TorinoFilmLab Community - Vol. 1 by TorinoFilmLab

TorinoFilmLab

Y T I N U COMM

VOL.

Y T I N U M M O C

Introduction

Welcome to the TorinoFilmLab! Throughout the following pages you will have the chance to meet 36 remarkable people, whose paths have crossed – and not only crossed! ‐ those of TorinoFilmLab in recent years. This is just a small number considering !"#$%#&#'()$"*+,'#,$-).$/'01#%%20+()%$3"0$"(&#$#4/#'2‐ #+5#,$!"#$6(7$2+$0+#$3(8$0'$(+0!"#'$%2+5#$2!%$2+5#/90+$ 2+$:;;<=$>"25"$#4/)(2+%$3"8$!"2%$700?)#!$2%$0+)8$@0)=A$01$ ($%#'2#%$!0$7#$50+9+*#,= Yet we hope these interviews will give you an insight into the incredible richness and diversity of visions of all these hundreds of people from all over the world who "(&#$/('952/(!#,$2+$0*'$&('20*%$/'0B'(..#%$(+,$(59&2‐ 9#%C$(+,$2+!0$!"#2'$.(+8$,2D#'#+!$(//'0(5"#%$!0$.(?2+B$ -).%$50.#$()2&#=$>"#'#(%$!"#8$1())$*+,#'$!"#$5(!#B0'2#%$ 01$ EF('952/(+!%GC$ EH#52%20+$ I(?#'%G$ 0'$ EJ#(.$ I#.7#'%GC$ they all share a passion for cinema. K+,#'!(?#+$0&#'$!"#$%(.#$%"0'!$/#'20,$01$9.#$L2+$M5‐ !07#'$:;ANOC$!"#%#$2+!#'&2#3%$30'?$(%$($%+(/%"0!$01$!"#$ %!(!#$ 01$ .2+,$ 01$ !"#$ %0P5())#,$ 2+,#/#+,#+!$ -).$ %5#+#=$ Q+,$ 2+,##,C$ 21$ *+5#'!(2+!8$ %##.%$ !0$ 7#$ !"#$ ,0.2+(9+B$ feature, if the bad pieces of news appear to outnumber the good ones, and if the working environment is gener‐ ally considered as tougher than in the recent past, giving */$2%$+0!$2+$0*'$2+!#'&2#3##%G$+(!*'#=$J"#%#$-)..(?#'%$ – whether they are writers, directors, or producers ‐ are ($'('#$7'##,C$&#'8$/'07(7)8$%#+%29&#$/0#!%C$7*!$.0%!$5#'‐

!(2+)8$ -B"!#'%$ 3"0$ +#&#'$ B2&#$ */C$ (+,$ B0),$ ,2BB#'%C$ ()‐ ways searching for a new idea! Rest assured you will not end up being depressed by reading their thoughts, but 0+$!"#$50+!'('8$2+&2B0'(!#,$(+,$2+!#))#5!*())8$%9.*)(!#,$ by the many enthusiasms and projects that these people are sharing with you. TorinoFilmLab is about the people who make it, but also about the projects these people come together with. J"(!G%$3"8$!"2%$700?)#!$,#,25(!#%$($%#590+$!0$!"#$-).%$ 5'#(!#,=$AR$"(&#$7##+$.(,#$%0$1('$!"(!$"(&#$!'(&#))#,$0'$ are travelling the world, and 9 more will very soon hit the %5'##+%$2+$:;ASC$32!"0*!$.#+90+2+B$!"#$.(+8$!"(!$('#$2+$ /'0B'#%%=$>#$('#$#4!'#.#)8$/'0*,$01$!"#.T J"#$'#()29#%$01$-)..(?2+B$('#$,#-+2!#)8$B'032+B$#4/0‐ +#+9())8C$(+,$2+$!"2%$.0'#$0'$)#%%$5"(095$50+!#4!C$2!G%$+0$ wonder that the desire to come together, if only to count and recognise each other, is a very commonly shared 1##)2+B=$J0'2+0U2).6(7$2%$($.##9+B$/)(5#=$V!$()%0$(2.%$!0$ 7#$ ($ /)(5#$ 01$ %0)2,('2!8$ (+,$ #45"(+B#%C$ 3"#'#$ 0+#$ *)9‐ mately feels a sense of belonging. As a Swedish producer put it: !"#$%&'(()&*+%,-+.,(/0'1&,2&3425&'&1,6&7%$'89$&:'/‐ ,(;<W$V$(.$+0!$%*'#$(70*!$!"#$1(.2)8$/('!C$7*!$V$'#!(2+$!"#$ +090+%$01$%(1#!8$(+,$!'*%!$(%%052(!#,$32!"$2!=$ J0'2+0U2).6(7$5#'!(2+)8$2%$($5'#(9&#$50..*+2!8T !"#$%&'()"**"+,(-&".(/0(1*/2*"33&+

intro

index

2 4

9 10 12 14 16 18 19 20 22 24 26 28 30 32 33 34

Dora Bouchoucha Carlo Cresto Dina Helena Danielsson Yael Fogiel Georges Goldenstern Gabor Greiner Teresa Hoefert de Turegano Ivan Hronec Alessandro Raja Michel Reilhac Guido Schwab

39 40 42 44 46 47 48 49 51 52 53

team members

Aditya Assarat Niles Atallah Massoud Bakhshi Aida Begic Hagar Ben Asher Maria Drandaki Marta Donzelli Edwin Jean des ForĂŞts Nicole Gerhards Fabio Grassadonia & Antonio Piazza Samm Haillay Ralston Jover Jazmin Lopez Helena Mielonen Ralitza Petrova

decision makers

participants

Alberto Barbera Roshanak Behesht Nedjad Matyas Erdelyi Isabelle Fauvel Antoine Le Bos Savina Neirotti Marten Rabarts Franz Rodenkirchen

57 60 61 62 64 66 68 70

films Agua Fria de Mar / Le Quattro volte / Hi-So Swans / The Slut / 7 Works of Mercy Postcards from the Zoo / A Respectable Family / Djeca Wadjda / Leones / Feed Me With Your Words Salvo / The Lunchbox / Iâ&#x20AC;&#x2122;m going to change my name Wolf / Il Sud e niente Bypass / Chrieg / Historia del Miedo In Which City Does it Live? / In Your Name / Los Hongos Mercuriales / Mr. Kaplan / Wednesday 4:45 AM

credits

74 76 78 80 82 84 86 88 90

s t n a p i partic

Director/Producer, Thailand FrameWork 2008

aditya

!"#$ %#&'$ ()*'"#)+$ 4/5.&*0'6( 7/85+$ ,*&$ &"--)&&("../$ '#*0)..123$ '!$ ()&40*.&$ ,5)2$ /!"$ )2')#)6$ 7!#12!81.9:*;$ 12$ <==>?$ @5/$ 616$ /!"$ ()).$ '5)$ 2))6$ '!$ ;)$ A*#'$ !($ &"-5$ *$ &-5)9)$ 12$ !#6)#$ '!$ 6)0).!A$ /!"#$ &)-!26$ ()*'"#)+$-%9:/? V$"(,$0+)8$.(,#$0+#$-).X$!"#'#$2%$%9))$%0$.*5"$!0$)#('+=$ Q//)82+B$!0$JU6$10'$.8$%#50+,$-).$%#'&#,$!"#$/*'/0%#$ of workshopping the script and also trying to secure %0.#$1*+,2+B$10'$!"#$/'0,*590+=$V+$J"(2)(+,C$(+,$.*5"$ 01$Q%2(C$!"#'#$2%+G!$.*5"$%*//0'!$10'$2+,#/#+,#+!$-).=$ Y0$2!G%$&#'8$50..0+$!0$)00?$!03(',%$Z*'0/#(+$%5"#.#%$ such as TFL, Hubert Bals Fund, etc.

from The Lunchbox, by Ritesh Bashtra (FrameWork 2012)

B"#123$'5)$:*;$/!"$9)24!2)6$'5)$(*-'$'5*'$4/5.&*0'6( 7/85$5*6$*$;133)#$*"61)2-)$12$8#*2-)$'5*2$12$1'&$5!9)$ -!"2'#/+$ *$ &1'"*4!2$ /!"$ ,)#)$ 2!'$ &*4&%)6$ ,1'5?$ C2)$ &'#*')3/$'!$)2.*#3)$'5)$75*1$*"61)2-)$(!#$-%9:/$,*&$'!$ -*&'$ *$ .!-*.$ &'*#+$ D2*26*$ E0)#1235*9?$ B16$ 1'$ A#!0)$ '!$ ;)$&"--)&&(".F$ [("(C$+0$2!$,2,+G!$/'0&#$%*55#%%1*)=$V$3(%$&#'8$+(\&#$(!$ !"#$9.#=$]03$V$*+,#'%!(+,$7#^#'$!"(!$!"#$50..#'52()$ -).$ 2+,*%!'8$ 2%$ &#'8$ ,2_5*)!=$ V!G%$ .*5"$ .0'#$ !"(+$ `*%!$ 5(%9+B$ ($ 3#))P?+03+$ (5!0'=$ V!G%$ (70*!$ "(&2+B$ ($ %!'0+B$ 50+5#/!C$ .('?#9+B$ %*//0'!C$ /'0/#'$ ,2%!'27*90+$ 5"(+‐ +#)%=$ V!G%$ +0!$ %0$ .*5"$ (+$ ('!$ (%$ ($ 7*%2+#%%$ P$ /'0,*5!C$ .('?#9+BC$(+,$,2%!'27*90+$.*%!$())$B0$!0B#!"#'= G&$ '51&$ 6)&1#)$ '!$ ;#)*H$ !"'$ (#!9$ *$ A!&&1;.)$ 35)I!$ !($ %.9&J(!#J()&40*.&J!2./$'5*'$.)6$/!"$'!$#)-)2'./$&'*#'$*$ A#!6"-4!2$(!#$*$75*1$%.9$&'"61!F VG&#$ '*+$ (+$ 2+,#/#+,#+!$ /'0,*590+$ 50./(+8$ 10'$ %24$ 8#('%=$V+$!"(!$9.#C$VG.$&#'8$/'0*,$01$())$!"#$-).%$3#G&#$ .(,#=$V$!"2+?$3#G&#$,#-+#,$!"2%$B#+#'(90+$01$J"(2$2+‐ ,#/#+,#+!$ -).%=$ Y0$ 3"#+$ !"#$ 50..#'52()$ -).$ %!*,20$

< If we want to work freely, then we should work quickly and cheaply too > wanted to work with us, it proved that the industry sees 0*'$ /0!#+9()=$ V!$ 2%$ ($ 5"(+5#$ !0$ )#('+$ %0.#!"2+B$ +#3C$ (+,$V$7#)2#&#$!"(!$2+,#/#+,#+!$.2+,%$(+,$50..#'52()$ minds working together can help to improve each oth‐ #'G%$30'?= 751&$/)*#$/!"$,)#)$120!.0)6$12$*$2),$1214*40)$7!#12!J 81.9:*;$ -!..*;!#*')&$ ,1'5+$ '5)$ K)21-)$ L1)22*.)$ M!.J .)3)?$M*2$/!"$')..$"&$*;!"'$'5)$)NA)#1)2-)$!($A#!6"-123$ *$91-#!J;"63)'$%.9+$,51-5$1&$'5)$&-#))2$*6*A'*4!2$!($ *$7,1I)#$())6$O!"*;(%+(-"<<;,(!"*;(%+(-"<<;)? a2#++()#$ b0))#B#$ b2+#.($ 2%$ ($ &#'8$ B00,$ /'0B'(..#=$ V$ )2?#$!"#$/"2)0%0/"8$01$2!C$3"25"$2%$!0$!'(2+$-)..(?#'%$!0$ work quickly. This was the primary requirement of the 1*+,=$ J"#8$ B(&#$ .#$ Ac;C;;;$ Z*'0%$ (+,$ %24$ .0+!"%$ !0$ .(?#$!"#$#+9'#$-).C$2+5)*,2+B$3'29+B$!"#$%5'2/!=$Y0.#$ 30*),$%(8$!"2%$2%$&#'8$,2_5*)!C$7*!$V$10*+,$2!$&#'8$)27#'(!‐ 2+B=$V!$2%$($.*5"$7#^#'$%2!*(90+$!"(+$!"#$*%*()$%8%!#.$ 3"#'#$2!$!(?#%$-&#$8#('%$!0$,#&#)0/$(+,$-+(+5#$($.2)‐ )20+$#*'0$-).=$Q+,$10'$3"(!d$I0%!$01$!"0%#$2+,#/#+,‐ #+!$ -).%$ 1(2)$ (!$ !"#$ 704$ 0_5#$ (+83(8=$ V1$ 3#$ 3(+!$ !0$ work freely, then we should work quickly and cheaply !00=$Q+,$V$!"2+?$!"#$30'?$()%0$7#+#-!%$7#5(*%#$!"#$2,#($ 3(%$1'#%"$(+,$2..#,2(!#=$V$5(+$!#))$80*$!"(!$(e#'$-&#$ years of development, directors grow bored of their 03+$/'0`#5!C$#&#+$21$2!$"(%+G!$7##+$.(,#T

AAAA

niles Director, Chile Script&Pitch 2011 / FrameWork 2012

&;(,*&$;!#2$!"'$!($/!"#$(*&-12*4!2$(!#$'5)$ %3"#)$ !($ C#..1)JD2'!12)$ 6)$ 7!"2)2&+$ '5)$ P123$!($'5)$D#*-*"21*$*26$Q*'*3!21*?$R!,$ 6!)&$/!"#$*9;14!2$!($;"1.6123$*$9".4J(*-J )')6$122)#$A!#'#*1'$!($'51&$9*2$%'$,1'5$'5)$ 2*##*40)$(#*9),!#H$!($*$()*'"#)$%.9F$ V+%!#(,$01$5'#(9+B$($720/25$(70*!$M'))2#PQ+!02+#$3"#'#$ V$30*),$"(&#$!0$50+%!'*5!$0+#$&#'%20+$01$3"0$"#$3(%C$V$ 3(%$ .*5"$ .0'#$ (^'(5!#,$ !0$ #4/)0'2+B$ !"#$ .*)9/)252!8$ 01$ &#'%20+%=$ J"#$ +(''(9&#$ 1'(.#30'?$ 01$ ($ 1#(!*'#$ -).$ 2%$($/('95*)(')8$*+2f*#$&#"25)#$10'$#4/)0'2+B$!"#%#$2,#(%$ %2+5#$3#$5(+$#4/#'2#+5#$!"#$?2+BG%$.#.0'2#%$(%$21$!"#8$ 3#'#$0*'$03+=$J"#$%/#5!(!0'$01$!"#$-).$32))$32!+#%%$!"#$ decay of these memories, physically through the dete‐ '20'(90+$ 01$ !"#$ -).$ #.*)%20+$ 2!%#)1C$ (+,$ 2+$ ($ +(''(9&#$ sense through the way the memories transform over the 50*'%#$01$!"#$-).= G26))6$*2$12')3#*.$A*#'$!($'5)$A#!S)-'$6)0).!A9)2'$5*&$ ;))2$ *$ &)#1)&$ !($ %.9$ ;"#1*.&$ *26$ "2)*#'5123&$ /!"$ 616$ 12$/!"#$3*#6)2?$R*0)$/!"$5)*#6$!($*2/$%.99*H)#$,5!$ -*##1)6$!"'$&191.*#$)NA)#19)2'&F$ V$"(,$+0!$"#(',$(70*!$(+0!"#'$-)..(?#'$,02+B$!"2%C$7*!$ !"#$!'*!"$2%$V$,2,$+0!$'#%#('5"$!"2%$.*5"$(!$())=$M1$50*'%#C$ V$"(&#$"#(',$01$/#0/)#$,(.(B2+B$-).$2+$($&('2#!8$01$3(8%$ (+,$!"#$2,#($01$7*'82+B$2%$+0!$%0.#!"2+B$V$50+%2,#'$/('‐ 95*)(')8$*+2f*#$%2+5#$2!$2%$`*%!$(+0!"#'$3(8$01$30'?2+B$ 32!"$-).=$V!$2%$!"#$'#)(90+$!"#$7*'82+B$"(%$!0$g#8$!"(!$2%$ 1*+,(.#+!()$10'$!"#$/'0`#5!$(+,$!"#$.09&(90+%$7#"2+,$ my burying it. The act of burying and unearthing actually 7'2+B%$2,#(%$!0$!"#$%*'1(5#X$2!$2%$($&#"25)#$10'$.(+21#%9+B$ "2,,#+$#4/#'2#+5#%= B16$1'$A#!0)$&"--)&&(".$(!#$/!"F >"#+$2!$50.#%$!0$('9%95$/'(595#$V$"(&#$($%!'0+B$1(2!"$2+$ /*'%*2+B$2+!*29&#$(590+=$Q!$($5#'!(2+$/02+!$($+##,$('2%#%$ 10'$.#$!0$,0$%0.#!"2+BC$!0$(5!$*/0+$(+$2,#(=$V$*%*())8$ ,0$ +0!$ *+,#'%!(+,$ !"#$ (590+$ 2!%#)1$ 7#5(*%#$ 2!$ %/'2+B%$ 1'0.$(+$2+!*290+$!"(!$"(%$2!%$'00!%$2+$(+$*+?+03+$!#'‐

'2!0'8$01$.8$03+$#4/#'2#+5#=$V!$1##)%$&#'8$.*5"$)2?#$(+$ animal impulse, a need to do something physically with‐ 0*!$?+032+B$3"8=$J"2%$(590+$2%$0e#+$&#'8$%2./)#$(+,$2%$ +0!$2./0'!(+!$2+$(+,$01$2!%#)1=$V!$2%$!"#$'#)(90+$!"#$(590+$ "(%$!0$($/('95*)('$2,#($!"(!$'#&#()%$2!%$%2B+2-5(+5#=$V!$2%$ alchemical in nature, an act of magic. R!,$5).A(".$616$'5)$7!#12!81.9:*;$A#!3#*99)&$A#!0)$ '!$;)$12$310123$*$61#)-4!2$'!$/!"#$12'"14!2&F J"#8$3#'#$&#'8$"#)/1*)$!0$!"#$3'29+B$01$!"#$%5'2/!$%2+5#$2!$ 3(%$($/)(5#$01$50+%!(+!$#4/0%290+$(+,$,2()0B*#=$V!$3(%$($ &()*(7)#$#4/#'2#+5#$!0$'#5#2&#$1##,7(5?$1'0.$0!"#'$-).‐ .(?#'%$(+,$-).$/'01#%%20+()%$(70*!$($30'?P2+P/'0B'#%%=$ JU6$3(%$+0!$0+)8$"#)/1*)$10'$!"#$3'29+BC$7*!$/'0&#,$!0$ 7#$($/#'20,$01$B#+#'()$)#('+2+B$%2+5#$V$3(%$(7)#$!0$10)‐ low the projects of others and see how they resolved their own issues and confronted obstacles in their own work. Some of us have stayed in touch over a period of several years, and we share with each other news about !"#$/'0B'#%%$01$#(5"$01$0*'$-).%= G2$M*#.!&$T!#12U&$="(<&6>?'6"(.&6(*&;,$!2)$!($'5)$;133)&'$ -5*..)23)&$(!#$'5)$61#)-'!#+$,5!$*I)9A')6$'!$9*H)$*2$ )A1-$ *--!"2'$ !($ 7!"2)2&U$ *60)2'"#)&+$ ,*&$ '!$ %26$ '5)$ #135'$*-'!#?$R*0)$/!"$&!.0)6$'51&$1&&")F$ M+#$ 01$ !"#$ .(2+$ 2+%/2'(90+%$ 10'$ #.7('?2+B$ 0+$ !"#$ making of =$;&was Rodrigo Lisboa, a Chilean actor and 1'2#+,=$V$%(3$g0,'2B0$(5!$0+$&('20*%$055(%20+%$(+,$3(%$ convinced that he was the perfect actor for the role. He %##.#,$!0$/"8%25())8$#.70,8$3"(!$V$2.(B2+#,$M'))2#PQ+‐ !02+#$!0$)00?$)2?#$(+,$"03$"#$.0&#,=$[03#&#'$V$?+#3$V$ would need the voice of a French actor, and this division 01$!"#$)#(,$'0)#$2+!0$!30$/('!%$3(%$/('!$01$!"#$2+5#/90+$ of =$;. The idea of working with two actors, who would 70!"$ '#/'#%#+!$ ,2D#'#+!$ (%/#5!%$ 01$ !"#$ %(.#$ '0)#C$ 7*!$ *+?+03+$!0$!"#$%/#5!(!0'$01$!"#$-).C$B'#(!)8$(//#()#,$ to me.

massoud

Director, Iran Script&Pitch 2009 / FrameWork 2010

!,$616$@(A&+<&?B"C6&(D"39 %6;$-!9)$*;!"'F$ V$-'%!$"(,$(+$(7%!'(5!$2.(B#$ in my mind of a woman in a bathroom crying. Apart from this image that has persistently haunt‐ #,$.#C$V$3(%$()%0$"2B")8$2+h*#+5#,$78$.8$ 5"2),"00,$.#.0'2#%$01$!"#$3('=$J"#+$V$B0!$ to know about the TorinoFilmLab and was lucky enough to be selected and to develop !"#$ 3"0)#$ /'0`#5!$ !"'0*B"$ !"#.C$ !"(!G%$ "03$V$.#!$.8$U'#+5"$/'0,*5#'=

V!"$ &'*#')6$ '5)$ T-#1A'WQ1'-5$ A#!J 3#*99)$ ,1'5$ *$ '#1.!3/$ 12$ 9126+$ ,51-5$ ,!".6$&A*2$*$X=J/)*#$49)$A)#1!6?$R!,$ 616$ '51&$ 1214*.$ 16)*$ #)&5*A)$ 12'!$ '5)$ &'!#/+$*&$,)$H2!,$1'$'!6*/F$ >"#+$ V$ %!('!#,$ !"2%$ /'0B'(..#C$ V$ had only a plot and some ideas. Then !"'0*B"$ !"#$ 3'29+B$ /'05#%%C$ V$ )#('+!$ ($ lot and many things changed in me, in my country and also in my story. Chang‐ #%$,*'2+B$!"#$3'29+B$/'05#%%$('#$+(!*‐ '()=$>0'?2+B$32!"$/#0/)#$1'0.$,2D#'#+!$

countries helped me a lot. To discuss my story, with its own cultural spe‐ 52-529#%C$32!"$,2D#'#+!$/#0/)#C$3(%$ an enriching process insofar as mul‐ 9/)#$ /#'%/#59&#%$ 50+&#'B#,$ 2+$ !"#$ improvement of my work.

iB#+'#$-).WC$7*!$V$3(%$%0$2+h*#+5#,$ 78$ V!()2(+$ (+,$ U'#+5"$ 52+#.(C$ (+,$ all the masterpieces they made in !"#$ l;%$ (+,$ R;%=$ V$ %##$ .8$ -).$ (%$ ($ family‐social drama with a touch of -).$+02'=

@5*'$ ,)#)$ '5)$ 6)-1&10)$ 9!9)2'&$ !($'5)$,#1423$A#!-)&&F V$ !"2+?$ !"#$ .0%!$ ,2_5*)!$ /('!$ 2%$ 7#‐ 10'#$3'29+BC$3"#+$80*$!'8$!0$i2.(B‐ 2+#W$80*'$%!0'8$2+$80*'$.2+,=$V!$2%$($ "(',$'#"#('%()$10'$"(&2+B$($&2%20+=$V$ "(&#$ !0$ 2.(B2+#$ #(5"$ %5#+#$ V$ 3'2!#$ (+,$ !0$ i3(!5"W$ 2!$ 7#10'#$ 3'29+B$ 2!=$ >"#+$ !"2%$ &2%20+$ #42%!%C$ !"#$ 3'29+B$ is not so tough, as you have all the characters and events in you. For me 2!$ 3(%$ ,2_5*)!$ !0$ 5"00%#$ 7#!3##+$ !"#$ .(+8$ .(!#'2()%$ V$ "(,C$ 3"(!$ !0$ ?##/$(+,$3"(!$!0$/*!$(3(8C$(%$V$"(,$ so many things to tell.

