Maya was a participant in Script&Pitch 2005, European Short Pitch 2007 and, more recently, the Nipkow Program (see page 5).
Q&A: Antoine LeBos, Script Doctor We’ve all heard of the ‘Script Doctor’, but what kind of voodoo magic does this mysterious person actually provide? We interviewed Antoine LeBos, professional script doctor and trainer for European Short Pitch and Script&Pitch, to find out. What is the role of a script doctor? Often himself a professional scriptwriter, he is called in usually when there are severe problems with a script. He delivers a “diagnosis” of it’s pathologies, such as weaknesses in the structure and character development, general imbalances in the story. He then proposes concrete solutions for a “cure”, which the author can choose to use or not. Any common mistakes that younger writers make? Ignoring the rules of dramaturgy, which they say they want to reinvent purely because they are not yet capable of assimilating them. These rules seem simple at first, but in reality you need 5-6 years (10 even) of intensive work in order to understand their deep physiology. Is it inspiring for you to work with less experienced writers? It is often only upon coming out of a scriptwriting workshop that I myself begin to follow the advice I have given to my interns, having forgotten them over time or simply not thought of doing so. We are all more “intelligent” when looking at other’s scenarios than at our own. It’s a trench war which is won centimetre by centimetre…
Tips for a Successful Pitch! Pitching is an essential filmmaking skill which needs to be practiced to develop an effective style. Independent producer Sanford Lieberson, a seasoned industry expert (and trainer for Script&Pitch 2005) who has heard many a pitch-gonewrong in his time, gave us some advice for that crucial meeting: • Do some research beforehand about the company and person you are meeting. Who are they, why might they be interested in this idea? What can they offer you? • Try preparing a written pitch first. Write a couple of very short versions of your idea, keeping it simple, brief and to the point. The important thing is to get the person interested in your project, not to tell every detail. • Think about what sort of audience you are going for with your project. Why this story and why these characters? Does it fall into a genre? • You can bring relevant material that might be of help in your pitch, such as music, visuals, photos or drawings, storyboards. However, be careful as if presented at the wrong time they can be a distraction rather than a help. • This is a business /art form based on collaboration, human contact and working relationships.Try to engage the person you are pitching to!! Write a follow-up email or letter afterwards. • Above all, remember that there are no rigid rules. The secret is to develop a style that best suits you and your project!
more trainings Script&Pitch and European Short Pitch workshops are great for sure, but they are not the only ones existing in Europe. Check out the following link for a comprehensive guide to script development trainings supported by the MEDIA Programme: http://ec.europa.eu/information_ society/media/training/guide/index_ en.htm
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Special Focus Scriptwriting: Workshop & Residencies
Words of residents...
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ağla Zencirci and Guillaume Giovanetti, a dynamic young scriptwriting and directing team, previously took part in the CECI of the Moulin d’Andé (France). Their latest films include a documentary entitled shantyGARDENtown (nominated for the Berlin Today Award 2007 + Best Short Documentary at Docúpolis 2007) and the mid-length feature Ata (in post-production) They are currently developing a full-length feature which should be shot in Pakistan sometime in 2008. Do you have a particular creative process? Being two in the writing process requires the establishment of a genuine balance for each project. First, together we analyse the issues of the film and what we want to say with it. Then one of us starts to write a first draft, putting down in black and white «this is how the film looks like in my mind». The other reads it, we discuss, and the second starts to rewrite. And so on until the story begins to walk on its own… Have your experiences in a residence changed your way of working? Definitely. For example in the Moulin d’Andé, we were in the countryside, an extremely calm setting we didn’t have to worry about the day to day things. The best thing however is that you get quality feedback from a professional tutor - precious when you’re totally lost in your story. Also afterwards, we realised that we had acquired some new methods and knew a bit more how to work on ourselves in order to write better. Any advice for aspiring young writers considering a residency? «Advice» is a bit strong, as we are still young and aspiring writers! Apply, if only to experience it once and see the result. However keep in mind also that self-discipline is really important - wherever you are, nobody will come to you saying «C’mon, let’s work and write this sequence today!». You just need to do it! Finally, you should never forget to enjoy what you write! Çağla and Guillaume’s website: http://czggfilms.free.fr