V!"$5*0)$;))2$-!9A*#)6$'!$D&35*#$ 8*#5*61$ [$ /!"$ ;).!23$ '!$ '5)$ &*9)$ 3)2)#*4!2+$*&$/!"$;!'5$,)#)$;!#2$ 12$\]Z<?$@5*'$6!$/!"$'512H$!($'51&$ -!9A*#1&!2F U('"(,2$2%$($&#'8$2./0'!(+!$-B*'#$2+$ V'(+2(+$ 52+#.($ 7#5(*%#$ "#$ '#.2+,‐ #,$ #&#'8$ -)..(?#'$ !0$ !#))$ ($ %!0'8$ (70&#$())$#)%#=$V'(+2(+%$('#$B00,$%!0‐ rytellers, the proof being the glori‐ 0*%$5)(%%25$)2!#'(!*'#$3#$"(&#=$V$!"2+?$ "2%$ 30'?$ 2%$ B'#(!=$ [#$ "(%$ .(,#$ %24$ -).%$(+,$V$,2,$0+)8$0+#=$Y0$2!G%$#(')8$ !0$50./('#C$(+,$V$!'8$!0$-+,$.8$03+$ style.

D&$ '51&$ ,*&$ *2$ G#*21*2J8#)2-5$ -!J A#!6"-4!2+$ ("26#*1&123$ ,*&$ -5*.J .)23123?$ B16$ /!"$ )0)#$ 6!";'$ '5*'$ /!"$,!".6$9*H)$/!"#$%.9F V$+#&#'$,0*7!#,C$+0!$#&#+$10'$($%#5‐ ond, and never thought about leav‐ 2+B$!"2%$/'0`#5!$10'$-+(+52()$0'$0!"#'$ '#(%0+%=$M+5#$3#$30+$!"#$j'0*/(‐ .($ j(+$ F'2k#C$ V$ (++0*+5#,$ (!$ !"#2'$ 5#'#.0+8$!"(!$V$30*),$.(?#$!"#$-).$ 2+$($1#3$.0+!"%=$Z&#+$.8$/'0,*5#'%$ smiled at me, believing it would not 7#$/0%%27)#$2+$%*5"$($%"0'!$9.#=$>#$ did it though, even if it was not easy at all. And it caused a lot of prob‐ )#.%$10'$.8$V'(+2(+$/'0,*5#'$(+,$VC$ 2+$3"25"$3#$('#$%9))$2+&0)&#,=$>"#+$ you have a strong story and you are 1(2!"1*)$ !0$ !#))2+B$ 2!C$ 80*$ 32))$ -+,$ ($ way to do it.

>&I think a film is like a baby, it resembles the parents, but before its birth, no one can tell exactly what it will look like?&@

8!..!,123$1'&$M*22)&$A#)91)#)+$'5)$ %.9$,*&$!Y)2$.*;)..)6$*&$*$%.9$2!1#$ *;!"'$-!##"A4!2$#)9121&-)2'$!($'5)$ A!.14-*.$ '5#1..)#&$ !($ '5)$ Z=&?$ B!)&$ '51&$ 6)&-#1A4!2$ -!##)&A!26$ '!$ '5)$ %.9$/!"$,)#)$*19123$(!#F V$!"2+?$($-).$2%$)2?#$($7(78C$2!$'#%#.‐ bles the parents, but before its birth, +0$ 0+#$ 5(+$ !#))$ #4(5!)8$ 3"(!$ 2!$ 32))$ )00?$)2?#=$V$+#&#'$3(+!#,$!0$.(?#$($

M!".6$ /!"$ &*/$ *$ (),$ ,!#6&$ *;!"'$ ^*#/*9+$ '5)$ 9*12$ -5*#*-')#$ !($ /!"#$2)N'$%.9F Y"#$2%$%*D#'2+B$($)0!$10'$!"#$.*',#'$ %"#$ 50..2^#,=$ Y"#$ 2%$ &#'8$ %!'0+B$ for the anger she has. She is full of /(%%20+$ (+,$ "#%2!(90+C$ 5(*B"!$ 7#‐ !3##+$'#&#+B#$(+,$.0'()%=$m*%95#$2%$ all she is looking for.

!2&16)#123$'5*'$:5/8+$ /!"#$ %#&'$ ()*'"#)$ %.9+$ #)-)10)6$ 12')#J 2*4!2*.$ #)-!3214!2$ OM*22)&$ M#14-&U$ @))H$ _#*26$ Q#1N`+$ *26$ '5*'$ /!"$ ,)#)$ #)2),123$ -!..*;!#*4!2$ ,1'5$/!"#$8#)2-5$*26$_)#9*2$A*#'J 2)#&$ O:)&$ 81.9&$ 6)$ .UDA#a&J^161$ *26$ b!5%.9`+$,5*'$,*&$'5)$*66)6$0*.")$ (!#( E$%6.*&5( /0( :"*"F&G/( '!$ *I)26$ 7!#12!81.9:*;F Q5!*())8C$ V$ 0+)8$ "(,$ !"#$ U'#+5"$ %2,#$ (^(5"#,$ 3"#+$ V$ (//)2#,$ !0$ JU6=$ >#$ were not sure how to envisage our 50/'0,*590+$%!'*5!*'#$8#!=$a*!$V$(/‐ /)2#,$ 2+$ 0',#'$ !0$ #45"(+B#$ 2,#(%$ 0+$ .8$ /'0`#5!$ 32!"$ !*!0'%=$ V$ 3(%$ ()%0$ curious to hear what my colleagues ('0*+,$!"#$30'),$!"0*B"!C$(+,$-+()‐ )8$!0$.##!$/0!#+9()$/('!+#'%$(!$!"#$ -+()$ %#%%20+=$ Q+,C$ 8#%C$ V$ !"0*B"!$ 2!$ 30*),$7#$&#'8$%#48$!0$7#$/('!$01$!"2%$ (.(k2+B$#&#+!$(+83(8T L!'5(:5/8$*26$E$%6.*&5(/0(:"*"F&G/ )NA.!#)6$'5)$*Y)#9*'5$!($'5)$L!&J 21*2$ ,*#$ [$ !2)$ ,*&$ &)'$ 12$ *$01..*3)$ 12$ \]]Z$ *26$ (!-"&)6$ !2$ *$-!99"J 21'/$!($,!9)2+$,5)#)*&$'5)$!'5)#$1&$ *;!"'$ ',!$ /!"23&')#&+$ *$&1&')#$ *26$ *$;#!'5)#+$ 12$ 9!6)#2J6*/$ T*#*S)0!?$ R*0)$ '5)$ ',!$ %.9&$ ;))2$ #)-)10)6$ 0)#/$61c)#)2'./$12$L!&21*F F#0/)#$ 2+$ a0%+2($ ('#$ 9'#,$ 01$ !"#2'$ own misery. Therefore, the hardest !"2+B$ 10'$ .#$ 2%$ !0$ %"03$ .8$ -).%$ (!$ "0.#=$ a*!C$ (e#'$ #&#'8$ %5'##+2+BC$ V$ 1#)!$ %0.#$ ?2+,$ 01$ '#)2#1=$ a0!"$ -).%$ were well received, and the most precious thing for me was the fact !"(!$ !"#$ /0/*)(90+$ V$ 3(%$ !()?2+B$ (70*!$10*+,$.8$-).%$2./0'!(+!$(+,$ 7#)2#&(7)#=$ J"#$ ,2D#'#+5#$ 7#!3##+$ 9.#%$3"#+$3#$3#'#$%"032+B$A-+B and CD,(E%$-&+:&A'%'3$9+ is in the re‐ ()2!8$ !"(!$ %*''0*+,%$ *%=$ Q!$ !"#$ 9.#$ of CD,(E%$-C$ !"#$ %2!*(90+$ 2+$ a0%+2($ was much worse, and so were the 52'5*.%!(+5#%$10'$!"#$,2%!'27*90+=

Ac Q#1!#$ '!$ '5)$ d2$ M)#'*12$ b)3*#6$ &-#))2123$ !($ E$%6.*&5( /0( :"*"F&G/ /!"$&*16$'!$'5)$*"61)2-)$'5*'$1'$,*&$ *$ &5*9)$ /!"$ ,)#)$ "2*;.)$ '!$ ;#123$ *$ 5*AA1)#$ %.9?$ M!".6$ /!"$ 19*312)$ '5)$%.9$/!"$9135'$;#123$'!$M*22)&$ ',)2'/$/)*#&$(#!9$2!,F V$ "0/#$ !0$ 7#$ (7)#$ !0$ ,0$ %0.#$ /*'#$ metaphysical thing or even a com‐ #,8C$7*!$.0%!$/'07(7)8$V$30*),$50.#$ 32!"$ %0.#$ (/05()8/95$ &2,#0$ B(.#P like project, that will actually be a ,05*.#+!('8$-).=

< People in Bosnia are tired of their own misery. Therefore, the hardest thing for me is to show my films at home.&@ L)',))2$ :5/8( *26$ E$%6.*&5( /0( :"9 *"F&G/+$/!"$(!"26)6$/!"#$!,2$A#!J 6"-4!2$-!9A*2/+$81.9$R!"&)+$,1'5$ /!"#$5"&;*26$*26$B!Q$!($/!"#$%.9&$ J$E#!.$e";f)01g?$@5*'$9!40*')6$'51&$ 9!0)F V$3(%$()3(8%$#+B(B#,$2+$!"#$/'0,*5‐ 90+$01$.8$-).%=$J"#$%2!*(90+$"#'#$2%$ "(',C$(+,$21$80*$,0+G!$/*!$2+$($)0!$01$ #D0'!$ 2+$ 0',#'$ !0$ 7'2+B$ !"#$ /'0,*5‐ 90+$ !0B#!"#'C$ +0$ 0+#$ 32))=$ I8$ -).%$ ('#$ .8$ )21#$ (+,$ V$ B*#%%$ +070,8$ 5(+$ .(?#$%(5'2-5#%$10'$!"#.$(%$.*5"$(%$V$ ,0=$Y0C$V$1##)$!"#$1'##%!$3"#+$V$,0$2!$2+$ my own company, without disturb‐

2+B$(+80+#C$#45#/!$.8$5)0%#%!$1(.2)8$ .#.7#'%$ 01$ 50*'%#=$ V+$ /('())#)C$ 3#$ are searching for young auteurs to 2+1#5!$!"#.$32!"$0*'$5'(k2+#%%=$$ B!)&$ '5)$ (*-'$ '5*'$ L!&21*$ *26$ R)#J h)3!012*$#)-)2'./$S!12)6$'5)$^EBGD$ Q#!3#*99)$!($'5)$E"#!A)*2$d21!2$ 12&A1#)$/!"$&!9)5!,F V!$2%$($B'#(!$0//0'!*+2!8$10'$*%$!0$7#$ more independent and to choose co‐ /'0,*5#'%$ .0'#$ 1'##)8=$ Z&#+$ .0'#$ importantly, we will be able to get some serious funding for developing our projects. V!"$ -*9)$ ;*-H$ '!$ 7!#12!81.9:*;$ 12$ <=\<+$ '51&$ 49)$ *&$ *$ S"#/$ 9)9;)#$ 6)-16123$ !2$ '5)$ A#!6"-4!2$ *,*#6&$ !($ /!"#$ A))#&?$ R!,$ 616$ /!"$ ()).$ *;!"'$;)123$!2$'5)$!'5)#$&16)F V$1#)!$.*5"$7#^#'$(%$($`*'8$.#.7#'=$ V$50*),$.(?#$0!"#'$/#0/)#$%*D#'$!"2%$ 9.#$ P$ ?2,,2+B=$ V!$ 2%$ ($ ,2D#'#+!$ /0%2‐ 90+X$ 70!"$ 3(8%$ 3#'#$ *%#1*)=$ V$ 3(%$ also honoured to be able to read and to study some of the most interest‐ ing materials that are developing in the world at the moment. @!".6$/!"$5*0)$*2/$&"33)&4!2&$'!$ 9*H)$'!$'5)$7!#12!81.9:*;F Please survive in these unbearable 9.#%=

aida

Director/Producer, Bosnia-Herzegovina FrameWork 2010

Director, Israel FrameWork 2009

hagar

5)$ %#&'$ 49)$ /!"$ ,)#)$ -!2'*-')6$ '!$ *I)26$ 7!J #12!81.9:*;+$ /!"#$ 199)J 61*')$#)*-4!2$,*&$'5*'$1'$ -!".6$ ;)$ *$ ;13$ 5).A$ -!2J &16)#123$'5)$&1'"*4!2$/!"$,)#)$12i$ B!$/!"$#)9)9;)#$,5*'$H126$!($5).A$ /!"$,)#)$.!!H123$(!#$*'$'5*'$49)F J"#$3'29+B$/'05#%%$3(%$2+$($,#)25(!#$ borderline stage. Somehow being (7)#$!0$50.#$!0$50./)#90+C$0'$0/#+‐ 2+B$*/$!0$($'0*B"$'#P3'2!#=$V$!"2+?$2!$ had to do with having the same peo‐ ple revising and advising the script from its beginning. The possibility of .##9+B$+#3$(+,$7'2B"!$/#'%/#59&#%$ 3(%$($)21#$%(&#'$(!$!"#$9.#=$V!$"#)/#,$ me realise that the script has a life 01$ 2!%$ 03+C$ (+,$ ())$ V$ "(,$ !0$ ,0$ 3(%$ (7%0'7$'#(,#'%G$'#(590+%C$0&#'50.#$ my own denials, and let it breathe. V$ 7#)2#&#$ V$ 3(%$ %!('9+B$ !0$ %!'(+B)#$ it, over write and let my fears grow. J"#$ .##9+B%$ 2+$ J0'2+0$ %0.#"03$ allowed me to let it live again, with .(+8$ .0'#$ 50+5)*%20+%=$ J"#$ -'.$ opinions have a mirroring impact, .#(+2+B$ V$ 50*),$ '#%2%!$ 0'$ (//'0&#C$ 3"2)#$'#()2%2+B$!"(!$.8$'#(590+$3(%$ ($'#h#590+$01$(+$2++#'$!'*!"$!"(!$"(,$ 7##+$(!$9.#%$"2,,#+$0'$B0+#= L)(!#)$ A*#4-1A*423$ 12$ 7!#12!81.9J :*;+$ /!"$ &'*#')6$ '!$ ,#1')$ 7$&( :6'B *'$ '5)$ M12)(!26*4!2$ b)&16)2-)?$ 7!$ ,5*'$ )N')2'$ 5*0)$ '5)$ ',!$ )NA)#1J )2-)&$;))2$-!9A.)9)2'*#/F The Residence structure is very dif‐

1#'#+!X$ 2!$ 2%$ .0'#$ 01$ ($ 9.#$ 1'(.#$ !"(+$($30'?2+B$1'(.#=$V+$($3(8C$!"#8$ 3#'#$2+$!"#$/#'1#5!$0',#'$10'$.#=$V+$ !"#$'#%2,#+5#$V$"(,$!"#$9.#$!0$3'2!#C$ to think, and to dedicate my mind completely to the script, and then came Torino to shake it all up. M!".6$ /!"$ ()).$ '5*'$ '5)$ A)#-)A4!2$ !($ /!"#$ A#!S)-'$ ,*&$ 61c)#)2'$ 12$ *2$ 12')#2*4!2*.$ -!2')N'$ .1H)$ 7!#12!J 81.9:*;+$-!9A*#)6$'!$12$G&#*).F Yes, in so many ways. Winning the /'2k#$ 2+$ J0'2+0$ 3(%$ !"#$ ?25?P%!('!$ 01$ !"#$-+(+52+B$/'05#%%=$V$!'*)8$7#)2#&#$ !"(!$ 21$ 2!$ 3#'#+G!$ 10'$ !"2%$ /'2k#C$ !"#$ -).$ 30*),+G!$ "(&#$ "(//#+#,$ !"#$ 3(8$ !"(!$ 2!$ ,2,$ n$ :;$ %"009+B$ ,(8%$ 2+%!#(,$ 01$ A:=$ J"#$ %*7`#5!$ (+,$ !"#$ 52+#.(95$ )(+B*(B#$ 3#'#$ ,2_5*)!$ to perceive here, therefore the ap‐ /'0&()$ 1'0.$ (7'0(,$ 3(%$ +##,#,=$ V$ !"2+?$!"(!$V%'(#)2$52+#.($"(%$(+$2++#'$ racism issue, a very narrow capacity 01$!"#$%*7`#5!%$50.2+B$1'0.$32!"2+=$V$ must add, as a contrast, that surpris‐ 2+B)8$#+0*B"$!"#$-).$#&#+!*())8$3(%$ very well received here, both by crit‐ ics and audiences. V!"$ H2),$ (#!9$ '5)$ &'*#'$ '5*'$ /!"$ ,)#)$ )NA.!#123$ -!2'#!0)#&1*.$ ')#J #1'!#/$ ,1'5$ 7$&( :6'B+$ *26$ '5*'$ /!"$ ,)#)$ '*H123$ *2$ 1-!2!-.*&4-$ &'*26?$ B16$#)*-4!2&$(#!9$*"61)2-)&$9*H)$ /!"$)201&1!2$/!"#$ %.9$12$,*/&$/!"$ 2)0)#$'5!"35'$*;!"'$6"#123$'5)$,#1'J 123$A#!-)&&F

V$!"2+?$V$B0!$!0$?+03$*D$&A(45 for the -'%!$9.#$3"#+$2!$.#!$!"#$(*,2#+5#=$ V!$ 3(%$ ($ .0.#+!$ 01$ 5)('2!8$ 3"#+$ V$ 5(.#$ !0$ '#()2%#$ 3"(!$ !"#$ !"2+B%$ V$ managed to communicate were, and which things had remained in my head. That was for me a deep understanding regarding the process 01$-)..(?2+B=$J"#$,2%5*%%20+$(70*!$ %#4*()2!8$3(%$()3(8%$($,2%5*%%20+$!"#$ audience was happy to embrace, (+,$ 2!$ 3(%$ #4529+B$ 10'$ .#$ !0$ %##$ !"(!$!"#$f*#%90+%$V$3(%$(%?#,$3#'#$ f*#%90+%$!"(!$()'#(,8$2+5)*,#,$!"#2'$ (+%3#'%=$ V!$ 3(%$ &#'8$ 2+!#'#%9+B$ !0$ realise that people do actually un‐ derstand, but somehow prefer eve‐ '8!"2+B$!0$7#$#4/)(2+#,$($72!$.0'#=$ @)#)$ *"61)2-)&$ A"hh.)6$ ;/$ '5)$ %.9U&$*9;13"1'/F J"2%$ (.72B*2!8$ 2%$ %0.#!"2+B$ V$ 3(%$ discussing with myself in the process 01$ /'#/('2+B$ !"#$ -).C$ (+,$ 2!$ 3(%$ ($ 5"())#+B#$V$32%"#,$!0$1(5#$!"#$(*,2‐ #+5#$ 32!"=$ Qe#'$ %"032+B$ !"#$ -).$ 32,#)8C$V$)#('+!$!"(!$!"2%$2%$($&#'8$!"2+$ )2+#$!0$3()?$0+=$V$+03$'#()2%#$!"(!$($ -).$%"0*),$7#$(%$%2./)#$(%$/0%%27)#C$ and that way it will be far more com‐ /)#4$(+,$/'010*+,=

maria Producer, Greece FrameWork 2012

*0)$/!"$)0)#$)NA)#1)2-)6$&'*3)$(#135'F V$ 0e#+$ #4/#'2#+5#$ %!(B#$ 1'2B"!C$ 7*!$ 78$ +03$VG&#$)#('+!$"03$!0$,#()$32!"$2!=$V$'#‐ .#.7#'$V$3(%$!#''2-#,$7#10'#$!"#$/2!5"$ (!$ !"#$ J0'2+0U2).6(7$ I##9+B$ Z&#+!=$ V$ thought that my voice would tremble or !"(!$V$30*),$+0!$7#$(7)#$!0$50.#$*/$32!"$!"#$'2B"!$30',%=$ U0'!*+(!#)8$2!$,2,$+0!$"(//#+$(+,$%2+5#$!"#+$VG&#$+0!$7##+$ so afraid anymore. M4$"B(3&6/.*"3"(./&+(%+(0/*?&('+,(B$*/'2$(B$&(&N?&+9 +%G&( '+&( /0( <"++%/5,( /0( &3/O/5"6( &NB/*O/5,( B/( +&&( B$&( B*'B$?j$B!$/!"$*3#))$,1'5$'51&$&'*')9)2'F J"2%$f*0!#$7#)0+B%$!0$($,2'#5!0'$V$(.$30'?2+B$32!"C$Y8))(%$ Jk0*.#'?(%=$>#G'#$5*''#+!)8$%"009+B$0*'$%#50+,$-).$!0‐ gether, called "&I('25=$Q%$80*$5(+$*+,#'%!(+,$1'0.$!"#$9‐ !)#C$,8+(.25$.#)0,'(.($2%$($B#+'#$VG.$&#'8$10+,$01=$I#)0‐ drama is a risky genre when it comes to conveying a truth L7#5(*%#$2!G%$()3(8%$80*'$!'*!"O$7*!$21$0+#$%*55##,%C$!"#+$ !"#$'#%*)!$L!"#$-).O$5(+$7#$'#())8$%!'0+B$(+,$#&#+$,('2+B=