Residencies : a selection Binger Institute (The Netherlands)
Script development is just one amongst a range of actions that Binger Filmlab carries out. An Amsterdambased development centre opened in 1996, Binger brings together talented writers, directors, producers and script editors from around the world. Some of the tutors of ‘Script&Pitch’, such as Franz Rodenkirchen, coach there as mentors and advisors. The philosophy of the Institute is to work as a true lab, in that film-makers aren’t told what they should do but rather challenged to look at the many choices and recognise the wide array of possibilities which are inherent in their stories. The script development programme is 5 months long. Next deadline: 15th of March 2008 http://www.binger.nl
Cinéfondation (France)
In 1998, the Festival de Cannes created the Cinéfondation to support the next generation of filmmakers. The so-called ‘Résidence’ (based in the centre of Paris) welcomes a dozen young directors every year, who work there on their first or second fictional feature film project, in two sessions lasting 4 ½ months. It combines a personalised programme accompanying the writing of their scripts, and a collective programme of forums with film industry professionals. The residents equally benefit from a grant of 800 euros per month and free access to a large number Parisian cinemas. Next deadline: 1st of April 2008 http://www.cinefondation.com Moulin d’Andé – Céci (France) Located on a tributary of the Seine in Normandy (one hour from Paris), the Moulin d’Andé not only served as location for Truffaut’s Jules & Jim or as host of the rewriting sessions of ‘European Short Pitch’. It offers writing and creative periods of residence to scriptwriters. Applications by candidates (open to foreigners) must be submitted in French, together with their provisional writing proposal. Support is available. Residents, who may request selective consultations with script doctors, should normally stay at the Moulin for one continuous period. Next deadline: 15th of May 2008 http://www.moulinande.fr/en
Nipkow Program (Germany)
The Nipkow Program is not specifically designed for scriptwriting, but can be regarded as a kind of development residency in Berlin. The generous programme provides grant-financed long-term training (from 2 - 6 months) for cinema talents to develop their film projects in the German capital. The scholarship amounts to 1 500 euros per month and is designed to allow the grant-recipient to concentrate exclusively on his work. Next deadline: Spring 2008 http://www.nipkow.de
Latest news © IFFR poster; If I Fall; Prague ShortFilmFestival’s poster
IFFR Trainee Project for Young Film Critics
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he 37th International Film Festival Rotterdam (23rd January – 3rd February 2008) is looking for six young, motivated and talented film critics from outside the Netherlands! The chosen few will get acquainted with all aspects of the festival through a programme of activities, ranging from attending the FIPRESCI Jury-meetings and covering a festival sidebar to contributing to the IFFR Daily Tiger. There will be time to explore art exhibitions, panel discussions, Q&A sessions and debates. Each trainee will be asked to report on their assignments and experiences in articles, interviews or essays on the IFFR website. The trainees will form a team, supported by the IFFR Press Office and Daily Tiger Editorial Staff. Applicants must be under 30 years of age, f luent in English (written and spoken), and have some experience in film criticism. They should also have an agreement(s) with a printed and/or online media to publish a report on the IFFR 2008. Applications should be sent to: press@filmfestivalrotterdam.com before November, 9.
‘Another Look’ Short Film Contest The website Euromedcafe has launched the 4th edition of its Another Look web contest for short films on the subject of intercultural dialogue. The contest is addressed
to artists from both banks of the Mediterranean, and aims to celebrate the richness of diversity by rewarding and broadcasting works which offer a different look at the Euro-Mediterranean region’s multiple realities. There are two sections in the contest:
A Boat (Michal Szcześniak) – Contest Award 2004 – received an Honorary Mention at the 32nd Polish Film Festival of Gdynia (Independent Cinema competition). It will participate in the next edition of the Seattle Polish Film Festival (USA).
Inspiration: 4,000 euros each will be awarded to the 3 best synopses on the theme of intercultural dialogue, going towards the realisation of a short film. Closing date: November, 5.
All the short documentaries made during the Doko Yomi workshop have been selected to participate next December in the 25th edition of the Short Film Festival of Aixen-Provence (France).
Completed Shorts: 500 euros each will be awarded to 10 short films sent in on the same theme. Closing date: December, 10.
The 3rd Short Film Festival of Prague is giving a ‘carte blanche’ to NISI MASA. 7 films (both contest awards & workshops) are going to be shown during this special screening, and Elena Mosholova will introduce the network to Czech cinema students. A similar special screening will take place along the Festival ‘On Wheels’ in Kars.