< I was terrified before the pitch >

8)&40*.$61#)-'!#$B1)')#$P!&&.1-H$#)-)2'./$6)-16)6$'!$P&"+&( +'C3%++%/5(*&Q'%*&3&5B+U$(!#$A#!S)-'&$(#!9$_#))-)+$TA*12$ *26$Q!#'"3*.$,1..123$'!$)2')#$'5)$L)#.12*.)$M!JQ#!6"-4!2$ ^*#H)'+$6)-.*#123k$l7$&;(5&&.(/'*($&6<(B/(2&B(<*/F&?B+(/R( B$&(2*/'5.("5.(3"%5B"%5("(<*&+&5?&(/5(B$&(%5B&*5"O/5"6( 3"*S&BTj$R!,$6!$/!"$()).$*;!"'$'51&$&A)-1*.$'#)*'9)2'F V$ 7#)2#&#$ 2+$ B00,$ /'0`#5!%C$ %!'0+B$ -).%$ (+,$ 2+!#'#%9+B$ -)..(?#'%$'#B(',)#%%$01$!"#2'$50*+!'8$01$0'2B2+=$[03#&#'C$ %/#(?2+B$ 0+$ ($ B#+#'()$ )#&#)$ V$ ,0+G!$ .2+,$ 7#2+B$ !'#(!#,$ 32!"$ %/#52()$ 5('#=$ V$ 7#)2#&#$ !"(!$ !"2%$ E%/#52()$ !'#(!.#+!GC$ which is on the basis of budget requirements and not con‐ !#+!$0'$f*()2!8C$32))$"#)/$-)..(?#'%$1'0.$!"#%#$50*+!'2#%$ !0$(55#%%$($72B$(+,$%2B+2-5(+!$.('?#!= D2/$ A*#4-".*#$ #)*&!2$ ,5/$ /!"$ 61&A.*/)6$ *$ m!,)#$ !2$ /!"#$#135'$&5!".6)#F V$ 3(%$ ,'#%%#,$ (e#'$ .8$ .0^0$ i!"#$ h03#'$ 01$ "0/#$ 7)0%‐ %0.%$ 2+$ !"#$ ,('?+#%%W$ L($ %5(')#!$ '#,$ h03#'$ 0+$ ($ 7)(5?$ ,'#%%O=

!"$;#!"35'$',!$A#!S)-'&$'!$7!#12!81.9:*;+$ =&( H'"#*/( I/6B&$ *26$ J&%*'B,( K( =/G&( L/'+$ ,51-5$ *#)$ 1214*')6$ ;/$ *#4&'&$ (!#$ ,5!9$ *$ &-#1A'$1&$A!&&1;./$2!'$'5)$;)&'$&"1')6$6)0).J !A9)2'$;.")A#12'??? Z&#+$21$2!$2%$"(',$!0$2.(B2+#C$3#$"(,$($%5'2/!$ for 0$&F4'G%+&H+(5$=$J"#$-).$"(%$+0$,2()0B*#C$7*!$I25"#)‐ (+B#)0$U'(..('9+0$3(%$(7)#$!0$5'#(!#$($/'0`#5!$,0%%2#'$ !"(!$1*))8$,#%5'27#,$!"#$-).G%$/0!#+9()=$[#$%!('!%$1'0.$'#()$ visions and places that through a slow process gradually 50++#5!$0+#$!0$!"#$0!"#'C$7*2),2+B$($&2%*()$+(''(9&#=$>2!"$ "2.$%0.#9.#%$80*$%##$0+$/(/#'$3"(!$!"#$-).$2%$B02+B$ !0$ )00?$ )2?#$ 2+$ ($ .*5"$ 5)#('#'$ 3(8$ !"(+$ 32!"$ !'(,290+()$ scripts. Regarding I$,%45)&J&0+9$&K+4, the challenge was to condense within the dimensions of a script all the layers of the project. The project started with so many insights and 2+%/2'(90+%o$($700?C$($7)0BC$p#+($#)$q"()2)G%$('!C$!"#$2+!(+‐ B27)#$#.090+%$01$($'#()$)21#$P$2!G%$($)0!T$J"#$3'29+B$3(%$($ ,2BB2+B$/'05#%%$!0$-+,$!"#$/'0`#5!G%$7(5?70+#=$ 7!$,5*'$)N')2'$616$A*#4-1A*423$12$'5)$G2')#-5*23)$A#!J 3#*99)$#*1&)$/!"#$*,*#)2)&&$#)3*#6123$%.9$A#!6"-4!2$ 12$'5)$D#*;$,!#.6F V!$3(%$(+$#4!'#.#)8$%9.*)(9+B$#4/#'2#+5#=$a#10'#$V$"(,$ ().0%!$+0$?+03)#,B#$01$-).$/'0,*590+$2+$!"#$Q'(7$30'),=$ The programme was a chance to breathe in the energy that is pervading that part of the world at the moment. The key problem most Arab countries are facing is a lack of !"#(!'#%X$!"#$+*.7#'$01$%5'##+%$,0#%+G!$())03$!"#$2+,*%‐ !'8$!0$10'#%##$%*%!(2+(7)#$-B*'#%$10'$2+,#/#+,#+!$-).%=$Q!$ !"#$%(.#$9.#$Z*'0/#$2%$1(52+B$($5'2%2%$01$!"#$!'(,290+()$ %8%!#.X$%0$!"#$Q'(7$30'),$%##.%$!0$7#$(+$07%#'&(!0'8$!0$ )00?$2+$+#3$,2'#590+%C$().0%!$(+952/(9+B$/'05#%%#%$!"(!$ Z*'0/#$ 32))$ "(&#$ !0$ 1(5#=$ V!$ 3(%$ ()%0$ 2+!#'#%9+B$ !0$ "(&#$ ($ &2#3$ 01$ 30.#+G%$ '0)#%$ 2+$ -).$ /'0,*590+=$ V+$ 0*'$ 5)(%%$ !"#'#$3#'#$.(+8$!()#+!#,$30.#+C$)2?#$[(21(($Q)PI(+%0*'$ LM'E3E'OC$.0'#$,#!#'.2+#,$!"(+$#&#'$!0$'#(5"$!"#2'$!('‐ B#!%C$(+,$!0$0&#'50.#$!"#$7(''2#'%$!"#2'$50*+!'2#%$0e#+$ impose. V!"$*#)$*-40)$;!'5$12$'5)$%).6&$!($A";.1&5123$[$*&$^)9J ;)#$ !($ '5)$ E61'!#1*.$ L!*#6$ !($ B!2h)..1$ E61'!#)+$ *26$ -12J )9*$[$*&$A#!6"-)#$*'$K10!$81.9?$R!,$6!$/!"$3#))'$*$A#!J 3#*99)$&"-5$*&$78:U&$D6*A':*;F >2!"$5*'20%2!8$(+,$2+!#'#%!=$V$1##)$!"(!$!"#$-).$30'),$2%$#(‐ ger for content and the editorial world is an enchanted 3#))$1'0.$!"2%$/#'%/#59&#=$a*!$!'(+%10'.2+B$($700?$2+!0$ ($ -).$ 2%$ 0e#+$ ($ !0*B"$ 5"())#+B#$ (+,$ /'0B'(..#%$ %*/‐ /0'9+B$!"2%$/'05#%%$('#$&#'8$3#)50.#=$a#2+B$(+$2+%2,#'$2+$ 70!"$-#),%$V$()%0$7#)2#&#$!"(!$B#+#'())8$%/#(?2+B$($,##/#'$ 2+!#'(590+$ 7#!3##+$ !"#$ !30$ 30'),%$ 2%$ 2./0'!(+!=$ j00,$ 700?%$(+,$B00,$-).%$('#$,2'#5!#,$.0%!$01$!"#$9.#$!0$!"#$ %(.#$(*,2#+5#C$(+,$V$1##)$!"(!$2+$.(+8$5(%#%$!"#$'#()$0/‐ /0'!*+29#%$10'$($50..0+$,2%!'27*90+$%!'(!#B8$('#$+0!$8#!$ #4/)02!#,$!0$!"#2'$1*))$/0!#+9()=

marta Producer, Italy FrameWork 2008 & 2011 Interchange 2010

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d$ >"(!$ V$ ?+03$ 10'$ %*'#$2%$V$+##,$!0$7#$.0'#$'#%/0+%27)#$ 10'$.8$1*!*'#$30'?%C$!0$1*)-)$!"#$!'*%!$ (+,$.09&(90+$!"(!$2%$&#%!#,$2+$!"0%#$ works.

edwin Director, Indonesia FrameWork 2009

G2$/!"#$12')24!2$2!')$(!#$'5)$7!#12!J 81.9:*;$ ^))423$ E0)2'+$ /!"$ ,#!')$ '5*'$ 31#*c)&$ *#)$ '5)$ 9!&'$ ).)3*2'$ -#)*'"#)&$ 12$ '5)$ *219*.$ H1236!9?$ B!$/!"$&4..$'512H$'5)$&*9)$*Y)#$'5)$ &5!!423$!($'5)$%.9F s#%C$V$7#)2#&#$2!$#&#+$.0'#$(e#'$.(?‐ 2+B$ !"#$ -).=$ J"#$ B2'(D#$ "(%$ ()3(8%$ 7##+$ .8$ 1(&0*'2!#$ (+2.()=$ V!%$ %"(/#$ and the way it walks are so dream‐ )2?#=$VG&#$()3(8%$1#)!$!"(!$!"#$B2'(D#$2%$ a creature from a dreamland, which has lost its way in this world. @5*'$ *#)$ '5)$ 9*12$ .)&&!2&$ /!"$ .)*#2'+$1($*2/+$*&$*$A*#4-1A*2'$!($'5)$ 7!#12!81.9:*;F >'29+B$(+,$g#3'29+B=$V$7#B(+$!0$(5‐ cept it as a process towards under‐ standing human beings and cinema. We did this process intensively, by sharing and listening to ideas, per‐ %/#59&#%$(+,$/#'5#/90+%$32!"$0!"#'$ /('952/(+!%C$(+,$.#+!0'%=$H*'2+B$!"2%$ 3'29+B$ (+,$ '#3'29+B$ /'05#%%C$ V$ *+‐ ,#'%!00,$ .0'#$ !"(!$ 52+#.($ 5(+G!$ 7#$ 2%0)(!#,$ 1'0.$ 2!%$ %052()$ (+,$ /0)295()$ 50+!#4!%C$3"#!"#'$V$)2?#$2!$0'$+0!$n$0'$ #&#+$3"#!"#'$!"2%$2%$.8$2+!#+90+$0'$ +0!=$ J"#%#$ 50+!#4!%$ 32))$ ()3(8%$ #+,$ */$ #4/'#%%2+B$ L(!$ )#(%!$ %*7)2.2+())8O$ .8$50+&2590+%=

:A V!"$5*0)$;))2$,!#H123$(!#$'5)$A*&'$ 9!2'5&$!2$VW(XXX(K+6"5.+,(*2$12')#*-J 40)$6!-"9)2'*#/$,51-5$'*H)&$*2$)NJ 1&423$ 9"&)"9$ A*#H$ 12$ n*H*#'*$ ;"1.'$ ;/$ '5)$ T"5*#'!$ #)319)$ *&$ *$ &'*#423$ A!12'$ '!$ )NA.!#)$ 01&"*.$ #)A#)&)2'*J 4!2&$!($'5)$G26!2)&1*2$*#-51A).*3!?$ @5*'$ 1&$ 12')#*-40)$ *;!"'$ '5)$ A#!J S)-'+$*26$,5)2$,1..$1'$;)$.*"2-5)6F >"#+$!"#$-).$2%$-+2%"#,C$3#$32))$/0%!$ 2!$0+)2+#=$@2#3#'%$32))$7#$(7)#$!0$*%#$ the footage to make their own works, at which point that footage will vanish from the original work. As footage is '#.0&#,C$!"#$-).$32))C$#D#59&#)8C$,2%‐ 2+!#B'(!#=$ V+$ 0',#'$ !0$ 1(52)2!(!#$ !"#2'$ 5'#(9&#$ ,#%!'*590+C$ !"#$ -).$ 5)2/%$ are represented by small geometric shapes, and people can drag them ('0*+,$)2?#$($/*kk)#=$Q+,$!"#+C$21$!"#8$ want more control, they can edit by !'2..2+BC$ (,,2+B$ %0*+,C$ (+,$ !#4!=$ We know that some people will most )2?#)8$ i50+%520*%)8$ 50+%!'*5!W$ )2+#('$ +(''(9&#%$ 1'0.$ !"#$ %5'(/%C$ 7*!$ 3#$

V!"$ *#)$ 2!,$ ,#1423$ /!"#$ 2),$ ()*J '"#)$ %.9+$ YN/O?( 1%?B'*&++$ '!3)'5)#$ ,1'5$ *2!'5)#$ 7!#12!81.9:*;$ *."9J 2"&+$B"'-5$%.99*H)#$^*#-!$K*2$_)(J ()2?$@5)#)$616$/!"$9))'+$*26$,5*'$ ,1..$'5)$%.9$;)$*;!"'F Lemming Film introduced us to each 0!"#'=$ J"2%$ 2%$ !"#$ H*!5"$ /'0,*590+$ company that is co‐producing ST+87& N,754%$2$ n$ ($ 30'?2+B$ 9!)#=$ J"#$ -).$ 32))$#4/)0'#$!"#$)0+B$(+,$%*//'#%%#,$ "2%!0'8$ 7#!3##+$ !"#$ H*!5"$ (+,$ !"#$ V+,0+#%2(+%$!"'0*B"$3('C$%#4C$,#%2'#C$ and betrayal.

>&Writing and Rewriting. I began to accept it as a process towards understanding human beings and cinema.&@ "0/#$ 0!"#'%$ 32))$ i`*%!$ /)(8W=$ PQ)RRR& J2('-E2 has been presented at Shef‐ -#),$H05U#%!C$(+,$2!$32))$7#$)(*+5"#,$ /*7)25)8$(!$VHUQC$)(!#$]0&#.7#'$:;AN= 7!$,5*'$)N')2'$6!)&$'51&$A#!S)-'$#)AJ #)&)2'$ *2$ *.')#2*40)$ '!$ '5)$ !o-1*.$ 61&-!"#&)&$ !2$ '5)$ G26!2)&1*2$ 2*J 4!2F We are challenging the idea of image building, which all governments do !0$($5#'!(2+$#4!#+!=$M+#$01$!"#$3(8%$ V+,0+#%2($ !'2#,$ !0$ (5"2#&#$ !"2%$ ,*'‐ ing the Suharto era was through this amusement park that represents an 2,#()$01$V+,0+#%2(C$($5*)!*'())8$,2&#'%#$ 50*+!'8$ *+2!#,$ *+,#'$ 0+#$ +(90+()$ %8.70)$0'$.0^0=

Producer, France FrameWork 2008 & 2013

jean

#!9$Q*h$8p;#)3*U&$@2'"(D*%"( .&( !"*$ '!$ n*h912$ :!A)hU&$ =&/5&+,$ A*&&123$ ;/$ 7!;1*&$ qr..)U&$4&("*&()&".$!#$^*J #1*$ T**H/*2U&$ KZ3( 2/%52( B/( ?$"52&(3;(5"3&+$*26$2!,$n".1*$B"J -!"#2*"U&$D*&"S%52+$/!"$5*0)$;))2$12J 0!.0)6$12$*$#)-!#6$2"9;)#$!($A#!S)-'&$ '5*'$ )2')#)6$ *$7!#12!81.9:*;$ A#!J 3#*99)?$M*2$1'$;)$S"&'$*$-!12-16)2-)F V!G%$+0!$($502+52,#+5#=$>2!"$#(5"$/'0‐ `#5!$ 5(.#$ ($ ,2D#'#+!$ ?2+,$ 01$ 2+&0)&#‐ .#+!=$ m*)2(G%$ /'0`#5!$ 2%$ (5!*())8$ !"#$ &#'8$-'%!$0+#$V$7'0*B"!$!"(!G%$'#())8$.8$ own, so to say. Then, it is for the TFL !#(.$!0$7#$(%?#,$3"8$!"#8G&#$"(,$.#$ 2+$%0$.(+8$9.#%T$V$B*#%%$!"#8$-+,$.#$ 30'?%"0/P50./(97)#$ (+,$ '#5?0+$ VG.$ someone who usually ends up deliver‐ 2+B$!"#$-).=$a*!$VG.$&#'8$.*5"$(3('#$ !"(!$ VG&#$ 7##+$ ().0%!$ !00$ /'#%#+!=$ V$ should leave room for others and wait for a couple of years before showing my face again so to speak! V!"$()).$*'$)*&)$12$'5)$)201#!29)2'$!($ ,!#H&5!A&$ W$ -!JA#!6"-4!2$ (!#"9&?$ D#)$ '5)/$ #)-#)*4!2*.$ *-4014)&+$ !#$ A.*-)&$,5)#)$/!"$6!$/!"#$S!;F U0'$N$0'$S$8#('%C$V$"(,$!"2%$5'(&2+B$10'$ 30'?%"0/%C$50P/'0,*590+$10'*.%$(+,$ 0!"#'$2+,*%!'8$#&#+!%=$V$`*%!$3#+!$#&#‐ '83"#'#=$ V$ B*#%%$ 2!$ 2%$ f*2!#$ 50..0+$ 7*!$V$0&#',2,$2!$%0.#"03=$Q!$0+#$/02+!$ V$'#()2%#,$!"(!C$8#%$2!$5(+$7#$($/('!$01$ my job but it cannot be the centre of it. The core of my work happens #)%#3"#'#o$ 2+$ .8$ 0_5#$ (+,$ 3"#+$ V$ 30'?$ 32!"$ ($ ,2'#5!0'=$ ]0+#!"#)#%%C$ V$

30*),+G!$%(8$!"(!$!"#%#$2+,*%!'8$(59&2‐ 9#%$('#$0+)8$'#5'#(90+()$7#5(*%#$80*$ 5(+$(5!*())8$B#!$($)0!$1'0.$!"#%#$#4/#‐ '2#+5#%C$#%/#52())8$3"#+$80*G'#$+#3$(!$ it. The networking aspect of it is what V$-+,$!0$7#$!"#$.0%!$/'#520*%=$>"#+$ 2+$F('2%C$V$30*),$+#&#'$(^#+,$,2++#'%$ 0'$/('9#%$'#)(!#,$!0$!"#$-).$30'),=$V$ ,0$2!$3"#+$VG.$(3(8$(+,$2!G%$($7'2))2(+!$ way to meet new people and new tal‐ ents, and possibly to engage in new ventures.

(+,$%00+$3#$32))$7#$)#e$32!"$7('#)8$(+‐ 8!"2+B$!0$%*//0'!$%*5"$-).%=$Q%$($%5('8$ #4(./)#C$ ().0%!$ #&#'8$ %2+B)#$ /('!+#'$ of "64'&:%,'&E$&/'% now has half the budget it had in 2008, apart from our equity partner. At the other end of the &()*#$5"(2+$!"#$#4"27290+$7'(+5"$"(%$ '#())8$!0*B"#+#,$!"#%#$/(%!$-&#$8#('%=$ Q)'#(,8$2+$:;;<$($1#%9&()$"2!$30*),+G!$ !'2BB#'$($)0!$01$(5!*()$%()#%=$V$"(&#$!"#$ 2./'#%%20+$ !"(!$ !"2%$ "(%$ B0^#+$ #&#+$ worse now.