The successful short films will be available as free downloads on the Euromedcafe site. The site, available in Arabic, French, English and Italian, is an open space for exchange between both banks of the Mediterranean. For the contest rules and application forms: www.euromedcafe.org
NISI MASA Films in Festivals... The career of If I Fall (Hanaleena Hauru) – Contest Award 2005 – is starting intensively. After its world premiere in Cannes, the film has been selected at the 14th Blue Sea Film Festival in Rauma (Finland) – 2nd Award, student film category, the 14th L’Alternativa Independent Film Festival in Barcelona (Spain), the 21st Helsinki Film Festival, the 52nd Cork Film Festival (Ireland) – Prix UIP nomination, the Huy FIDEC (Belgium), the 31st Sao Paulo International Film Festival (Brazil), the 24 th Kettupäivät Short Film Festival (Finland) and the 6 th International Student Film Festival of Beijing (China).
... and in production Lily, one of the 2005 winners of the NM short script contest on the theme of “Silence” (written by Marianne Griolet from Sweden) completed its shoot in Stockholm over the summer, and is currently being edited. A laureate from 2006’s edition on the theme of “Tourists”, Harragas by Grégory Lecocq of Belgium, has also finished filming after receiving help in the form of funding from the Film Commission of the French Community of Belgium, and is now in post-production. Belgian actress Sophie Dewulf took a role in the film, which is set in the region of Hainaut. We are eagerly awaiting the completion of both short films before the end of this year.
Franti In the spotlight Some members ‘Having fun is a serious matter’... Franti, based in Turin, Italy, was one of the original NISI MASA associations founded in 2001. It has around 20 active members, both students and young professionals working in the audiovisual sector, and aims to raise interest for cinema amongst young people and develop thoughtprovoking cultural projects. After years of wandering around, the association has finally found a beautiful office in the Turin Youth Centre, which has taken over an old building.
Giorgia BONFANTE Giorgia graduated first in Cultural Science and then as a senior student in Anthropology and Ethnology. She works at the administrative department of the University of Turin – in research and international relations. She just joined NISI MASA, where she works as apprentice sorcerer. Laura D’AMORE A graduate in Communication with a dissertation on the director Krzystof Kieslowski, Laura then took a diploma as producer at the Scuola Civica di Milano. She worked for 4 years at Studio Azzurro, organising video and multimedia installations at internationally acknowledged exhibitions. She now organises cinema exhibitions and works as a producer in the documentary field. Maddalena LONGHI Maddalena originally studied Communications in Milan and graduated in History. An established member of Franti, she coordinated the projects “Building a common European house” in 2006 and “War neighbours” in 2007. She finished her postgraduate studies in Turin with a dissertation called: “The survival and evolution of young associations in the local and European field: NISI MASA, an international association”. She now works for the Cultural department of Regione Piemonte. Marta MUSSO A true Torinese, Marta studied Literature and is now majoring in History with a thesis on the history of Italian television. She has worked as a producer for different movies and short films, and also as a screenwriter. She now devotes herself to magazine and broadcasting journalism (she has her own web radio program), whilst still writing for the screen. Sebastiano PUCCIARELLI Completing his studies with a dissertation on the Semiotics of Cinema, Sebastiano was one of the original members of Franti, and has been President since 2003. To earn his living – and so that the world will remember him – he has notably organised workshops on documentary filmmaking. Currently, after 2 years as ultra-f lexible editor for public TV network Rai 3, he’s waiting for a decent employment contract to be signed... SILVIA TABORELLI (NM Board Member)
Silvia studied Cinema at the University of Turin. She has lived there ever since, joining Franti in 2005. She has undertaken various work experiences in the cultural field, in particular cinema and documentaries. As of this year, she’s in charge of film research for the Cinemambiente International Environmental Film Festival. Let’s not forget other Franti members such as Lorenzo (Barello), ex-President Simone (Fenoil), Francesca (Repetto), etc.
War Neighbours One of the last initiatives organised by Franti was extremely varied and ambitious; fortunately it was also a big success: War Neighbours. Visions and tales of the Yugoslav Wars on the 15th anniversary of the siege of Sarajevo. The siege of Sarajevo began on the 6th of April, 1992: exactly 15 years later Franti organised a series of public events about the Balkan Wars, events which were “faraway and so close” to Italy. There were debates on war information and on the urban reconstruction process, screenings of feature films and documentaries, concerts, storytelling and an exhibition from internationally acclaimed photographer Paul Lowe.