@2'"( 0*%"( .&( 3"*( ,*&$ '5)$ %#&'$ %.9$ -!9A.)')6$*Y)#$;)123$*,*#6)6$*'$'5)$ 7!#12!81.9:*;?$ V!"$ 5*6$ '!$ -!9)$ "A$ ,1'5$ s"1')$ *$ -#)*40)$ %2*2-123$ A.*2+$ ,1'5$ 9*2/$ .*/)#&$ !($ ("26123?$ @!".6$ /!"$#)A)*'$&"-5$*2$)NA)#1)2-)F M+$ 0+#$ "(+,C$ !"#$ ,2'#5!0'$ %*D#'#,$ 1'0.$ !"2%$ &#'8$ /#5*)2('$ %#!P*/=$ M+$ !"#$ 0!"#'$ "(+,$ VG.$ +0!$ %*'#$ !"#$ -).$ 30*),$"(&#$7##+$1#(%27)#$32!"$($,2D#'‐ ent structure. What was complicated 3(%+G!$ %0$ .*5"$ !"#$ +*.7#'$ 01$ /('!‐ ners but more the strings that came (^(5"#,$!0$#(5"$01$!"#.=$V$30*),$,0$ (+0!"#'$ -).$ 32!"$ ($ %2.2)('$ -+(+52()$ %#!*/$7*!$V$30*),$7#$.0'#$5('#1*)$32!"$ !"#$07)2B(90+%=

V!"$*#)$120!.0)6$/!"#&).($*&$*2$)NA)#'$ (!#$ 61c)#)2'$ '#*12123$ *-4014)&+$ &"-5$ *&$'5)$EDKE$Q")2')&$@!#H&5!A&?$G&$1'$ *.,*/&$)*&1)#$'!$%26$'5)$&!."4!2&$(!#$ !'5)#&$'5*2$(!#$/!"#$!,2$A#!S)-'&F Q)3(8%=$ Q+,$ !"2%$ (7%0)*!#)8$ ,0#%+G!$ .#(+$ !"(!C$ (%$ (+$ #4/#'!C$ V$ 32))$ %8%‐ !#.(95())8$ -+,$ ($ %0)*90+$ 10'$ ($ /('‐ 952/(+!C$1('$1'0.$2!=$V!$.#(+%$!"(!$2!G%$ ()3(8%$#(%2#'$!0$-B*'#$0*!$($%0)*90+$ for a problem when you have a bit of ,2%!(+5#$ 1'0.$ 2!=$ a*!$ 2!G%$ +0!$ %0$ %2.‐ /)#$ 7#5(*%#C$ (%$ ($ /('952/(+!C$ 7#2+B$ "(+,#,$ 0*!$ ($ %0)*90+$ ,0#%+G!$ '#())8$ "#)/=$>"(!$80*$+##,$2%$!0$-B*'#$2!$0*!$ 10'$80*'%#)1=$J"(!G%$3"(!$!"#$/'05#%%$01$ ($ 30'?%"0/$ 2%$ (70*!=$ Q+,$ !"(!G%$ 3"8$ ($30'?%"0/$2%$0e#+$/(2+1*)C$()!"0*B"$ *)9.(!#)8$&#'8$7#+#-52()=

D#)$&"-5$%.9&$*&$61o-".'$'!$A#!6"-)$ '!6*/F V$B*#%%$!"(!$(*!#*'$-).%$('#$#&#+$.0'#$ ,2_5*)!$!0$/'0,*5#$+03$7#5(*%#$!"#2'$ #+&2'0+.#+!$ 2%$ .0'#$ "0%9)#$ !"(+$ 2!$ 3(%$7(5?$!"#+=$M+$!"#$-+(+52+B$%2,#C$ things have changed between 2008 (+,$!0,(8=$Y0e$%0*'5#%$('#$,'82+B$*/$

Producer, Germany Interchange 2011 / Story Editing 2012

nicole

5*'$ 1&$ '5)$ %#&'$ '5123$ /!"$ 6!$,5)2$/!"$*##10)+$12$'5)$ 9!#2123$G$&"AA!&)+$*'$/!"#$ L)#.12$!o-)F$ H'2+?$50D##C$(+,$3'2!#$($!0P,0$)2%!$10'$ !"#$,(8o$3"(!$V$%"0*),$,0C$3"(!$V$3(+!$ !0$,0C$3"(!$V$'#())8$"(&#$!0$,0=$ V!"$ *I)26)6$ B88L+$ EDKE+$ 78:+$ *26$ /!"$*#)$9)9;)#$!($DME$*26$E8D?$B16$G$ (!#3)'$*2/'5123F$B!$/!"$.1H)$*;;#)01*J 4!2&$'5*'$9"-5F HUQ$(+,$VF$('#$.2%%2+B=$V$)0&#$+#!30'?%$ and the input you get from these groups and their joint energy. L)#.12$5*&$;))2$*I#*-423$*2$12-#)*&J 123$ 2"9;)#$ !($ )9)#3123$ %.9$ '*.)2'&$ (#!9$*..$!0)#$'5)$,!#.6$12$'5)$A*&'$%(J '))2$/)*#&?$7!$,5*'$)N')2'$1&$'5)$%.9$ &-)2)$61c)#)2'$(#!9$,5)2$/!"$,)#)$ *$%.9$&'"6)2'$12$'5)$)*#./$<===&F$D26$ 5!,$6!)&$1'$*c)-'$/!"#$-"##)2'$,!#HF J"#'#$2%$.0'#$(+,$.0'#$(.(k2+B$!()‐ ent from all over the world but also ($ .*5"$ 9B"!#'$ .('?#!=$ s0*$ "(&#$ !0$ make a much more careful and selec‐ 9&#$5"025#$!0$'#(5"$!"#$(*,2#+5#$!"(+$ A;$8#('%$(B0=$ P*'#1).$T-5!#/+$R)*6$!($'5)$G&#*).1$81.9$ 8"26+$ A#!A!&)&$ *$ '/A!.!3/$ !($ A#!J 6"-)#&+$,5)#)$5)$61&423"1&5)&$'5#))$ 9*12$ -*')3!#1)&k$ %#&'+$ '5)$ l6)0).!AJ 9)2'$ A#!6"-)#&j+$ ,5!$ .!0)$ '5)$ A#!J

:c -)&&$ !($ ;#123123$ '5)$ &'!#/$ '!$ *$ A!12'$ ,5)#)$'5)$%.9$-*2$;)$9*6)t$&)-!26+$ '5)$l%2*2-1*.$A#!6"-)#&j+$,5!$H2!,$ '5)$ 12&$ *26$ !"'&$ !($ %2*2-123t$ '51#6+$ '5)$l&)'$A#!6"-)#&j+$,5!$*#)$*;.)$'!$ H))A$'5)$,5)).&$!($A#!6"-4!2$'"#2J 123$&9!!'5./?$@5*'$H126$!($A#!6"-)#$ *#)$/!"F ]25#$ 5(!#B0'2%(90+=$ V$ "0/#$ !0$ 7#$ ($ .24=$j#+#'())8$V$(,0'#$7'2+B2+B$/#0/)#$ (+,$ !"2+B%$ !0B#!"#'=$ V$ .2B"!$ 7#$ .0%!$ interested in the development pro‐ cess and the heart of the story, which ()%0$2+5)*,#%$!"#$#,29+B$/'05#%%=$a*!$ %!'(+B#)8$#+0*B"$V$()%0$)2?#$!"#$-+(+5‐ ing a lot, especially if it is very compli‐

< I adore bringing people and things together > 5(!#,$ (+,$ %9))$ 30'?%$ 0*!$ 2+$ !"#$ #+,=$ Q+,$01$50*'%#$V$,0$!(?#$5('#$!"(!$!"#$ ‘BD$$(2&+:&U%+E478+-&54%-&2/++5D(;V. a*!$21$!"#8$,0C$V$/'#1#'$!0$B0$7(5?$!0$!"#$ 0_5#$ (+,$ 30'?$ '(!"#'$ !"(+$ "0),2+B$ !"#$,2'#5!0'G%$"(+,= @5*'$,*&$'5)$*66)6$0*.")$J$1($*2/$J$!($ '5)$T'!#/$E61'!#$Q#!3#*99)$/!"$A*#J 4-1A*')6$ 12$ ;*-H$ 12$ <=\<+$ -!9A*#)6$ '!$/!"#$A#)01!"&$A#*-4-*.$)NA)#1)2-)$ *&$*$A#!6"-)#F$

V$%0.#9.#%$10*+,$2!$,2_5*)!$!0$.(+‐ age the balance between giving a 3'2!#'$1'##,0.$(+,$2./*)%#=$Z&#+$21$V$ completely believe in the skills of the 3'2!#'t,2'#5!0'C$ 3#$ %9))$ "(&#$ !0$ /*%"$ !"#$ %!0'8$ 10'3(',=$ Z%/#52())8$ *+,#'$ 9.#$ /'#%%*'#$ 2!$ 5(+$ 7#$ ($ 5"())#+B#=$ Z&#+$ .0'#$ %0$ 7#5(*%#$ V$ 30'?$ 32!"$ ($ )0!$01$-'%!P9.#$,2'#5!0'%=$Y0$V$3(%$&#'8$ curious about how scriptwriters work. They, of course, do work on the stories from another angle than a producer, (+,$ ('#$ )#%%$ #.090+())8$ 2+&0)&#,$ (%$ !"#8$,0$+0!$"(&#$!0$-+(+5#$!"#$-).=$ Q))$2+$())C$2!$3(%$($B'#(!$#4/#'2#+5#= V!"#$A#!6"-4!2$.12)J"A$1&$)N'#)9)./$ )-.)-4-$ 12$ ')#9$ !($ -!"2'#1)&?$ DA*#'$ (#!9$ _)#9*2$ %.99*H)#&+$ /!"$ 5*0)$ ;))2$,!#H123$,1'5$D#3)242)*2+$L).J 31*2+$M51.)*2+$81221&5+$R"23*#1*2+$P!J &!0*2+$:);*2)&)$*26$T,1&&$61#)-'!#&?$ 75)$ A#!S)-'$ /!"$ A*#4-1A*')6$ ,1'5$ *'$ G2')#-5*23)+$7$&(4/*6.(%+(1%5S,$1&$/!"#$ &)-!26$-!..*;!#*4!2$,1'5$*$:);*2)&)$ 61#)-'!#+$*26$6)*.&$[$12$*$;1I)#&,))'$ ,*/$ [$ ,1'5$ *$ -.*&5$ !($ -".'"#)&?$ D#)$ '5)&)$-5!1-)&$61-'*')6$;/$'5)$(*-'$/!"$ .10)$12$*$9".4-".'"#*.$-1'/F V$3(%$30'?2+B$32!"$.(+8$+0+Pj#'.(+$ directors already before the whole world decided to move to Berlin. And #&#+$ 3"#+$ !"#$ %!0'2#%$ 3#'#$ j#'.(+$ !"#$ ,2'#5!0'%$ 5(.#$ 0e#+$ 1'0.$ ($ ,21‐ 1#'#+!$ 7(5?B'0*+,=$ V$ ,0$ "(&#$ ($ ,##/$ passion for travelling and encounter‐ 2+B$,2D#'#+!$5*)!*'#%$(+,$2,#(%=$Q+,$01$ 50*'%#$a#')2+$2%$()%0$&#'8$.*)95*)!*'()C$ now more then ever. @5*'$,!".6$/!"$A#)()#$(!#$/!"#$2)N'$ A#!6"-4!2k$ '5)$ _!.6)2$ L)*#$ !#$ *2$ D-*6)9/$D,*#6F U2'%!$V$30*),$)0&#$!0$"(&#$!"#$j0),#+$ Bear and then an Academy Award!

!"$ *#)$ T1-1.1*2$ (1.99*H)#&$ ;*&)6$ 12$ b!9*+$ ;"'$ /!"$ 5*6$ *.#)*6/$ )NA)J #1)2-)6$ '5)$ -1'/$ !($ 7!#12!$12$'5)$]=&$*'$ '5)$ T-"!.*$ R!.6)2+$ #)&A)-'10)./$ *&$ ')*-5)#$ *26$ &'"J 6)2'?$@5*'$A)#&"*6)6$/!"$'!$#)'"#2+$'51&$'19)$(!#$'5)$ 7!#12!81.9:*;F "-5+-,+&N,'WW': This period of our life in Torino at Scu‐ ola Holden was a positive one, and generally speaking !"2%$ 52!8$ 2%$ ($ B00,$ /)(5#$ 10'$ 52+#.(C$ 32!"$ !"#$ I*%#0C$ its adjacent cinema theatre and its retrospectives. We enjoyed it a lot and it was natural for us to come back. .'1,+& X%'22'E+-,'o$ V!$ 3(%$ ()%0$ +(!*'()$ 7#5(*%#$ 32!"$ TorinoFilmLab, for the first time there was a script‐ 3'2!2+B$ 30'?%"0/$ 32!"$ ($ Z*'0/#(+$ ,2.#+%20+$ 7(%#,$ 2+$ V!()8=$ Q1!#'$ !#+$ 8#('%$ 01$ %(,$ 30'?$ 2+$ V!()8C$ 10'$ %*'#$ we saw Script&Pitch as an opportunity. We wanted to confront ourselves with a bigger world.

fabio & antonio Directors, Italy Script&Pitch 2007 / FrameWork 2009

Z*'0/#C$+0!(7)8$10'$QgJZ$U'(+5#= A.P.:$ M+$ (+$ ('!2%!25$ )#&#)C$ 2!$ 3(%$ ($ 3(8$ !0$ test ourselves as directors, especially the stag‐ ing idea of the point of view of a blind person. Then this artistic meditation about blindness con‐ !2+*#,$(+,$,#&#)0/#,=$Z&#+$21$2!$3(%$&#'8$/(2+1*)$(+,$ we did not need all these years, at least it helped us for the mise‐en‐scene.

@5*'$ ,*&$ '5)$ 9!&'$ 19A!#'*2'$ &'#"33.)$ /!"$ 5*6$ '!$ (*-)F .?X?Y&H#12+2!#)8$12+(+52+B$!"#$12).$2+$V!()8=$M*'$50+1'0+‐ !(!20+$32!"$V!()8C$32!"$`*%!$($"(+,1*)$01$#45#/!20+%C$"(%$ been from beginning to end very sceptical: about our story, about our potential to achieve meaningful re‐ %*)!%=$V!$B#!%$'#())8$,#/'#%%2+B$(!$%0.#$/02+!= A.P.o$ >2!"$ '#B(',%$ !0$ V!()8C$ 12+(+5#'%$ #&#+!*())8$ 5(.#$ from places very distant to one another, Torino and Sicily, but connected in history if you think of the many workers who came by train from the south to work in TFL was really different. Piemonte, especially in the 5('$ 2+,*%!'8=$ V$ )2?#$ !"#$ 2,#($ Another world! > behind this link.

V!"$ 5*6$ '5!#!"35$ )NA)#1)2-)$ ,!#H123$*&$,#1')#&$*26$-!2&".'J *2'&$ (!#$ 9*S!#$ G'*.1*2$ A#!6"-J '1!2$ -!9A*21)&$ *26$ ').)01&1!2$ -5*22).&?$ 7!$ ,5*'$ )N')2'$ ,*&$ '5)$ *AA#!*-5$ '!$ &-#1A'$ 6)0).!A9)2'$ *'$ 7!#12!81.9:*;$ 61&'12-'$ -!9A*#)6$ '!$ ,5*'$ /!"$ ,)#)$ *--"&'!9)6$'!F A.P.:$V!$3(%$'#())8$,211#'#+!= .?X?Y Another world! A.P.:$J0'2+0U2).6(7C$(+,$B#+#'())8$!"#$0!"#'$Z*'0/#(+$ workshops we participated in, were crucial because the feedback given there was very open‐minded and mind‐opening. For the first time, we were given the encouragement to direct. When we arrived, we were 0+)8$ 3'2!#'%C$ +0!$ ())032+B$ 0*'%#)&#%$ !0$ #4/'#%%$ !"(!$ this project was so important to us that we could and %"0*),$,2'#5!$2!=$M+$!"#$0!"#'$"(+,C$2+$V!()8C$3#$3#'#$ constantly receiving discouraging feedback, either leaning towards conventional cinema or saying: !"%$& ;+4&7%'W;Z&*D$%$V2&-+&B';&,5&B,((&D'UU$-<[ ^!#)$'5*2$u$/)*#&$A*&&)6$;)',))2$'5)$'19)$/!"$A*#J '1-1A*')6$12$'5)$T-#1A'WQ1'-5$A#!3#*99)$12$<==Z$*26$ '5)$A#)91)#)$!($T*.0!$12$M*22)&$12$^*/$<=\X?$@5*'$ 5*AA)2)6$6"#123$*..$'5)&)$/)*#&F .?X?Y We worked quite a lot on the script, and not only in TorinoFilmLab, and we had to wait to raise the money we needed. An important step towards financing the film was the short that we made in 2009, =,5'=$ V!$ #+50*'(B#,$ !"#$ /'0,*5#'%$ (+,$ 5"(+B#,$ !"2+B%$ ($ )0!$ n$ +0!$ 2+$ V!()8C$ 7*!$ 2+$

V!"$*#)$2!,$'#*0)..123$'5)$,!#.6$,1'5$T*.0!?$G2$,51-5$ ,*/$*#)$'5)$61&-"&&1!2&$/!"$5*0)$,1'5$*"61)2-)&$)-5J !123$/!"#$12'19*')$)NA)#1)2-)$!($'5)$(1.9$,5)2$1'$,*&$ &'1..$12$A#!3#)&&F A.P.:$j#+#'())8$%/#(?2+B$(+,$32!"0*!$%0*+,2+B$/'#!#+‐ tious, we are never really surprised in term of audi‐ #+5#$ 2+!#'/'#!(!20+%=$ >"(!$ V$ .#(+$ 2%$ !"(!$ (*,2#+5#%$ #4/#'2#+5#$ !"#$ 12).$ (%$ 3#$ "(,$ ,'#(.!$ !"#8$ 30*),=$ Those who enter into it consider Salvo as a sensorial #4/#'2#+5#$n$#%/#52())8$2+$!"(!$'#%/#5!C$3#$i7*2)!$*/W$ the sound as we wanted. =,5' gave room to many more 2+!#'/'#!(!20+%X$2!$3(%$.0'#$#+2B.(!25$2+$!"(!$%#+%#=

Producer, UK FrameWork 2009 & 2013

samm

16$ '5)$ -#14-*.$ *--.*19$ #)-)10)6$ ;/$ B"*2)$ R!AH12&U$ %#&'$ ()*'"#)+$ J&#&*( 7$%52++$ 9*H)$ 1'$ *2/$ )*&1)#$ '!$ %2*2-)$ J;<"++F$ D26$ 5!,$ 6)-1&10)$ ,*&$ '5)$ %2*2-1*.$ &"AA!#'$ (#!9$ 7!#12!81.9J :*;F I$G$%& *D,-62$ 5#'!(2+)8$ /*!$ H*(+#$ 0+$!"#$.(/$(%$($,2'#5!0'C$%0$3"#+$V$ 3(%$ (//'0(5"2+B$ -+(+5#$ !"#'#$ 3(%$ a sense of understanding of who he 2%=$J"2%$01$50*'%#$.(?#%$($,2D#'#+5#=$$ U*+,2+B$ ($ -'%!$ 9.#$ -)..(?#'C$ 80*$ have to pitch the person as well as !"#$ /'0`#5!=$ J"#$ -+(+52()$ %*//0'!$ from TorinoFilmLab was decisive in !"(!$ 2!$ 3(%$ !"#$ -'%!$ .0+#8$ 2+$ (+,$ 2!$ 3(%$ +0!$ B02+B$ !0$ 1())$ (3(8=$ Z&#'8$ penny that you can raise towards a project could be described as deci‐ sive. However, with the TFL money !"#'#$3(%$(+$#4!'($)#&#)o$2!$2%$%##+$78$ !"#$ Kq$ -+(+52#'%$ (%$ /'0,*5#'%$ #f‐ uity, meaning that our company will be able to recoup from dollar one. So the TFL investment is a huge thing for us. J;<"+++$ 6"#123$ 1'&$ 6)0).!A9)2'$ &'*3)+$ 3*0)$ 9"-5$ *I)24!2$ '!$ '5)$ &!-1*.$;*-H3#!"26$!($1'&$-5*#*-')#&?$ V!"#$12')24!2$2!')$"26)#.12)6$'5*'$ '5)/$ *#)$ 2!'$ A*#'$ !($ '5)$ ,!#H123$ -.*&&$ *2/9!#)+$ ;"'$ !($ *2$ "26)#J -.*&&?$ 75)$ A*"A)#1&*4!2$ !($ .*#3)$ A!#4!2&$!($L#14&5$&!-1)'/$5*&$9*6)$

/!"#$&'*')9)2'$.)&&$)N'#)9)$'5*2$1'$ &!"26)6$(!"#$/)*#$*3!i J"#'#$2%$%9))$'#%0+(+5#$2+$!"#$/'#.‐ 2%#=$ J"#$ %052())8$ #45)*,#,$ #+&2'0+‐ .#+!$ !"(!$ !"#$ -).$ /0'!'(8%$ 2%$ %9))$ apparent. The ongoing economic ,03+!*'+$ ,2,+G!$ 5'#(!#$ !"#$ 30'),$ !"(!$J2.$#42%!%$2+C$2+$($3(8$!"#$.('‐ ?#!$ 2!%#)1$ ,2,=$ J"(!$ %(2,$ !"#$ -).$ 2%$ ($ .0'()2!8$ !()#$ !"(!$ (%?%$ f*#%90+%$ 01$ its characters internally. The audi‐ ence is moved as the tension ratch‐ #!%$*/$(+,$!"#$.0'()$/0%290+$01$J2.$ is compromised through the choices he makes or feels forced into. We (%?#,$ !"#$ f*#%90+o$ 2%$ .0'()2!8$ ($ )*4*'8d$ J"2%$ 2%$ %9))$ ($ &#'8$ '#)#&(+!$ conundrum whichever crucible the drama is played out in. B*21).$ E..1!IU&$ D*/5O&*+$ /!"#$ 2),$ A#!S)-'$,51-5$1&$A*#4-1A*423$12$7!J #12!81.9:*;$ '51&$ /)*#+$ )NA.!#)&$ '5)$ 125"9*21'/$ !($ '5)$ L#14&5$ D#9/$ *&$ *2$ 12&4'"4!2?$ D#)2U'$ /!"$ *(#*16$ !($ .!&123$/!"#$L#14&5$-14h)2&51AF .%+-8$%$ 2%+G!$ %/#52-5())8$ (70*!$ !"#$ a'29%"$ Q'.8X$ 2!$ 2%$ .0'#$ ($ 7(^)#$ 01$ wills between the individual and the 2+%9!*90+%$2+B'(2+#,$2+$>#%!#'+$%0‐ 52#!8=$J"#$('.8$2%$($&#'8$1#'9)#$('#+($ 2+$3"25"$!0$#4(.2+#$!"2%$0//0%290+C$ (%$ 2!$ 2%$ (+$ 2+%9!*90+$ !"(!$ %##?%$ 78$ necessity to eradicate the individ‐ ual. From a very personal point of &2#3$ V$ "(&#$ ()3(8%$ 3(+!#,$ !0$ .(?#$ ($3('$-).$32!"0*!$3('$(+,$.%+-8$%

/'0&2,#%$ !"#$ /#'1#5!$ 7(^)#$ 10'$ !"#$ individual to play this concept out. With regards to the problem of ap‐ pearing to undermine the military, !"#$-).$,0#%+G!$B0$2+!0$2%$!"#$('.8$ B00,$ 0'$ 7(,C$ #!5=$ V!G%$ +0!$ ($ /0)295()$ beast in that way, and it more studies the psychology and humanity of the individual. V!"#$-!9A*2/+$751#6$81.9&+$1&$;*&)6$ 12$ q),-*&'.)$ "A!2$ 7/2)?$ V!"$ *#)$ 0)#/$120!.0)6$12$'5)$%.9$-!99"21'/$ !($ /!"#$ #)31!2+$ 2!'*;./$ ')*-5123$ 81.9$Q#!6"-4!2$*'$7))&&16)$d210)#J &1'/+$*26$*-423$*&$;!*#6$9)9;)#$!($ L)#,1-H$81.9$*26$^)61*$D#'&$8)&4J 0*.?$ R*0)$ /!"$ )0)#$ '5!"35'$ *;!"'$ 19A!#423$ &!9)$ ;)&'$ A#*-4-)&$ 3.)*2)6$ *'$ 7!#12!81.9:*;$ '!$ &)'$ "A$ *$#)31!2*.$%.9$5";F V!$ 30*),$ 7#$ ($ 5'(k8$ ,'#(.$ !0$ ,0$ %0.#!"2+B$ )2?#$ !"2%C$ 7*!$ V$ "(&#$ !0$ .(?#$($)2&2+B=$J"#$aUV$ua'29%"$U2).$V+‐ %9!*!#v$'#5#+!)8$2,#+9-#,$l$'#B20+()$ "*7%$ 10'$ -)..(?#'%$ (+,$ (*,2#+5#%C$ (+,$0D#'#,$1*+,2+B=$$a*!$VG.$($/'0‐ ,*5#'$+0!$(+$(,.2+2%!'(!0'$n$V$"(&#$($ thirst to tell stories and to create op‐ /0'!*+29#%$10'$!"#$30'),&2#3$01$!()‐ #+!#,$,2'#5!0'%$!0$h0*'2%"=$Y0$3"2)#$ VG.$ "(//8$ !0$ 7#$ 2+&0)&#,$ 32!"$ !"#$ K+2&#'%2!8$(+,$!"#$a#'325?$1#%9&()C$V$ 5(++0!$%/#+,$.8$9.#$!'82+B$!0$`02+$ these dots in less broad strokes that V$()'#(,8$,0=

>&I have a thirst to tell stories and to create opportunities for the worldview of talented directors to flourish.&@

Director, Philippines Script&Pitch 2012

ralston

D%63,(K(C&6%&G&,(<6";+(+'?$( "( ?*'?%"6( */6&( %5( B$&( *&9 2%/5,( C'B( /'*( ?'6B'*&( /0( [63( "<<*&?%"O/5( %+( +/( <//*j+$ ,#!')$ '5)$ 81.1A12!$ %.9$-#14-$D.)N1&$71!&)-!?$ B!)&$ '51&$ &'*')9)2'$ #)&!2*')$ ,1'5$ /!"F V1$!"#$)(!#$I'=$J20%#50$3(%$'#1#''2+B$ !0$ !"#$ 2+,#/#+,#+!$ -).$ .0&#.#+!$ 2+$ !"#$ F"2)2//2+#%C$ V$ B*#%%$ 2!G%$ +03$ #&0)&2+B=$I0'#$(+,$.0'#$80*+B$/#0‐ /)#$('#$%!('9+B$!0$3(!5"$1#%9&()$('!$ -).%=$J"#8$('#$&#'8$0/#+$!0$,2&#'%2!8$ in themes and approaches. We are B#w+B$!"#'#=$>#$`*%!$+##,$!0$7'#(?$ the mind‐set of most Filipino mov‐ 2#B0#'%o$ !"(!$ 0+)8$ [0))8300,$ -).%$ ('#$B'#(!$-).%=$>#$"(&#$($&#'8$7(,$ "(72!$01$50./('2+B$0*'$-).%$!0$[0)‐ )8300,G%=$V$B*#%%$!"(!G%$3"(!$.(?#%$ 0*'$(//'#52(90+$01$0*'$03+$-).%$(%$ being poor. @51.)$ 6)0).!A123$ 7$&( )/2( :$/8+$ /!"$ 5*0)$ 0)#/$ #)-)2'./$ &5!'$ *$ .!,J ;"63)'$ ()*'"#)$ %.9$ -!991&&1!2)6$ ;/$M12)9*$C2)$7K$-5*22).?$R!,$6!$ /!"$*&&)&&$'51&$)NA)#1)2-)F I$-E+%& \*D$& H$-E+%V was a long‐ overdue project that a local non‐ B0&#'+.#+!()$ 0'B(+2%(90+$ 50..2%‐ sioned me to write a script about, but they failed to come up with a B00,$7*,B#!C$%0$V$%*7.2^#,$2!$!0$J@=$ The actual budget was more than x:;C;;;C$(+,$!"#$%"009+B$,(8%$3#'#$ 2+!#'.2^#+!$10'$!30$.0+!"%=$V!G%$+0!$ ($B00,$/'(595#$V$?+03C$7*!$V$(55#/!‐

#,$ !"#$ 5"())#+B#$ 7#5(*%#$ V$ 3(+!#,$ to see my story be translated into -).=$ Y0.#$ 01$ .8$ %!(D$ &0)*+!##'#,$ 32!"0*!$ /(8.#+!C$ V$ .8%#)1$ B(&#$ */$ my talent fee as director, and my /'0,*5#'$"(,$!0$B#!$#45"(+B#$,#()%$ 32!"$/0%!P/'0,*590+$"0*%#%=$V1$0+)8$ V$50*),$"(&#$($7#^#'$7*,B#!C$V$30*),$ '#())8$2+,*)B#$2+$%"009+B$!"#$-).$(5‐ 50',2+B$!0$.8$/(5#=$a*!$V$B*#%%C$)2.2‐ !(90+%$ (+,$ 50./'0.2%#%$ %f*##k#$ !"#$7#%!$0*!$01$.8$5'#(9&#$/'05#%%= L)-*"&)$ !($ /!"#$ )2)#3/$ *26$ /!"#$ &91.)+$/!"$s"1-H./$;)-*9)$'5)$9*&J -!'$ !($ /!"#$ 3#!"A$ 6"#123$ /!"#$ 7!J #12!81.9:*;$ A*#4-1A*4!2?$ D#)$ /!"$ *.,*/&$12$*$3!!6$9!!6F Q!$ -'%!$ V$ 3(%$ 1##)2+B$ +#'&0*%C$ !"(!G%$ 3"8$ V$ ?#/!$ %.2)2+B=$ V$ 3(%$ !"#$ 0+)8$ Q%2(+$2+$!"#$B'0*/=$6(!#'$0+C$V$3(%$B#!‐ 9+B$#452!#,$(70*!$!"#$(59&29#%C$%0$V$ 7#5(.#$7*77)8$(+,$5"##'1*)=$V$B*#%%$ 2!$3(%$!"#$#452!#.#+!$(+,$/0%29&2!8$ amongst the group that made me act /0%29&#)8C$!00= V!"$ &*16$ '5*'$ &-#1A',#1')#&$ 12$ '5)$ Q51.1AA12)&+$ *26$ 9!#)$ 3)2)#*../$ 12$ T!"'5JE*&'$ D&1*+$ ,!".6$ 3#)*'./$ ;)2)%'$ (#!9$ &-#1A'$ 6)0).!A9)2'$ A#!3#*99)&$ &"-5$ *&$ T-#1A'WQ1'-5?$ @5*'$ 2))6&$ ,!".6$ 1'$ &A)-1%-*../$ *2&,)#F$ V$50*),$0+)8$%/#(?$10'$80*+B$U2)2/2+0$ writers. They have limited access to 5'#(9&#$ 3'29+B$ 10'$ -).%=$ I0%!$ 01$ !"#.$%!*,8$-).$2+$B#+#'()$2+$!"#$*+2‐ &#'%29#%C$ 0'$ 2+$ 2+10'.()$ 30'?%"0/%=$

]070,8G%$'#())8$105*%2+B$0+$,#&#)0/‐ 2+B$"2%t"#'$%5'2/!3'29+B$%?2))%=$Z&#'8‐ body wants to be a director/ writer‐ ,2'#5!0'X$0+)8$($"(+,1*)$('#$32))2+B$!0$ work as a screenwriter. This scarcity easily translates to only a few good 2+,2#$ -).%$ .(,#$ L)#%%$ !"(+$ c;$ -).%$ ($8#('$(+,$0+)8$c$01$!"#.$('#$B00,$ 7#5(*%#$01$%?2)1*)$3'29+BO=$>#$+##,$ !0$ -+,$ 0*'$ 03+$ &025#$ (%$ ($ /#0/)#=$ M*'$ 5*)!*'#$ (+,$ !'(,290+%$ ('#$ '25"$ 2+$ *+2f*#$ #4/#'2#+5#%=$ a*!$ 3#$ ()‐ ways borrow Western techniques in telling our stories. We have the con‐ !#+!%C$ 7*!$ 3#$ ,0+G!$ "(&#$ !"#$ 10'.%$ for them. D#)$/!"$#)*6/$'!$1214*')$'#*12123$(!#$ 81.1A12!$,#1')#&$'!$&'*#'$'5)$;*..$#!..J 123F$$ V$ (.$ &#'8$ 32))2+B$ !0$ "#)/=$ V$ 50+,*5!$ .8$03+$30'?%"0/%$(.0+B$-)..(?‐ ers developing their own stories. But only a few Filipino young writ‐ #'%$ #4/'#%%$ #+!"*%2(%.=$ Q+0!"#'$ problem is money. Recently, Cine‐ manila launched the Script Factory 30'?%"0/$ 32!"$ a'29%"$ !'(2+#'%$ (!$ !"#$ "#).=$ M+)8$ ($ 1#3$ B0!$ !0$ #+'0)$ 7#5(*%#$ !"#$ 1##$ 3(%$ !00$ #4/#+%2&#C$ (70*!$xc;;=$V$3(%$0D#'#,$($%5"0)('‐ %"2/C$7*!$V$50*),$+0!$(^#+,$7#5(*%#$V$ 3(%$()'#(,8$%"009+B=

Director, Argentina - FrameWork 2010

jazmín

!"#$ &5!#'$ %.9&$ 6)9!2&'#*')6$ *$ -.)*#$ -!99*26$ *26$ -)#'*12$ &).(J*&&"#*2-)?$ @5*'$9*6)$/!"$()).$'5*'$/!"$2))6)6$'!$ 2"#'"#)$/!"#$%#&'$()*'"#)$12$*$A.*-)$&"-5$ *&$7!#12!81.9:*;F Torino and the whole process of& 0$+-$2 was for me something like being at university – in the 7#%!$.#(+2+B$01$2!=$V$"(&#$)#('+!$%0$.(+8$!"2+B%C$70!"$ !"#0'#95()$(+,$/'(595()=$g#())8$($)0!=$M+#$01$!"#$7#%!$ B2e%$V$"(&#$'#5#2&#,$1'0.$J0'2+0$3(%$!"#$2+!#+%2!8$(+,$ the depth of working with people from all over the 30'),=$V!$2%$($/"'(%#$!"(!$50*),$%0*+,$y5)25"z,yC$7*!$2!$ 2%$ +0!=$ Z%/#52())8$ 50.2+B$ 1'0.$ Q'B#+9+(C$ 3"#'#$ !"#$ cinema scene is very developed, yet we evolve within ($ 5)0%#$ 52'5)#=$ Q'B#+9+($ 2%$ 1('$ (3(8$ (+,$ 2!$ 2%$ +0!$ !"(!$ common for us, from my point of view, to share that .(+8$!"0*B"!%$(+,$2,#(%$(e#'$!"#$#,*5(90+()$/'05#%%=$ V+$J0'2+0$V$,2,$!"2%C$(+,$V$!"2+?$2!$3(%$#4!'#.#)8$"#)/‐ 1*)$10'$.8$-).=$QB(2+$!"#$7#%!$B2e$3(%$($%!'*5!*'#$!"(!$ grew in me, and the idea that sharing can only improve my work in any case. And this is something that will %!(8$32!"$.#X$2!$3(%$+0!$`*%!$3"2)#$V$3(%$y,02+By$J0'2+0= Q#1!#$'!$A*#4-1A*423$12$78:+$/!"$6)0).!A)6$/!"#$A#!J S)-'$*'$'5)$L123)#$81.9.*;$12$'5)$q)'5)#.*26&?$@!".6$ /!"$ 16)24(/$ 61c)#)2-)&$ ;)',))2$ '5)&)$ ',!$ &'#"-J '"#)&F 6#!G%$%(8$!"(!$!"#%#$#4/#'2#+5#%$('#$,2D#'#+!$/('!%$01$ !"#$%(.#$/'05#%%=$V$5(+G!$50./('#$!"(!$.*5"$7#5(*%#$ .8$-).$"(,$()'#(,8$5"(+B#,$($)0!$2+$!"#$9.#$7#!3##+$ a2+B#'$(+,$J0'2+0=$>"(!$V$5(+$%(8$2%$!"(!$J0'2+0U2).6(7$ 7'2+B%$ 80*$ .*5"$ .0'#$ #4/0%*'#C$ 70!"$ /#'%0+()$ (+,$ /'01#%%20+()=$a2+B#'$3(%C$10'$.#C$.0'#$2+9.(!#= 75)$A*'5$(!#$("26#*1&123$*2$126)A)26)2'$()*'"#)$%.9+$ )0)2$ *$ .!,J;"63)'$ !2)$ .1H)$ /!"#&+$ 1&$ 9*6)$ !($ 9*2/$ &'!A!0)#&?$8!#$=&/5&++$/!"$5*6$'!$A*#4-1A*')$12$&)0J )#*.$A#!9!4!2*.$)0)2'&+$.1H)$LD:+$Q*#1&$Q#!S)-'&+$*26$ M12)9*#'?$@!".6$/!"$()).$#)*6/$'!$&'*#'$&"-5$*$S!"#J 2)/$*3*12$(!#$/!"#$2)N'$()*'"#)$%.9F

V$(.$+0!$%*'#$V$"(&#$(+$(+%3#'$10'$!"(!=$ V$(.$%9))$2+$!"#$50+5#/90+$/"(%#$01$!"#$ 2,#($10'$.8$+#3$-).C$(+,$V$'#())8$,0+G!$ ?+03$3"25"$3(8$2!$32))$B0=$a*!$V$(.$/'#!‐ !8$ %*'#$ !"(!$ V$ 32))$ 3(+!$ !"2%$ #45"(+B#$ of ideas with people from across the world.

5*'$,)#)$/!"$)NA)-'J 123$ ,5)2$ *AA./123$ '!$ '5)$ D"61)2-)$ B)J &132$ A#!3#*99)$ !($ 7!#12!81.9:*;F >"(!$V$3(%$.0%!)8$)00?2+B$10'$3(%$!0$ meet with people from around the world working with audience design, (+,$%"('#$#4/#'2#+5#%$(+,$0/2+20+%$ 32!"$!"#.=$>"(!$V$,2,+G!$?+03$3(%$ "03$ ,2D#'#+!$ !"#$ 7(5?B'0*+,%$ 01$ !"#$ /('952/(+!%$ 30*),$ 7#$ (+,$ "03$ 1'*2{*)$ 0*'$ ,2%5*%%20+%$ (+,$ 7'(2+‐ storms would be thanks to this. Also the case study we did surprised me 2+$($&#'8$/0%29&#$3(8X$!0B#!"#'$32!"$ !"#$ !()#+!#,$ -)..(?#'$ V$ 3(%$ /'2&2‐ leged to work with, we went through a process that was eye opening for both of us. 751&$ A#!3#*99)$ 19A.1)&$ ,!#H123$ !2$*"61)2-)$)23*3)9)2'$&'#*')31)&$ ,5)2$'5)$A#!S)-'$1&$&4..$*'$*2$)*#./$ &'*3)$!($6)0).!A9)2'?$R!,$61o-".'$ 1&$1'$'!$#)-!2-1.)$'5)$',!$A#!-)&&)&k$ ,!#H123$!2$;#123123$'5)$&'!#/$,!#.6$ !($ *$ %.9$ 12'!$ ;)123+$ ,51.&'$ 5*0123$ '5)$%2*.$A#!9!4!2$12$9126F

M1$ 50*'%#$ !"#'#$ 5(+$ 7#$ .(+8$ 5"()‐ lenges on the way, but the process can also be very fun and rewarding. H*'2+B$ !"#$ ,#&#)0/.#+!$ /'05#%%$ !"#$ %5'2/!$ 5(+$ %9))$ 5"(+B#$ ($ )0!$ (+,$ (,`*%9+B$ !"2%$ 2+$ !"#$ (*,2#+5#$ #+‐ B(B#.#+!$ %!'(!#B8$ 5(+$ %0.#9.#%$ be tricky. Also from the audience de‐ %2B+#'G%$/02+!$01$&2#3$2!$!(?#%$5(*90+$ not to interfere in the development of the story world too much, even if the process itself can have an inspir‐ 2+B$ '#%*)!=$ V!$ ()%0$ ,#/#+,%$ ($ )0!$ 0+$ !"#$ /'0`#5!$ 2!%#)1$ (+,$ !"#$ -)..(?‐ ers, and how big of an impact they want to have with this process on !"#$%!0'8$30'),$2!%#)1=$V$"(&#$!0!()$'#‐ %/#5!$10'$-)..(?#'%$3"0$,0+G!$-+,$ it comfortable bringing the promo‐ 90+()$ /#'%/#59&#$ 0+$ 70(',$ (!$ %*5"$ (+$ #(')8$ %!(B#=$ U0'$ %0.#$ /'0`#5!%$ V$

,0+G!$%##$2!$(%$7#+#-52()$(%$10'$0!"‐ ers. V!"$5*0)$#)-)2'./$;))2$120!.0)6$12$ '5)$A#!9!4!2$!($Q1#S!$R!2H*&*.!U&$ E/5?*&B&( \%2$B?$ 7!$ ,5*'$ )N')2'$ 5*0)$ /!"$ 12')3#*')6$ 12'!$ /!"#$ S!;$ '5)$ .)*#2123$ #)-)10)6$ 6"#123$ '5)$ A#!3#*99)F V$ !"2+?$ 2+$ !"#$ #+,$ !"#$ .0%!$ 2./0'‐ tant thing was to really absorb the mindset of an audience designer in ())$ ,2D#'#+!$ %!(B#%$ 01$ -)..(?2+B=$ V+%!#(,$01$.(?2+B$($.('?#9+B$%!'(!‐ egy at some point and carrying it out when needed, engaging audiences is now very strongly in my mind and 50++#5!#,$!0$())$!"#$,2D#'#+!$/"(%#%$ (+,$!(%?%$V$,0$'#)(!#,$!0$-).$/'0,*5‐ 90+=

helena Producer, Finland - Audience Design 2012

Nc Director, Bulgaria - Script&Pich 2012 / FrameWork 2013

ralitza

!#12!81.9:*;+$ _#!"A)$ C")&'+$ M12):12Hk$ /!"$ 5*0)$ *$ 3!!6$ *AA)4')$ (!#$ &!J -*..)6$ l,!#H&5!AA123j?$ @5*'$ ,)#)$ /!"$ A#19*#1./$ .!!H123$(!#$12$'5)&)$A.*-)&F V+29())8C$ 2!$ 3(%$ .8$ 5*'20%2!8$ !0$ B#!$ ($ %#+%#$01$"03$-).%$('#$.(,#$2+$50+9‐ +#+!()$Z*'0/#$(+,$!0$.(?#$50+!(5!%=$ Having lived for the past thirteen 8#('%$2+$!"#$Kq$V$3(%$0e#+$!0),$V$3(%$ ($ EZ*'0/#(+$ -)..(?#'GC$ 78$ 3"25"$ V$ !"2+?$/#0/)#$.#(+!$!"(!$.8$-).%$5('‐ '8$($5#'!(2+$h(&0*'=$Y5'2/!|F2!5"$3(%$ .8$-'%!$%*5"$10'*.=$V!$3(%$(+$2+5'#,‐ 27)8$ #+'25"2+B$ #4/#'2#+5#C$ 7#5(*%#$ %*,,#+)8$ V$ 3(%$ %*''0*+,#,$ 78$ &#'8$ similar minds, and it felt very easy to !()?$(70*!$2,#(%=$V$!"2+?$(!$!"(!$/02+!$ V$%(2,$!0$.8%#)1$E;$2&J&'/&'&S4%+U$'-& ](//'^$%G=$ >2!"$ b2+#62+?$ 2!$ 3(%$ 8#!$ another kind of support, which was .0'#$B#('#,$!03(',%$!"#$/'0,*590+$ (%/#5!%$ 01$ .(?2+B$ ($ -).$ 2+$ a*)B('2(=$ Y0$2+$($3(8$#&#'8$10'*.$2%$f*2!#$,2D#'‐ ent in what it can bring to a project. ]/.6&+++$ /!"#$ ()*'"#)$ %.9$ A#!S)-'+$ 1&$ *;!"'$ '5)$ A#)&)2'$ &1'"*4!2$ 12$ L".3*#1*+$*26$6)*.&$,1'5$1&&")&$&"-5$ *&$ -!##"A4!2$ *26$ -#19)?$ R*0)$ '5)$ 9*2/$A#!')&'&$'5*'$5*AA)2)6$12$'5)$ -!"2'#/$6"#123$'5)$49)$!($,#1423$[$ *26$,51-5$*#)$A#)-1&)./$*;!"'$'5!&)$ 1&&")&+$12m")2-)6$'5)$&-!A)$!($/!"#$ %.9F >"(!$ 2+!#'#%!%$ .#$ 2%$ #4/)0'2+B$ !"#$ B'#8$ k0+#$ 01$ .0'()2!8=$ >"#'#$ !"2+B%$ are no longer good or bad, they just ('#=$ Q+,$ !0$ %##$ !"#$ #D#5!%$ !"(!$ !"2%$

has on the human soul. What hap‐ pens when you want to believe in some kind of beauty, but are forced to )2&#$(B(2+%!$80*'$2+!*290+$10'$`*%95#d$ What the protests bring to Bulgarian %052#!8$ 2%$ !"(!$ /#'"(/%$ 10'$ !"#$ -'%!$ 9.#$ (e#'$ !"#$ 1())$ 01$ !"#$ a#')2+$ >())$ !"#'#$2%$($50))#59&#$50+%520*%+#%%$01$ %0.#$ ?2+,=$ V!$ 2%$ ,2D#'#+!$ 2+$ !"(!$ 2!G%$ about the esteem of values, and not only about being poor. Also for the -'%!$ 9.#$ 3#$ 5(+$ 0/#+)8$ !()?$ (70*!$ 3"(!G%$3'0+B$32!"$a*)B('2(+$/0)295%C$ #&#+$ !"0*B"$ 80*$ %9))$ '*+$ !"#$ '2%?$ 01$ "(&2+B$ 80*'$ 5('$ 7)03+$ */$ 0'$ B#w+B$ -'#,$1'0.$80*'$`07=$a*!$!"#'#$2%$"0/#$ !"(!$ 50.#%$ 1'0.$ /#0/)#G%$ '(B#C$ )0+B$ kept inside. B!$/!"$5*0)$*2/$(*0!"#1')$9"&1-$'!$ .1&')2$'!$,5)2$/!"$,#1')F V$ 50.#$ */$ 32!"$ .*%25()$ '#1#'#+5#%$ %00+$ (e#'$ V$ %!('!$ !"2+?2+B$ 01$ ($ +#3$ -).C$3"25"$2+h*#+5#%$!"#$3'29+B$(+,$ !"#$ #.090+()$ h03$ 1'0.$ &#'8$ #(')8$ 0+=$ V$ )2?#$ '#50B+2%2+B$ ,2D#'#+!$ 2+h*‐ ences in a piece of music, like hav‐ 2+B$ `(kk$ #)#.#+!%$ 2+$ #)#5!'0+25(C$ 10)?$ '"8!".%$2+$5)(%%25()$.*%25=$V!$B2&#%$!"#$ #.090+%$ (.72B*2!8$ (+,$ 50./)#42!8=$ For X+E($22$ VG&#$ 7##+$ )2%!#+2+B$ ($ )0!$ to minimalist composer Steve Re‐ 25"=$ Q)%0$ !"#$ #)#5!'0+25$ ('9%!%$ Q.0+$ J072+C$ m*,#$ j'##3(8C$ U0*'$ J#!C$ 60'+C$ (+,$m0"++8$j'##+300,$"(&#$())$7##+$ ($B'#(!$2+%/2'(90+$,*'2+B$!"#$3'29+B$ process.