SETTANTAOTTANTA SETTANTAOTTANTA (1970-1980) was held in Turin from the 24th - 26th October. It consisted of three days of screenings and debates ref lecting on the many social changes that the years 1977 and 1978 brought to Italian culture: the peak of terrorism and the spread of heroine, the great musical gatherings (such as the concerts held in the city by the Rolling Stones and Bob Marley) and the switch from political activism to the individualism of the “Milano model”, which is still prevailing.
TFF 2007 From the November 23rd December 2nd Franti will be working on the Nisimazine at the Turin Film Festival!
Website
www.frantinisimasa.it
Portrait
Julia Sabina Gutiérrez
By Matthieu Darras
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bleak winter’s day in Clermont-Ferrand. An unattractive city where, for some obscure reason, the small world of short film has been gathering every year for almost three decades. A standard Holiday Inn, an impersonal conference room. It was late morning and the audience of producers was starting to yawn at this first session of ‘European Short Pitch’. Perhaps the counter effects of a well-watered night before; the festival is famous for its parties. Half a dozen young European scriptwriters had already presented their projects when the turn of the script Eastern Castilla came. Then Julia started to pitch and something strange happened. The audience became captive and inexorably moved. Moved to other horizons. To the deserted landscapes of Castilla, where an old woman suffering from a brain clot begins to talk in a language that none in her family understands. Far away from Clermont. Moved also by a sort of compassion for Julia, who was becoming moved herself when telling her story. A technique of pitching? More like true personal feelings. Julia started to write Eastern Castilla during the scriptwriting
marathon of the NISI MASA 5th anniversary in Paris, to exorcise inner demons. “My grandmother had a brain accident many years ago and after this she has never been able to talk. I don’t know anything about her past, about her deep thoughts, only the things other people told me. I needed to express this dramatic fact. I invented a past for her, a funnier one. I suppose there is a kind of therapy in all this.”
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Therapy is now turning into a French-Spanish co-production thanks to the producers she met in Clermont. “I am very happy with them but things are going slowly; I am very impatient to shoot”. Passionate when talking about the stories turning in her mind, Julia demonstrates an ability to share enthusiasm. One clearly feels her urge for telling the extraordinary lives of ordinary people. And even though none of her scripts made it yet to the big screen, Julia’s universe is already distinct. Of course, the fact that she is Spanish and that her lead characters are strong women (the feature film she’s developing right now at ‘Script&Pitch’, Blood under the Sun, is about two female f lorists caught up
in drugs trafficking on the Costa del Sol) encourages clichéd connections with Pedro Almodóvar. Julia doesn’t take offence, but does make a funny dig at male chauvinist attitudes. “Almodóvar is one of the most important Spanish filmmakers and he has a unique aesthetic. I write about women without planning to, it comes to me in a natural way. It’s interesting because nobody tells a director that his films look like someone else’s work because the main character is a man.”
* Determined in her work and apparently confident about her artistic choices, Julia is however not what could be described as an extrovert. Staid and calm, she’s more of an observant nature. It might be due to the fact Julia grew up surrounded by books, with a writer mother and a literature teacher father. As she amusingly points out about her childhood: “I had no way out. I’ve always written a lot, tales and reflections. For instance, I’ve written a lot of pages about Lille, almost a novel, about the streets, the buildings...” During her Erasmus year in the northern city of France, she confesses having spent
more time observing the teachers and her classmates – intriguing and original people to her – than paying attention to the courses. One easily imagines her spending hours at the terrace of a café, taking notes for future stories... or just for herself.
* At the moment, Julia works for a living as camera operator and editor for the Spanish Parliament TV Channel. A technical and meticulous job she likes, maybe precisely because it is completely different to the process of writing. But the call to fictionwriting is really strong and she’s thinking about leaving her dear politicians. Meeting cinema people from all over Europe during the ‘Short Pitch’ and ‘Script&Pitch’ workshops has definitely changed her (professional) life. “Exchanging experiences with other scriptwriters has been giving me a lot of energy to sit down and begin to write new stories.” Her pitch in front of a panel of European producers for Blood under the Sun is planned for next November, Saturday the 24th in Turin. Wanna be moved? Why wouldn’t you join the captive audience in the charming Piedmontese capital?