@5*'$ 6!$ /!"$ 6!$ ,5)2$ /!"$ *#)$ 2!'$ ;"&/$;)-!9123$*$()*'"#)$%.9$61#)-'!#F V$ %/#+,$ 9.#$ 32!"$ 5)0%#$ 1'2#+,%$ (+,$ "2?#$2+$!"#$.0*+!(2+%=$V$)0&#$('!C$(+,$ %0.#9.#%$ 5(+$ ,0$ ($ 3"0)#$ ,(8$ 2+$ ($ gallery, day dreaming around pieces 01$('!=$V!$B2&#%$.#$2,#(%=$ V!"$ 5*0)$ &A)2'$ 9!&'$ !($ /!"#$ *6".'J 5!!6$ !"'&16)$ !($ L".3*#1*?$ B!)&$ '51&$ A"'$/!"$12$*$&A)-1*.$&'*')$!($9126$;)J (!#)$&5!!423$12$/!"#$2*40)$-!"2'#/F V!G%$7##+$%#&#+!##+$8#('%$%2+5#$V$%!('!‐ #,$)2&2+B$(7'0(,C$-'%!$2+$U'(+5#C$!"#+$ 2+$Z+B)(+,C$32!"$($)0!$01$!'(&#))2+B$2+$ 7#!3##+=$J"'0*B"0*!$!"#$8#('%$V$7#‐ came very much a rolling stone, but ()3(8%$ ?#/!$ .8$ a*)B('2(+$ .0%%=$ V$ think as a result my stories have that sense of displacement, where char‐ (5!#'%$"(&#$($,2D#'#+!$/#'5#/90+$01$ !"#$'#()2!8$!"#8$)2&#$2+=$V+$!"(!$%#+%#$2!$ 2%$&#'8$#4529+B$!0$.(?#$($-).$2+$a*)‐ B('2(C$7#5(*%#$V$30*),$7#$7'2+B2+B$())$ these other references to the work. I*5"$ )2?#$ V$ 3(%$ .(?2+B$ -).%$ 2+$ !"#$ Kq$50++#59+B$32!"$($5#'!(2+$a*)B('‐ 2(+$%#+%29&2!8C$2+$a*)B('2($V$30*),$7#$ 7'2+B2+B$.8$a'29%"$(+,$U'#+5"$%#+%2‐ 9&2!8= R!,$6!$/!"$19*312)$'5)$A#)91)#)$!(( ]/.6&++? J0$7#$"0+#%!$32!"$80*$V$!'8$+0!$!0$!"2+?$ (70*!$!"(!=$V$3(+!$!0$.(?#$(+$"0+#%!$ (+,$!'*!"1*)$-).$!"(!$"(%$,#/!"$(+,$ speaks to many people in many coun‐ tries. This will make me happy.

s r e k a m n o i decis

dora Producer, Tunisia - Nomadis Images

from Los Hongos, by Oscar Ruiz Navia (FrameWork 2011)

5*'$ 1&$ '5)$ A51.!&!A5/$ *'$'5)$-!#)$!($'5)$:'.( Y?*%B'*&$ ,!#H&5!A&+$ !A)2$ '!$ &-#))2,#1'J )#&$(#!9$D(#1-*$*26$'5)$^166.)$E*&'+$ ,51-5$/!"$5*0)$;))2$#"22123$&12-)$ \]]ZF U(2!"C$ -'%!$ 01$ ())C$ !"#+$ /(9#+5#$ (+,$ consistency, are at the core of A4E& S7%,54%$ workshops. You cannot go very far without faith and believ‐ 2+B$ 2+$ !"#$ (*!"0'G%$ &2%20+=$ M*'$ .(2+$ !(%?$ 2%$ !0$ ,#!#5!$ !"#$ /('95*)('29#%$ !"(!$('#$7*'2#,$32!"2+$!"#$!#4!C$0e#+$ blurred by subthemes not relevant !0$ !"#$ '#()$ 2+!#+90+$ 01$ !"#$ (*!"0'=$ J"#$'0(,$1'0.$3'29+B$($/'0`#5!$!0$2!%$ '#()2%(90+$ 2%$ '21#$32!"$ /2{())%C$ 7*!$ 2!$ is even more tenuous in Africa and !"#$I2,,)#$Z(%!C$3"#'#$/0)295()$(+,$ #50+0.25$/'07)#.%$/'#&(2)=$Y*,$Z5'2‐ ture workshops are not limited to "(&2+B$ %5'##+3'2!#'%$ 2+$ '#%2,#+5#X$ we accompany them all the way to

!"#$-+2%"#,$-).=$J"2%$2%$#%%#+9()$!0$ prevent authors from faltering and giving in to discouragement.

%+BC$'#()2!8$3#+!$1('$7#80+,$-590+C$ and it was obvious that there was no +##,$!0$'#%0'!$!0$-590+=

KB( 4"+( J&#&*( 7/3/**/8+$ *$ 6!-"J 9)2'*#/$ ;/$ R126)$ L!"S)9**$ '5*'$ /!"$ #)-)2'./$ A#!6"-)6+$ -#)*')&$ '5)$ A!#'#*1'$ !($ *$ 7"21&1*2$ ,!9*2$ *26$ 5)#$&!.1'*#/$&'#"33.)$J$,1'5$'5)$b)0J !."4!2U&$ *Y)#9*'5$ *&$ *$ ;*-H6#!A?$ @!".6$/!"$&*/$6!-"9)2'*#/$1&$*$#).J )0*2'$3)2#)$'!$#)m)-'$'!6*/U&$#)*.1J 4)&$12$/!"#$-!"2'#/F s#%$ V$ !"2+?$ !"(!$ ,05*.#+!('2#%$ ('#$ especially relevant at the moment, as we do not yet have enough dis‐ !(+5#$ !0$ ,#()$ 32!"$ !"#$ (e#'.(!"$ 01$ !"#$ '#&0)*90+$ !"'0*B"$ -590+=$ U*'‐ thermore, documentaries illustrate the reality of a given moment in a precise environment, and imply a .0'#$*+2&#'%()$f*#%90+2+B=$[03#&‐ #'$%*7`#5!%$0e#+$5'#(!#$!"#2'$B#+'#=$ V+$ !"#$ 5(%#$ 01& J5& M'2& I$G$%& *+/+%‐

@5*'$,)#)$/!"#$19A#)&&1!2&$!($7!J #12!81.9:*;F$ @!".6$ /!"$ 5*0)$ *2/$ #)-!99)26*4!2&$'!$9*H)F V$'#())8$#+`08#,$7#2+B$2+$J0'2+0U2).‐ 6(7=$ V+$ ($ 3(8C$ 2!$ '#.2+,#,$ .#$ 01$ !"#$ B'#(!$ )#%%0+$ V$ "(,$ 2+$ g0^#',(.$ 3"#+$V$%!('!#,$2+$52+#.($2+$!"#$r;%C$ since the Lab is a modern version of g0^#',(.$U2).$U#%9&()$(+,$!"#$b2+‐ #I('!=$V1$V$"(,$!0$.(?#$($'#50..#+‐ ,(90+C$V$30*),$%*BB#%!$!"(!$!"#$6(7$ '#.(2+%$ ($ "0!7#,$ 10'$ !()#+!#,$ -).‐ .(?#'%C$(%$g0^#',(.$3(%$(+,$%9))$2%=$ V$(.$(1'(2,$!"(!$!"#$.*)9/)25(90+$01$ (59&29#%$(+,$30'?%"0/%$.2B"!$)#%%‐ en the great input that was intended 2+$!"#$-'%!$/)(5#=

5*'$ 6!)&$ 7!#12!J 81.9:*;$ #)A#)&)2'$ (!#$ /!"$ 12$ '5)$ -!2J ')N'$!($G'*./F Z&#'870,8$ ?+03%$ (70*!$ JU6G%$ f*()‐ 2!8$ (+,$ 2+!#'+(90+()$ '#/*!(90+T$ U0'$*%$!"0*B"C$(%$V!()2(+$/'0,*5#'%C$ 2!$ 2%$ ($ 72!$ )2?#$ &2%29+B$ ($ 30+,#'1*)$ toy store with your parents shout‐ ing: !_+-V5& 5+47D& '-;5D,-6<& M$& 7'-V5& '`+%E& ,5<” There is no money 10'$ .2+0'2!8$ 50/'0,*590+%$ 2+$ V!()8=$ JU6$ 2%$ 32+,03P%"0//2+B$ 10'$ *%}$ V!$ 2%$ 1'*%!'(9+BC$ (+,$ /'#^8$ !'(B25$ (%$ 3#))o$21$V!()2(+$/'0,*5#'%$5(++0!$i'#‐ ciprocate”, cannot invest in foreign -).%C$ 3#$ 32))$ 7#C$ )2^)#$ 78$ )2^)#C$ 5*!$ 0*!$1'0.$!"#$2+!#'+(90+()$+#!30'?$ !"(!$ B#+#'(!#%$ %*55#%%1*)$ 9!)#%T$ [#))0$ "#))0TTT$ V%$ (+870,8$ )2%!#+2+B$ */$!"#'#ddd

carlo Producer, Italy - Tempesta

DY)#$ '5)$ -#14-*.$ *--.*19$ (!#$ D.1-)$ b!5#,*-5)#U&$ E/*</( E&6&+B&$ *26$ :)!2*#6!$B1$M!&'*2h!U&$=Z%5B&*G"66/+$ /!"$s"1-H./$3!'$;#*26)6$*&$'5)$&*0J 1!"#$!($/!"23$G'*.1*2$-12)9*?$G&2U'$1'$ *$;1'$5)*0/F Ha ha ha you must be kidding! Sav‐ 20*'d$ Q%?$ .8$ (550*+!(+!TTT$ J#.‐ /#%!($ 2%$ %9))$ ($ &#'8$ %.())$ 50./(+8$ struggling to make ends meet every .0+!"T$Q+,$2!G%$`*%!$7#5(*%#$01$J#.‐ /#%!(G%$ 50./#!#+!$ (+,$ B#+#'0*%$ %!(DC$ (+,$ !"(+?%$ !0$ !"#$ 2+5'#,27)#$ talents who worked with Leonardo and Alice that we have been able !0$ B#!$ %0.#$ '#50B+290+T$ $ Q+8"03C$ ,0+G!$ 30''8$ 3#$ ('#$ %!*770'+$ (+,$ !0*B"C$ .0'#$ 1(+!(%95())8$ "#'#95$ -).%$('#$2+$!"#$0&#+TTT B!$/!"$()).$1&!.*')6$12$G'*./F ]0$+0!$(!$())T$>#$('#$%.())C$7*!$3#$ consider ourselves as part of a nour‐ 2%"2+B$+#!30'?$01$Z*'0/#(+$/'0,*5‐ ers, some based abroad some here. Q$ +#3$ B#+#'(90+$ 01$ 2++0&(9&#$ /'0,*5#'%$ 2%$ #.#'B2+B$ 2+$ V!()8=$ J"#$

SA 1(!$5(!$/'0,*5#'%$%2w+B$2+$50.10'!‐ able places, who suck up resources !0$/'0,*5#$i/)(%95$-).%W$%"0*),$7#$ afraid, very afraid! R!,$ 9*2/$ &-#1A'&$ 6!)&$ 7)9A)&'*$ #)-)10)$)*-5$/)*#F >#$'#5#2&#$(70*!$A;;=$s#%$V$?+03}$ 2!G%$ ?2+,$ 01$ %5('8=$ Z%/#52())8$ 21$ 80*$ consider that we have basically nev‐ #'$ /'0,*5#,$ ($ -).$ %!('9+B$ 1'0.$ ($ %5'2/!=$>#G&#$30'?#,$0+$R$-).%$2+$S$ 8#('%=$U0'$l$01$!"#.$3#$/'0(59&#)8$ contacted the director, because we were interested to start a long and 50./)#4$ /'05#%%$ 32!"$ "#'$ 0'$ "2.C$ which led us to the script and then !0$!"#$-).=$

< Hello hello!!!

Is anybody listening up there???> V!"$&A)2'$9*2/$/)*#&$12$b!9)$*26$ :!26!2+$ /)'$ /!"$ 6)-16)6$ !2$ L!.!J 32*$ *&$ *$ ;*&)$ (!#$ /!"#$ -!9A*2/?$ @5*'$ 1&$ '5)$ #)*&!2$ ;)5126$ '51&$ -5!1-)F b2+#!#5($ ,2$ a0)0B+(T$ H0#%+G!$ 2!$ %(8$ #&#'8!"2+BTd$ V!$ 3(%$ j2(+$ 6*5($ U('2+#))2$ u,2'#5!0'$ 01$ b2+#!#5($ ,2$ a0)0B+(vC$ 3"0$ #+50*'(B#,$ .#$ !0$ start my own company and helped *%$ !0$ !(?#$ 0D=$ b2+#!#5($ 2%$ %9))$ /('!$ 01$.0%!$01$0*'$/'0`#5!%T$Z&#'8$9.#$V$ "(&#$($/'07)#.$0'$($+#3$2,#(C$V$(%?$ j2(+$6*5($!0$B2&#$.#$($)2^)#$72!$01$"2%$ 7*%8$(B#+,($%0$V$5(+$B#!$"2%$0/2+20+=$ And then, there must be something in the water in Bologna: they are #_52#+!C$ f*25?C$ 5*'20*%C$ (+,$ '#%2)‐ 2#+!T$U(+!(%95$%!(D$3#$"(&#$!"#'#TTT

7)9A)&'*$1&$2!'$!2./$*-40)$12$%.9$ A#!6"-123t$ -!".6$ /!"$ &*/$ *$ (),$ ,!#6&$*;!"'$9).'J*JA.!'F I#)!P(P/)0!$2%$(+$0+)2+#$%052()$B(.#$ that generates a community to col‐ )#59&#)8$ 50+5#2&#C$ 3'2!#C$ (+,$ i5'#‐ (!#W$ ($ -).C$ 5"00%2+B$ ())$ (%/#5!%C$ from actors and costumes to music (+,$ )05(90+%=$ V!G%$ 7(%#,$ 0+$ ($ &#'8$ 2++0&(9&#$ (+,$ /'#^8$ %0/"2%95(!#,$ algorithm we invented, patented, and that we were able to develop 2+!0$($/'0/#'$/)({0'.$!"(+?%$!0$!"#$ &2%20+$01$F(0)0$H#)$a'0550C$"#(,$01$ Rai Cinema. B!2U'$ /!"$ &))$ *$ -!2'#*61-4!2$ ;)J ',))2$ A#!6"-123$ *#'$ 5!"&)$ %.9&$ *26$ A#!9!423$ -!..*;!#*40)$ &!YJ ,*#)F$ ]0T$ ]0!$ (!$ ())T$ V!G%$ !"#$ #4(5!$ %(.#$ spirit: we are passionate about the /'05#%%$ !"(!$ 5'#(!#%$ ($ -).=$ V!G%$ +0!$ !"#$ 2+9.(!#C$ %#)1P5#+!'#,C$ .2,,)#P class ego of a writer/director that .(?#%$!"#$,2D#'#+5#T$V!G%$!"#$(72)2!8$ to devise a process that brings tal‐ ent together and makes the mira‐ 5)#$ "(//#+=$ I#)!P(P/)0!$ 2%$ (+0!"#'$ /'05#%%C$($50))#59&#$(+,$2++0&(9&#$ 0+#X$2!$3(%$B'#(!$1*+$!0$2+&#+!$(+,$ !0$ .(?#T$ Q+,$ !"#+$ 10)?%}$ 9.#%$ !"#8$('#$(G$5"(+B2+BT

helena Producer, Sweden - Hepp Film

2$ q!0)9;)#$ <=\<$ /!"$ ,)#)$ *,*#6)6$ '5)$ Q#1N$ E"#19*3)&+$ ,51-5$ 61&J 423"1&5)&$ *$ A#!6"-)#$ *-40)$ 12$ E"#!A)*2$ -!JA#!6"-4!2?$ G&$ -!J A#!6"-4!2$A*#'$!($/!"#$ -12)9*$BqDF$ [("(T$s#%C$2!$5#'!(2+)8$2%T$V$"(&#$()3(8%C$10'$(%$)0+B$(%$V$ 5(+$'#.#.7#'C$"(,$(+$().0%!$.(+25$1(%52+(90+$10'$%!0‐ '8!#))2+B$(+,$52+#.($1'0.$,2D#'#+!$5*)!*'#%$(+,$50*+‐ !'2#%=$V$'#()2%#,$!"(!$1'0.$.8$N;$-+()2%#,$/'0,*5#'$5'#,‐ 2!%C$0+)8$A$%"0'!$2%$+0!$(+$2+!#'+(90+()$50P/'0,*590+T$ Y0$ 2!G%$ &#'8$ 5)#('$ !"(!$ V$ 7#)2#&#$ %!'0+B)8$ 2+$ 50))(70'(‐ 90+%C$5'0%%2+B$70',#'%$70!"$32!"$!()#+!$(+,$/'0,*52+B=

there” when it actually started to change for real, and have been able to meet !()#+!=$Y2+5#$:;AA$V$"(&#$"(,$($%)(!#$01$/'0`#5!%$ 2+$ ,#&#)0/.#+!$ 32!"$ #4529+B$ V+,2(+$ -)..(?#'%$ P$ V$ )00?$ 10'3(',$ !0$ %*//0'9+B$ !"#.C$ (+,$ -+,2+B$ ($ 3(8$01$'#()2%2+B$!"#2'$-).%$!"(!$32))$+0!$,(.(B#$(+,$ 50./'0.2%#$!"#.=$V!G%$50./)25(!#,$32!"$!"#$-+(+52+B$ %!'*5!*'#$2+$V+,2(C$%0$!"#$-).%$+##,$!0$"(&#$(+$2+!#'+(‐ 90+()$/0!#+9()=

V!"$ #)-)2'./$ A#!6"-)6$ *$ '5#1..)#+$ 7$&( -%..&5( E$%6.,( ;*&)6$!2$*$;)&'&)..123$2!0).$;/$M*91..*$:w-H;)#3?$M!2J &16)#123$ 7!#12!81.9:*;$ .*"2-5)6$ '5)$ D6*A':*;$ A#!J 3#*99)$.*&'$/)*#+$,5*'$*#)$'5)$*60*2'*3)&$(!#$/!"$!($ ,!#H123$!2$*2$*6*A'*4!2$A#!S)-'F Before *D$&a,EE$-&CD,(E$V$/'0,*5#,$!"#$-).$I$;+-E&by V!"$ *.&!$ -!JA#!6"-)6$ &!9)$ %.9&$ ,1'512$ /!"#$ !,2$ F#'+2))($Q*B*%!$3"25"$$3(%$()%0$(+$(,(/!(90+=$b*''#+!)8$ VG.$,#&#)0/2+B$0+#$1#(!*'#$(+,$0+#$J@P%#'2#%$7(%#,$0+$ -!"2'#/+$,1'5$!'5)#$T,)61&5$A#!6"-)#&i Y3#,#+$2%$($%.())$50*+!'8$32!"$($-).$2+,*%!'8$3"25"$"(%$ ,05*.#+!('8$ +0&#)%$ !"(!$ V$ 0/90+#,=$ V!G%$ &#'8$ #4529+B$ +0$!'(,290+$01$50))(70'(90+$7#!3##+$(59&#$/'0,*5#'%=$ (+,$()%0$50./#99&#$%0.#9.#%C$%0$!"#$!'*%!$1'0.$!"#$ s#!C$21$.8%#)1$(+,$(+0!"#'$/'0,*5#'$-+,$%8+#'B8$30'?‐ publisher and the author towards the producer, direc‐ 2+B$!0B#!"#'C$V$7#)2#&#$10'$%0.#$-).%$2!G%$`*%!$3"(!$!"#8$ !0'C$(+,$3'2!#'C$2%$"*B#)8$2./0'!(+!=$6*5?2)8$.8$#4/#'2‐ +##,$ !0$ 0/9.2%#$ !"#$ 5"(+5#%$ 01$ 7#50.2+B$ B'#(!=$ U0'$ ence has been very good in the way that we have had a #4(./)#$V$3(%$'#5#+!)8$#4#5*9&#$/'0,*5#'$0+$C'((&X,%(. close and open dialogue with the author and the pub‐ lisher throughout the whole process, and no actual strings B"#123$ '5)$ \&'$ 78:$ ^))423$ < My personality and the (^(5"#,=$ V!G%$ ($ .*!*()$ '#%/#5!$ E0)2'$ 12$ <==>+$ /!"$ ()..$ 12$ .!0)$ that is needed, at least when ,1'5$*$&'!#/$(#!9$*$/!"23$G'*.J way I attach myself as a you work with independent 1*2$&-#1A',#1')#+$:)!2*#6!$T'*3J cinema, where the budgets .1*2v?$ @*&$ '51&$ *$ !2-)J12J*J-*J producer is always based ('#$)03#'$(+,$*%*())8$!"#'#G%$($ #))#$&!#'$!($)2'5"&1*&9F !'(,290+$ 01$ i-+()$ 5*!W$ 10'$ !"#$ V!$ 3(%$ 5#'!(2+)8$ 0+#$ 01$ !"#$ on a “hunch”.@ director. %!'0+B#%!T$ I8$ /#'%0+()2!8$ (+,$ !"#$ 3(8$ V$ (^(5"$ .8%#)1$ (%$ ($ /'0,*5#'$2%$()3(8%$7(%#,$0+$($i"*+5"W$P$(+$2..#,2(!#$ 1(%52+(90+$(+,$%!'0+B$1##)2+B%$10'$!"#$%!0'8$(+,$!"#$/0‐ !#+9()$01$!"#$!()#+!= @5*'$5*&$;))2$91&&123$(!#$7$&(K5?*&.%C6&(^.;++&;$!($ B*21).$8.!,$'!$9*H)$1'$'!$'5)$;13$&-#))2$&!$(*#F V$ 30*),$ %(8$ !"#$ 9.2+B$ 3(%$ *+10'!*+(!#=$ 6#0+(',0C$ (+$ (.(k2+B)8$!()#+!#,$3'2!#'C$"(,$50+h259+B$/'20'29#%$,*#$ !0$(+$#,*5(90+$(7'0(,C$7*!$.0%!)8$+0!$"(&2+B$($,2'#5‐ !0'$(^(5"#,$!0$30'?$32!"$"(%$%0$1('$/'#&#+!#,$!"#$/'0‐ `#5!$ 1'0.$ "(&2+B$ ($ 5)#('$ &2%20+$ 01$ 3"(!$ ?2+,$ 01$ -).$ 2!$ should actually be. V!"$ .10)6$ 12$ G261*$ (!#$ '5#))$ /)*#&?$ B16$ /!"$ 5*0)$ *2$ *3)26*$'!$61&-!0)#$'5)$2),$3)9$!($G261*2$-12)9*F How did you know! Living partly and spending a )0!$ 01$ 9.#$ ,*'2+B$ !"#$ )(%!$ :;$ 8#('%$ 2+$ V+,2($ "(%$ 01$ 50*'%#$2+h*#+5#,$.#C$(%$VG&#$32!+#%%#,$(+$#452!‐ 2+B$ 5"(+B#$ 2+$ !"#$ )(+,%5(/#$ 01$ -)..(?2+B=$ V$ "(&#$"(,$!"#$B'#(!$0//0'!*+2!8$!0$i7#$

5*'$ A)#&"*6)6$ /!"$ '!$ -!9)$ '!$ 7!#12!+$ *26$ ,5*'$ ,)#)$ /!"#$ 19J A#)&&1!2&$ !($ '5)$ A#!S)-'&$A#)&)2')6F V$"#(',$(70*!$J0'2+0U2).6(7$ %#&#'()$ 9.#%$1'0.$.(+8$/#0/)#$%(82+B$!"(!$ it was really good and nice, and that 2!$3(%$30'!"$!"#$!'2/=$Y0$V$,#52,#,$!0$ %##$ 10'$ .8%#)1=$ M&#'())$ V$ "(,$ ($ &#'8$ good impression, indeed a very cosy atmosphere with a lot of emerging !()#+!%=$ j00,$ &27#%C$ B00,$ #+#'B8=$ >"(!$ V$ )2?#,$ !"#$ .0%!$ 3(%$ !"#$ 1##)‐ 2+B$!"(!$"#'#$2+$J0'2+0$2!$2%$%9))$/0%‐ %27)#$ !0$ ,2%5*%%$ 52+#.(C$ 5'#(9&2!8C$ 50+!#+!C$ .#(+2+BC$ (+,$ !0$ #45"(+B#$ 2,#(%=$ Q+,$ !"(!$ 2!$ 2%$ %9))$ /0%%27)#$ !0$ .(?#$2!$"(//#+$#&#+$10'$L(%$8#!O$*+‐ ?+03+$(+,$%9))$&#'8$80*+B$/#0/)#}= V!"$ 9)24!2)6$ 6"#123$ '5)$ ^))'J 123$ E0)2'$ 5!,$ "A&)'$ /!"$ ,)#)$ '5*'$ &!9)$ 6);"'$ %.99*H)#&$ ,)#)$ -"x23$ '5)9&).0)&$ !c$ (#!9$ *2/$ A!')24*.$ *"61)2-)$ ,1'5$ '5)1#$ A#!J S)-'&i$ J"#$-'%!$9.#$V$5(.#$V$1#)!$!"(!$%0.#$ 01$ !"#$ %#)#5!#,$ /'0`#5!%$ 3#'#$ -).%$ 3#$ "(&#$ ()'#(,8$ %##+$ 2+$ !"#$ ArR;%$ 0'$ <;%C$ &#'8$ ('!P"0*%#$ LV$ "(&#$ +0!"‐ 2+B$(B(2+%!$!"2%C$01$50*'%#O$7*!$,##/)8$ withdrawn into themselves. Stories that are not strong enough to cut into the market. As a producer of art‐ "0*%#$-).%$(+,$($)0!$01$-'%!$1#(!*'#%C$ V$()3(8%$!'8$!0$-+,$/'0`#5!%$!"(!$"(&#$ something special, and can interest a )('B#$(*,2#+5#=$V$3(%$(.(k#,$!0$%##$ 80*+B$,2'#5!0'%$!#))2+B$&#'8$2+9.(!#$ stories without thinking about the .('?#!=$>"#+$VG,$/'0&0?#$!"#.$(%?‐

2+Bo$iMD;&B+4(E&2+/$1+E;&2$$&;+4%& ](/ZW$ !"#$ (+%3#'$ 3(%o$ i*D,2& ,2& -+5& :+%&/$&5+&B+%%;&'1+45<” Hum! B!$/!"$9!&'./$*I)26$-!JA#!6"-4!2$ (!#"9&$'!$9)*&"#)$'5)$A".&)$!($'5)$ %.9$ 126"&'#/F$ V!"#$ A)#&!2*.$ 2)'J ,!#H$!($'*.)2'&$&))9&$.*#3)$)2!"35$ '!$())6$/!"#$-!9A*2/$,1'5$)N-1423$ A#!S)-'&i Thank you, we do have a very rich (+,$ #4529+B$ )2+#$ */=$ a*!$ V$ ,0$ 50.#$ #%/#52())8$ 2+$ 9.#%$ 01$ ,#&#)0/.#+!C$ 3"#+$V$+##,$!0$1##)$!"#$.('?#!C$7*!$ also to meet people, to hear about projects that may interest me. V!"$ *#)$ H2!,2$ (!#$ /!"#$ A)#&)0)#J *2-)$12$!#6)#$'!$;#123$*$%.9$'!$.1()?$ 751&$ &!9)49)&$ 9)*2&$ &)x23$ "A$ -!9A.)N$ -!JA#!6"-4!2$ &'#"-'"#)&+$ .1H)$ (!#$ /!"#$ 9!&'$ #)-)2'$ %.9+$ 8#1)26&$ (#!9$ 8#*2-)+$ *$ -!JA#!6"-J 4!2$ ;)',))2$ 8#*2-)+$ _)#9*2/+$ M*2*6*+$*26$b"&&1*y$R*0)$/!"$)0)#$ ()*#)6$.!&123$-!2'#!.F ]0=$>"#+$V$50P/'0,*5#$($-).$!"(!$V$ 2+29(!#C$V$+#&#'$)0%#$50+!'0)C$7#5(*%#$ VG.$ ()3(8%$ !"#'#C$ 5)0%#$ !0$ !"#$ -).$ (+,$ 2!%$ /'0,*590+=$ V1$ 50P/'0,*590+$ '#f*2'#%$30'?$(7'0(,$V$32))$7#$!"#'#=$ U0'$ !"#$ /'#/('(90+C$ (+,t0'$ %"00!‐ 2+BC$ 0'$ /0%!P/'0,*590+C$ VG.$ ()3(8%$ 50P/'0,*5#'$ 10'$ ($ iB00,$ '#(%0+WX$ trying to have an organic, natural 50P/'0,*590+$"#)/%$.#$!0$'#.(2+$2+$ control.

yael Producer, France - Les Films du Poisson

@!".6$ /!"$ &*/$ '5*'$ /!"#$ )NJ Sc A)#1)2-)$!($'5)$7!#12!81.9:*;$ 5*&$12m")2-)6$/!"#$01),$!($'5)$G'*.J 1*2$%.9$126"&'#/F ]0!$ '#())8=$ V!$ 3(%$ 2+!#'#%9+B$ !0$ %##$ 3"25"$ V!()2(+$ /'0`#5!%$ 5(.#$ !0$ J0‐ '2+0C$7*!$V$3(%$%*'/'2%#,$!0$%##$0+)8$ 0+#$0'$!30===$V$?+03$!"#$%2!*(90+$2+$ V!()8$2%$+0!$#(%8$10'$#.#'B2+B$52+#.($ (+,$V$30+,#'$21$J0'2+0U2).6(7$50*),$ not be more involved, in having for #4(./)#$ ($ %/#52()$ f*0!($ 10'$ V!()2(+$ projects… But are there any interest‐ 2+B$/'0`#5!%d$ V!"$ 5*0)$ *$ .!'$ !($ )NA)#1)2-)$ 12$ -!J A#!6"-123$ G&#*).1$ %.9&+$ 2!'*;./$ ;/$ %#&'J49)$ 61#)-'!#&+$ #)-)2'./$ R*6*#$ 8#1)6.1-5U&$J&"'O0'6(I"66&;(*26$V!&&1$ D01#*9U&$7$&()'5&?$R!,$6!$/!"$)NJ A.*12$'5)$-!2&'*2'./$#)2),)6$)9)#J 3)2-)$!($'*.)2'&$(#!9$'5)$-!"2'#/F Q$50+5#+!'(90+$01$!()#+!%C$2+$($50*+‐ !'8$ 3"#'#$ 2.(B2+(90+$ 2%$ (+$ 07)2B(‐ 90+$2+$0',#'$!0$7#$(7)#$!0$%*'&2&#}$ V+$!"#$)(%!$1#3$8#('%$.0'#$.0+#8$"(%$ been invested in cinema and in new !()#+!=$Q+,$()%0$($.*)9!*,#$01$+#3$ -).$ %5"00)%$ 0/#+#,=$ J"#$ 1(5!$ !"(!$ .0'#$(+,$.0'#$V%'(#)2$-).%$%*55##,$ 2+$5'0%%2+B$!"#$70',#'C$-+,2+B$-+(+5‐ ing abroad, and being selected at im‐ /0'!(+!$1#%9&()%C$'#())8$"#)/%= G2$*$/)*#$!#$',!+$.)&$81.9&$6"$Q!1&&!2$ ,1..$)2')#$1'&$<='5$/)*#$!($)N1&')2-)?$ D#)$/!"$A.*22123$*2/$-).);#*4!2F M1$50*'%#C$($72B$-#%!($2+$($"*B#$-%"$ !(+?}$s0*G))$7#$2+&2!#,T

!"$ 5*0)$ ;))2$ &))H123$ !"'$ *26$ &"AA!#423$ 2),$'*.)2'&$(#!9$*..$!0)#$'5)$,!#.6$*'$'5)$M1J 2{(!26*4!2$ &12-)$ <==<?$ R*0)$ /!"$ !;&)#0)6$ *2$)0!."4!2$!($'5)$s")&4!2123&$!($'5)$%.9J 9*H)#&$!0)#$'5)$6)-*6)F J"#$2%%*#$01$2,#+9!8$2%$()3(8%$(!$!"#$50'#$01$-)..(?#'%G$ f*#%90+2+B%=$ s0*$ -+,$ 2!$ (,,'#%%#,$ 0&#'$ (+,$ 0&#'C$ 8#!$ 32!"$ .0'#$ (^#+90+$ B2&#+$ )(!#)8$ !0$ !"#$ 30'),$ !"(!$ %*'‐ rounds us.

Sales Agent, Germany Films Boutique

gabor

81.9&$ L!"4s")$ 5*&$ *$ -*#)("../$ &).)-')6+$ ;"'$ 0)#&*4.)$ -*'*.!3")?$@5*'$1&$1'$'5*'$/!"$*#)$.!!H123$(!#$'5)&)$6*/&+$ )&A)-1*../$,5)2$1'$-!9)&$'!$)9)#3123$'*.)2'&F U2).%$a0*9f*#$"(%$()3(8%$)(2,$($%/#52()$#8#$0+$#.#'B2+B$ !()#+!%=$H#%/2!#$0*'$)2.2!#,$)2+#P*/$#&#'8$8#('C$3#$?##/$0+$ working with at least 2‐3 new and upcoming directors. We -B"!$10'$!"#2'$+(.#$(+,$!()#+!$!0$'#(5"$!"#$2+!#'+(90+()$ .('?#!/)(5#=$V!$2%$!'*#$!"(!$!"#$.('?#!$2%$B#w+B$!0*B"#'$ (+,$!0*B"#'$(+,$2!$!(?#%$.0'#$(+,$.0'#$#D0'!$!0$.(?#$ +#3$ !()#+!%$ !'(&#)$ +0!$ 0+)8$ !"#$ B)07()$ 1#%9&()$ 52'5*2!$ 7*!$ also the local cinema screens. While staying focused on a %!'0+B$ (+,$ 2++0&(9&#$ ,2'#5!0'G%$ &2%20+$ 3#$ ('#$ .0'#$ (+,$ more looking for strong, yet untold stories, which speak to a wider audience and possibly use elements of commercial genres.

DY)#$5*0123$)2-!"2')#)6$6!h)2&$!($/!"23$%.99*H)#&+$ )&A)-1*../$*'$'5)$b)&16)2-)$12$Q*#1&+$5*0)$/!"$16)24%)6$ #)-"##123$A*I)#2&$!($5!,$-#)*40)$A#!-)&&$,!#H&F g#B(',2+B$ !"#$ 3(8$ -)..(?#'%$ 30'?$ (+,$ 3'2!#C$ V$ 30*),$ +0!$%(8$!"#'#$2%$($%/#52-5$.#!"0,=$Z(5"$(+,$#&#'8$0+#$ ,#&#)0/%$"2%t"#'$03+$.#!"0,=$>"(!$V$07%#'&#$!"0*B"$2%$ !"(!$-)..(?#'%$('#$2+5'#(%2+B)8$0/#+$(+,$?##+$!0$30'?‐ 2+B$(5'0%%$,2D#'#+!$.#,2(%=$ B!$ /!"$ &)'$ (!#$ /!"#&).($ &!9)$ 3)2)#*.$ #".)&$ !2$ 5!,$ '!$ ;)&'$*--!9A*2/$%.9$'*.)2'&F The support is really designed to take into account the &('20*%$ 2+,2&2,*()29#%C$ (+,$ (%$ ($ '#%*)!$ 2!$ '#())8$ ,2D#'%$ 1'0.$0+#$-)..(?#'$!0$!"#$+#4!= 75)$M12{(!26*4!2$,*&$-#)*')6$12$\]]>$,1'5$75)$T).)-J 4!2+$ *$ &5!,-*&)$ !($ &'"6)2'$ %.9&$ 6"#123$ '5)$ M*22)&$ 81.9$ 8)&40*.?$ 75)$ b)&16)2-)$ &'*#')6$ 12$ <===+$ *26$ 75)$ D').1)#$5*&$;))2$'*H123$A.*-)$&12-)$<==|?$B!$/!"$5*0)$ *2/$2),$1214*40)&$12$9126F M7&20*%)8$!"#'#$('#$+#3$2,#(%$2+$,2%5*%%20+$0'$7#2+B$,#‐ &#)0/#,C$#%/#52())8$3"#+$2!$50.#%$!0$-).$,2%!'27*90+=

@5*'$ 9*/$ 5*0)$ A#)0)2')6$ /!"$ (#!9$ -!9123$ !2$ ;!*#6$ ,1'5$*$A#!S)-'$'5*'$,*&$A#)&)2')6$*'$'5)$7!#12!81.9:*;$ *26$'5*'$/!"$.1H)6F [("(T$ I(87#$ (+0!"#'$ 1'2#+,)8$ %()#%$ 50./(+8C$ !"(!$ 3(%$ f*25?#'d$j2&#+$0*'$)2.2!#,$(+,$105*%#,$)2+#P*/$!"#'#$('#$ many elements that play a role when deciding to get on 70(',$32!"$($/'0`#5!=$Z&#+$21$3#$('#$2+$)0&#$32!"$($-).C$!"#$ %#!P*/C$!"#$9.2+BC$!"#$%*7`#5!$.(^#'C$!"#$+(90+()2!8C$())$ 2+h*#+5#$!"#$,#52%20+$.(?2+B$/'05#%%=

V!"$*#)$*$#)3".*#$!($'5)$7!#12!81.9:*;$^))423$E0)2'?$ D#)$/!"$*AA#)-1*40)$!($*2/'5123$&A)-1%-F U2'%!$ (+,$ 10'#.0%!$ !"#$ %#)#590+$ 2%$ B00,=$ a#%2,#%C$ !"#$ /'#%#+5#$01$($.0,#'(!0'$,*'2+B$!"#$/'#%#+!(90+$01$!"#$ /'0`#5!%$())03%$0+#$!0$)2%!#+$.0'#$(^#+9&#)8= 7!#12!81.9:*;$ !#3*21&)&$ *2$ D."921$ ^))423$ *22"*../+$ 3*'5)#123$1'&$A*#4-1A*2'&$(#!9$A#)01!"&$/)*#&?$R*0)$/!"$ )0)#$-!2&16)#)6$;#123123$'!3)'5)#$'5)$\|=$)NJ#)&16)2'&$ 12$Q*#1&$!#$M*22)&$(!#$*$-).);#*4!2F a'2+B2+B$!0B#!"#'$.0'#$!"(+$Ac;$-)..(?#'%$2+$F('2%$0'$ b(++#%$2%$50./)25(!#,=$>#$,0$%#+,$($+#3%)#^#'$!0$())$0*'$ -)..(?#'%$!325#$($8#('C$%0$!"(!$!"#8$5(+$B#!$*/,(!#%$0+$ !"#2'$'#%/#59&#$5('##'%= @!".6$ /!"$ 5*0)$ *2/$ #)-!99)26*4!2$ '!$ 9*H)$ '!$ '5)$ 7!#12!81.9:*;F V$(.$+0!$%*'#$V$30*),$-+,$(+8o$J0'2+0U2).6(7$2%$&#'8$3#))$ organised, it is located in many countries and has opened */$!0$+#3$10'.%$01$-)..(?2+B$%*5"$(%$!'(+%.#,2($(+,$ crossmedia.

@!".6$/!"$&*/$'5*'$7!#12!81.9:*;$1&$"21s")$-!9A*#)6$'!$ !'5)#$A.*-)&$/!"$'#*0).$'!F$G($&!+$,5*'$*#)$'5)$#)*&!2&F V$ 30*),$ ,#-+2!#)8$ %(8$ !"(!$ J0'2+0U2).6(7$ 2%$ ($ *+2f*#$ #4‐ 5"(+B#$01$#4529+BC$1'2#+,)8$(+,$2++0&(9&#$.2+,%=$V$(,.2'#$ the willingness of TorinoFilmLab to try out new pathways, !0$#4/#,2!#$,2D#'#+!$!8/#%$01$/'0`#5!%C$!0$/)(8$32!"$&2%20+‐ ('8$3(8%$01$,2%!'27*90+C$!0$2+&0)&#$#4/#'!%$1'0.$,2D#'#+!$ -#),%$3"2)%!$(%%*'2+B$($'#)(4#,$(+,$)(2,$7(5?$(!.0%/"#'#=$

Cinefondation Director, France Cannes Film Festival

georges

&$'5)$A)#&!2$12$-5*#3)$!($*-s"1&14!2&$(!#$'5)$ &*.)&$ -!9A*2/$ 81.9&$ L!"4s")$ [$ A#)01!"&./$ (!#$ ^*'-5$ 8*-'!#/+$ /!"$ *I)26$ ()&40*.&$ W$ %.9$9*#H)'&$*..$/)*#$#!"26?$@5*'$9*H)&$/!"$ -!9)$ ;*-H$ '!$ '5)$ 7!#12!81.9:*;$ ^))423$ E0)2'+$'51&$/)*#$(!#$'5)$%Y5$49)$12$*$#!,F V$.*%!$(,.2!$!"(!$V$"(&#$&#'8$%!'0+B$9#%$!0$J0'2+0U2).6(7$ for several reasons. The quality of the projects selected, !"#$ *+2f*#$ 50.72+(90+$ 01$ "2B"P)#&#)$ /'01#%%20+()%$ (+,$ /#'%0+()$1'2#+,%$(+,$($9B"!$7*!$#D#59&#$%5"#,*)#$.(?#$ .#$.('?$!"#%#$,(8%$(!$!"#$#+,$01$]0&#.7#'$32!"$'#,$2+$ my calendar.

@5)2$/!"$;!!H$*$!2)J'!J!2)$9))423$,5*'$*#)$/!"$.!!HJ 123$(!#$%#&'$*26$(!#)9!&'F Q$0+#P!0P0+#$.##9+B$2%$10'$.#$($B'#(!$0//0'!*+2!8$!0$B#!$ !0$?+03$!"#$/#0/)#$7#"2+,$!"#$5'#(9&#$/'05#%%=$V!$2%$1(%52‐ +(9+B$!0$?+03$.0'#$(70*!$!"#$,2'#5!0'G%$&2%20+C$!"#$2,#(%$ (+,$'#(%0+%$!"(!$)#(,$!0$!"#$/'0,*590+$(+,$!0$1##)$())$!"#$ #+#'B8$7*'+2+B=$V$*%*())8$!'8$!0$'#(,$!"#$!'#(!.#+!$0'$%5'2/!$ 7#10'#$!"#$.##9+B$2+$0',#'$!0$B#!$,##/#'$2+!0$!"#$%!0'8C$(%$ 3#))$(%$2+!0$!"#$/'0,*590+$%#!*/C$9.2+B$(+,$!"#$3(8%$3#$ can help to move the project forward. 7!#12!81.9:*;$1&$)NA.!#123$2),$(!#9&$!($&'!#/')..123+$(!#$ )N*9A.)$%-4!2&$'5*'$)N')26$'!$&)0)#*.$A.*z!#9&$!($61&J '#1;"4!2?$G&$'51&$*$'#)26$'5*'$81.9&$L!"4s")$1&$9!21'!#J 123$*26$()).&$,)..$)s"1AA)6$'!$,!#H$,1'5+$!#$1&$1'$2!'$*$ A#1!#1'/F V$'#())8$(,.2'#$J0'2+0U2).6(7$10'$2!%$50+%!(+!$#D0'!%$!0$2+‐ +0&(!#$(+,$#4!#+,=$U2).%$a0*9f*#$2%$10))032+B$!"#$,#&#)‐ 0/.#+!%$01$+#3$10'.%$(+,$/)({0'.%$01$,2%!'27*90+$&#'8$ 5)0%#)8X$!"#'#10'#$2!$2%$&#'8$#4529+B$10'$.#$!0$'#5#2&#$2+/*!$ 0+$!"2%$.(^#'$,*'2+B$!"#$,(8%$%/#+!$2+$J0'2+0=

ivan

SrSr

teresa

CEO of Media Company, Slovakia Film Europe

Funding Advisor, Germany Medienboard Berlin-Brandenburg

!"$ ,!#H$ *&$ *$ ("26J 123$ *601&!#$ (!#$ '5)$ ^)61)2;!*#6$ L)#.12J L#*26)2;"#3?$ M!".6$ /!"$)NA.*12$,5*'$/!"#$ S!;$)2'*1.&F As a funding advisor for interna‐ 90+()$ 50P/'0,*590+%$ (+,$ #4/#'2‐ .#+!()$ /'0`#5!%C$ V$ -)!#'$ 0*!$ /'0`#5!%$ 7#10'#$ !"#$ (//)25(90+$ /'05#%%$ (+,$ !"#+$ V$ (+()8%#$ %*7.2^#,$ /'0`#5!%C$ together with the Head of the fund, to decide whether a project should '#5#2&#$1*+,2+B=$V$(.$()%0$2+&0)&#,$2+$ .(+(B2+B$($+*.7#'$01$2+!#'+(90+()$ /('!+#'%"2/%$ (!$ !"#$ I#,2#+70(',C$ %*5"$ (%$ !"#$ j#'.(+PJ*'?2%"$ 50P/'0‐ ,*590+$,#&#)0/.#+!$1*+,$(+,$&('2‐ 0*%$('9%!P2+P'#%2,#+5#$/'0B'(..#%= V!"$*#)$*$#)3".*#$*'$'5)$7!#12!81.9J :*;$ ^))423$ E0)2'?$ @5*'$ 9*H)&$ /!"$-!9)$;*-HF J0'2+0U2).6(7$ 2%$ (+$ #45#))#+!$ 50+‐ genial and generous venue and con‐

%2%!#+!)8$ "(%$ .(+8$ &#'8$ 2+!#'#%9+B$ projects. That is the most important 1(5!0'=$ V+$ (,,290+C$ !"#$ "0%/2!()2!8$ 2%$ wonderful, as is the food and wine in the region! V!"$5*0)$*2$*-*6)91-$;*-H3#!"26+$ ,1'5$ *$ &A)-1*.$ 12')#)&'$ 12$ '5)$ #).*J 4!2&$ ;)',))2$ E"#!A)*2$ -!"2'#1)&$ *26$-12)9*$(#!9$'5)$T!"'5$[$)&A)J -1*../$:*42$D9)#1-*$*26$D(#1-*?$R!,$ 6!$'5)$#)&)*#-5)#$*26$'5)$6)-1&1!2J 9*H)#$ -!5*;1'$ 12$ /!"$ *26$ 2!"#1&5$ !2)$*2!'5)#F$ M+$!"#$0+#$"(+,C$V$30*),$%(8$!"(!$.8$ research background contributes to ($ 50+%!(+!$ %#)1P'#h#42&#$ (+()8%2%$ 01$ funding processes. And in this sense it is nourished by my prior research (+,$ (5(,#.25$ 30'?=$ M+$ !"#$ 0!"#'$ "(+,C$ 0+$ ($ f*09,2(+$ (+,$ /'(595()$ )#&#)$ !"#'#$ 2%$ %2./)8$ +#&#'$ 9.#$ 10'$ '#()$ '#h#590+=$ M+#$ 1*+,2+B$ %#%%20+$ always follows/precedes another (+,$3#$('#$2+$($50+9+*()C$'(%"$/'0‐

5#%%$01$,#()2+BC$.(+(B2+B$(+,$i/'0‐ ,*52+BW=$V$!"2+?$2!$2%$($%"(.#$!"(!$!"#$ two worlds are so radically distant. @5*'$*#)$'5)$5!'$'!A1-&$61&-"&&)6$*'$ '5)$ ^)61)2;!*#6$ L)#.12JL#*26)2J ;"#3$'5)&)$6*/&F J"#$M%5('%$('#$2+$!"#$(2'$(!$!"#$.0‐ .#+!=$ a*!$ 2+$ B#+#'()$ V$ 30*),$ %(8$ !"#$ *%*()$ n$ +#3C$ 2++0&(9&#$ (+,$ !'(+%P.#,2($ 50+!#+!C$ @0H$ (+,$ ,2B2‐ !()$ 30'),%=$ Q+,$ .0'#$ /#'%0+())8$ V$ 30*),$ %(8$!"#$#4/#'2.#+!()$ (+,$ ('!$ projects. @!".6$/!"$&*/$'5*'$/!"#$)NA)#1)2-)$ !($'5)$7!#12!81.9:*;$5*&$12m")2-)6$ /!"#$ !A121!2$ !($ '5)$ G'*.1*2$ -12)9*$ 126"&'#/F s#%=$ V!$ ,#.0+%!'(!#%$ ($ "2B"$ )#&#)$ 01$ professionalism, which is not neces‐ sarily always so evident.

!"$ *#)$ '5)$ !,2)#$ *26$ MEC$ !($'5)$9)61*$-!9A*2/$81.9$ E"#!A)?$@!".6$/!"$;)$*;.)$ '!$ )NA.*12$ 12$ ;#!*6$ ')#9&$ ,5*'$9!40*')&$/!"$'!$3!$'!$ /!"#$!o-)$)0)#/$9!#2123F U2).$ Z*'0/#$ 2%$ (70*!$ Z*'0/#(+$ -).%=$ >#$ (5f*2'#$ (+,$ !"#+$ #4/)0'#$ Z*'0‐ /#(+$ -).%$ (!$ ())$ )#&#)%$ 01$ ,2%!'27*90+=$ Y!('9+B$ 1'0.$ !"#(!'25()C$ B02+B$ !"'0*B"$ &2,#0$ (+,$ @MHC$ !"#+$ /(8$ (+,$ 1'##$ J@=$ U2).$ Z*'0/#$ 2%$ 0+#$ 01$ !"#$ .0%!$ (59&#$ 7*8#'%$01$Z*'0/#(+$-).%$2+$!"#$30'),=$ There is no other company that delib‐ #'(!#)8$105*%#%$0+$Z*'0/#(+$U2).%=$>#$ 7*8$ (!$ (+8$ %!(B#$ 01$ -).$ ,#&#)0/.#+!C$ depending on our needs and the state 01$0*'$)27'('8=$>#$7*8$f*()2!8$-).%$1'0.$ the back catalogues of established ma‐ `0'$ 50./(+2#%$ n$ b(+()~C$ Iq:C$ Y&#+%?$ U2).C$ gQVC$ J'*%!$ ]0',2%?C$ #!5=$ >#$ ()%0$ buy recent winners and hunt for them (!$!"#$.('?#!%$('0*+,$)#(,2+B$1#%9&()%$ Lb(++#%C$a#')2+C$@#+25#C$J0'0+!0O=$j00,$ #+0*B"$10'$%!'0+B$.09&(90+C$2%+G!$2!d

ivan

&$ 1'$ #).)0*2'$ (!#$ /!"$ '!$ *'J ')26$ *$ -!JA#!6"-4!2$ (!J #"9$ .1H)$ '5)$ 7!#12!81.9:*;$ ^))423$ E0)2'+$ -!2&16)#123$ '5)$%.9&$*#)$12$'5)1#$6)0).J !A9)2'$ &'*3)$ *26$ ,1..$ !2./$ 51'$'5)$&-#))2&$12$&)0)#*.$/)*#&F J"#$ 7#%!$ 3(8$ !0$ 2,#+918$ ($ 1*!*'#$ 1#%9&()$ 32++#'$ 2%$ !0$ /('952/(!#$ 2+$ as many pitching or works in pro‐ gress forums as possible, such as TorinoFilmLab. We are very suc‐ 5#%%1*)$(!$2,#+9182+B$1*!*'#$32++#'%$ 01$ iQW$ 1#%9&()%=$ V$ (.$ /'#^8$ /'0*,$ !"(!$3#$%#5*'#,$.(`0'$:;AN$1#%9&()$ 32++#'%$ n$ b(++#%$ j0),#+$ F().$ 0'& H,$& EV"Eb($C$ a#')2+()#$ j0),#+$ a#('$ CD,(EV2& N+2$$ (+,$ @#+25#$ j0),#+$ Lion A'7%+&X=" – before they were (3(',#,=$>#$.*%!$?+03$3"(!G%$B0‐ 2+B$0+$2+$!"#$/'#/'0,*590+$/"(%#C$ 8#('%$7#10'#$50./)#90+$01$!"#$-).=$ V!$ 2%$ 2+,##,$ !"#$ 2./0'!(+!$ (5f*2%2‐ 90+$!#5"+2f*#=$$$

+(90+()$ %*//0'!$ %5"#.#%C$ (+,$ 3#$ ('#$ #4!'#.#)8$ B'(!#1*)$ 10'$ 0*'$ %*5‐ cess. However our main sources of 2+50.#$ ('#$ 1'0.$ ())$ &#'95())8$ 2+!#‐ B'(!#,$ 50./(+8$ (59&29#%C$ %*5"$ (%$ /(8$ J@$ '#&#+*#$ (+,$ '#&#+*#$ 1'0.$ %()#%$!0$1#%9&()%$(+,$!#''#%!'2()$!#)‐ evision.

V!"$ '*H)$ *$ #*'5)#$ -#14-*.$ &'*26$ !2$ '5)$ A";.1-$ ("26123$ &"AA!#423$ -12J )9*$12$E"#!A)?$@5*'$*#)$'5)$2)3*J 40)$ )c)-'&$ !($ '5)$ 0*#1!"&$ )N1&423$ &-5)9)&$12$/!"#$!A121!2F Y*//0'!$%5"#.#%$('#$#4!'#.#)8$2.‐ /0'!(+!=$J"#$Z*'0/#(+$-).$2+,*%!'8$ 30*),$ +0!$ #42%!$ 32!"0*!$ !"#.=$ a*!$ (!$!"#$%(.#$9.#$!00$.*5"$%*//0'!$ 5'2//)#%$0*'$-).$#50%8%!#.=$I8$5'2!‐ ical stand is about companies and 2+%9!*90+%$ !"(!$ ,#/#+,$ #+9'#)8$ 0+$/*7)25$.0+#8=$IZHVQ$(+,$0!"#'$ schemes should not be the only %0*'5#=$J"#$Z*'0/#(+$-).$2+,*%!'8$ must be based on viable models, (+,$ %*//0'!$ %"0*),$ 0+)8$ (,,$ i'#&‐ #+*#W$ !0$ ()'#(,8$ #42%9+B$ 2+50.#%C$ as opposed to being responsible 10'$(+$#+9'#$7*,B#!$01$($50./(+8=$ >#$ (//)8$ 10'$ IZHVQ$ (%$ 3#))$ (%$ 10'$

M!".6$ /!"$ 310)$ *$ &A)-1%-$ )N*9A.)$ !($;*6./$'*#3)')6$A";.1-$&"AA!#'F M+#$ +#B(9&#$ #4(./)#$ 2%$ !"#$ #4‐ !'#.#)8$ "(k(',0*%$ /*7)25$ 2+&#%!‐ .#+!$2+$+#3$@MH$/)({0'.%=$Z*'0/#$ "(%$ #+,#,$ */$ 32!"$ .0'#$ !"(+$ Sc;$ 01$ !"#.=$ V+$ .(+8$ 5(%#%$ !"#8$ ,0+G!$ "(&#$ #+0*B"$ 50+!#+!C$ .('?#9+BC$ '#(5"C$ 0/#'(90+()$ %?2))%$ 0'$ %()#%$ revenue. Thus they are unable to compete with world established @MH$ B2(+!%=$ V+$ .(+8$ 5(%#%$ !"#8$ count on public money as their only 2+50.#=$ M+5#$ !"#$ /*7)25$ .0+#8$ 2%$ gone, the company evaporates.

< One negative example of public support is the extremely hazardous investment in new VOD platforms. Europe has ended up with more than 450 of them. >

81.9$ E"#!A)$ 5*&$ *-s"1#)6$ *26$ 61&J '#1;"')6$ !0)#$ >==$ E"#!A)*2$ %.9&$ &!$(*#?$@!".6$1'$9*H)$&)2&)$(!#$/!"$ '!$ 61&'#1;"')$ &!9)$ !($ '5)9$ "26)#$ '5)$7!#12!81.9:*;$.*;).F

The idea of co‐sharing brands and B0()%$.(?#%$%#+%#=$V+,##,$3#$"(&#$ (+$ ().0%!$ 2,#+95()$ (*,2#+5#$ (+,$ !('B#!$B'0*/=$J"#'#$('#$.(+8$2+29(‐ 9&#%$%5(^#'#,$(5'0%%$Z*'0/#=$Y0.#$ of them target producers, some dis‐ tributors, some schools and some 1#%9&()%=$J"2%$2%$+0!$B00,=$>#$.*%!$ *+218=$ Q+,$ /#'"(/%$ 5'#(!#$ ($ -).$ 5)0*,$ 01$ ())$ !"0%#$ (59&29#%C$ /*!$ them together, and cross promote #(5"$0!"#'=$V$30*),$B)(,)8$!(?#$2+!0$ U2).$ Z*'0/#$ -).%$ !"(!$ 3#'#$ ,#‐ veloped under the TorinoFilmLab label. Actually we already started with 0$&c4'G%+&9+(5$=$M*'$50..0+$ .2%%20+$ 2%$ 2+,##,$ ($ 5*)9&(90+$ 01$ !"#$ Z*'0/#(+$ -).$ #+&2'0+.#+!$ (!$ any level.

!"$ #"2$ 8)&40*.$ T-!A)+$ *2$ !2.12)$ A.*z!#9$ (!#$ %.9$ A#!()&&1!2*.&$ '5*'+$ S"&'$ '5#))$ /)*#&$ *Y)#$ 1'&$ .*"2-5+$ 2!$ .!23)#$ 2))6&$ 12'#!6"-4!2?$ D'$ ()&40*.&$ /!"$ -*2$ ;)$ &))2$ 9!#)$ !(J ')2$ *'$ &-#))2123&$ 12$ -12)9*&$ '5*2$ ;)5126$/!"#$-!9A"')#$!#$&'#1H123$*$ 6)*.?$B!)&$'51&$9)*2$/!"$*#)$%#&'./$ *$-12)A51.)+$;)(!#)$;)123$*$;"&12)&&J 9*2$!#$*$')-52!.!3/$*60!-*')F s#%C$V$(.$($-).$(,,25!T$V$3(!5"$-).%$ 10'$U#%9&()$Y50/#C$(%$V$7#)2#&#$2!G%$2.‐ portant to know them to be able to /'0&2,#$ ($ 5*'(!#,$ /'0.090+()$ %#'‐ &25#=$V$()%0$"(&#$($%#50+,$"(!C$7#2+B$($ programmer for the Sarajevo FF and, !"2%$8#('C$10'$!"#$:IMggM>$U#%9&()$ 2+$I0%503=$ R*0)$/!"$01&1')6$*..$'5)$()&40*.&$*26$ -!A#!6"-4!2$ 9*#H)'&$ '5*'$ 8)&40*.$ T-!A)$1&$,!#H123$,1'5F I0%!$ 01$ !"#.=$ >#$ ()3(8%$ )2?#$ !0$ ,#-+#$ /('!+#'%"2/%$ !"(!$ ('#$ !(2)0'$ made and so it is important to un‐ ,#'%!(+,$ !"#$ +##,%$ 01$ !"#$ 1#%9&()%$ and markets and meet the people involved.

alessandro CEO of Online Platform, France/Italy - Festival Scope DA*#'$(#!9$/!"#$2*4!2*.1'/+$1&$'5)#)$ *2/$ #)*&!2$ (!#$ /!"$ '!$ ()).$ -.!&)$ '!$ 7!#12!81.9:*;F The quality of the projects is strong (+,$ !"#$ !#(.$ 2%$ #45#/90+()=$ s0*$ 1##)$!"(!$!"#'#$2%$50+9+*2!8$0&#'$!"#$ years, which makes the lab perfectly structured, but also new elements (+,$2+29(9&#%$!"(!$.(?#$2!$()3(8%$/2‐ 0+##'2+B=$Q+,$78$!"#$3(8C$V$)0&#$!"#$ city of Turin for many other reasons! VG))$)#!$80*$B*#%%} D#)$ /!"$ 3!123$ '!$ A#!A!&)$ '!$ !'5)#$ %.9$ ()&40*.&$ '5)$ -!2-)A'$ !($ l@);$ 75)*'#)j$ J$ 1214*')6$ *'$ '5)$ K)21-)$ 81.9$ 8)&40*.+$ ,51-5$ -!2&1&'&$ !($ !(J ()#123$*$.191')6$2"9;)#$!($G2')#2)'$

"&)#&$'5)$!AA!#'"21'/$'!$&))$*$%.9$ !2.12)$ *'$ '5)$ &*9)$ 49)$ *&$ 1'&$ !oJ -1*.$()&40*.$&-#))2123F This year we also worked with the I#)70*'+#$ VUU$ !0$ 0D#'$ ($ %#)#590+$ 01$ Z*'0/#(+$ -).%$ !0$ !"#$ Q*%!'()2(+$ audience on the same day as the 1#%9&()$ /'#.2#'#=$ >#$ 50*),$ ,#-‐ +2!#)8$!'8$!"#$#4/#'2#+5#$32!"$0!"#'$ 1#%9&()%$('0*+,$!"#$30'),=$V$!"2+?$2!G%$ +0!$0+)8$($3(8$!0$0D#'$(,,290+()$&2%‐ 272)2!8$!0$!"#$-).%$!"'0*B"$#4/0%*'#$ 2+$!"#$+(90+()$.#,2(C$7*!$()%0$($3(8$ to educate the audience, and make !"#.$1##)$5)0%#'$!0$!"#$1#%9&()$21$!"#8$ 5(++0!$(^#+,$!"#$'#()$!"2+BT

guido

Producer, Germany - Ostlicht

Producer, France Mélange

michel

!"$ ,)2'$ '5#!"35$ *2$ "2"J &"*.$A*'5$*'$7!#12!81.9:*;k$ (#!9$ 3)x23$ *-s"*12')6$ ,1'5$ '5)$ :*;$ *&$ *2$ )NA)#'$ *26$ 6)-1&1!2$ 9*H)#+$ 12$ '5)$ A!&14!2$!($Db7E$8#*2-)$M1J 2{9*$61#)-'!#+$'5)2$*&$*$A*#4-1A*2'$6)J 0).!A123$/!"#$!,2$A#!S)-'?$B16$1'$()).$.1H)$ 3!123$;*-H$'!$&-5!!.$*3*12F ]0!$ (!$ ())=$ V!$ 1#)!$ )2?#$ 7#2+B$ #.7'(5#,$ 78$ peers in a generous open‐minded process 01$7'(2+%!0'.2+BC$#4/#'2#+5#$%"('2+B$(+,$ 5"())#+B2+B$0*'%#)&#%$!0$,0$7#^#'= V!"$*#)$;)123$.*;)..)6$5)#)$*26$'5)#)$*&$ *$'#*2&9)61*$ 91&&1!2*#/$ [$ &!9)49)&$ )0)2$*&$*2$)0*23).1&'y$B!$/!"$()).$3!!6$ *;!"'$'51&$.*;).F V$,0=$ V!$2%$+0!$()3(8%$#(%8$!0$!(?#$'2%?%$2+$ ($!0!())8$+#3$-#),$(+,$('{0'.=$a#2+B$/#'‐ ceived as a pioneer celebrates my taste 10'$!"#$*+?+03+C$.8$2+!*290+$10'$3"(!$2%$ to come and the fact that transmedia is %!('9+B$!0$!(?#$2!%$/)(5#= B!$/!"$&))$'#*2&9)61*$&'!#/')..123+$*26$ '5)$ A*#4-1A*'!#/$ )NA)#1)2-)&$ 1'$ 19A.1)&+$

*&$ *$&!#'$ !($ *$#)9)6/$ (!#$ *$A";.1-$ &A*-)$ '5*'$')26&$'!$;)$9!#)$*26$9!#)$.1().)&&+$ 9!&'./$-#!,6)6$;/$A*&&10)$-14h)2&F ]0=$ J'(+%.#,2($ 2%$ +0!$ ($'#.#,8$ 10'$ (+8‐ !"2+B=$V!$2%$(70*!$,#&#)0/2+B$!"#$!(%!#$10'$ #4/#'2#+5#%$!"(!$2+&0)&#$($.0'#$/'0(59&#$ behaviour, which a minority today is crav‐ 2+B=$ V$7#)2#&#$ !"(!$ !"#%#$ /#0/)#$ ('#$ 0+)8$ !"#$10'#'*++#'%$01$($/('952/(!0'8$5*)!*'#$ that will start spreading. M!".6$ /!"$ 310)$ &!9)$ 2),&$ *;!"'$ d.'#*J 7#*1.+$ '5)$ A#!S)-'$ /!"$ 6)0).!A)6$ *'$ '5)$ @#1')#&U$b!!9$A#!3#*99)$12$<=\\F V!$2%$+03$%5"#,*)#,$10'$($*%#'$#4/#'2#+5#$ to unfold between June and September :;Ac=$J"#$-'%!$2.(B#%$3#'#$%"0!$)(%!$M5‐ !07#'=$ V!$ +03$ "(%$ ($50'#$ 5'#(9&#$ B'0*/$ 01$ R$ ,#%2B+#'%$ 2+5)*,2+B$ .8%#)1$ (%$ %!0'8$ architect. We are nearing the end of the development phase and now in full swing 01$ !"#$ -+(+52+B$ /"(%#=$ V!$ 2%$ /'0,*5#,$ 78$ Z)k#&2'$ (+,$ Y.())$ a(+B$ 2+$ F('2%C$ Z+!'#$ b"2#+$ #!$ 60*/$ 2+$ a#)B2*.$ (+,$ V..0'!()$ 2+$60+,0+$(+,$I()!(C$32!"$!"#$%*//0'!$01$ QgJZ$U'(+5#=

!"#$ -!9A*2/+$ C&'.1-5'$ 81.9J A#!6"H4!2+$ 1&$ ;*&)6$ 12$ @)1J 9*#+$,5)#)$/!"$,)#)$;!#2?$B!$ /!"$-!2&16)#$/!"#&).($*&$*$A1!J 2))#$!($%.9$A#!6"-4!2$12$/!"#$-1'/F$ V+$ ($ 3(8$ 2!$ 1##)%$ ($ 72!$ )2?#$ 7#2+B$ ($ /20+##'=$ J0$ )(*+5"$ ($ -).$ /'0,*590+$ company is the easiest part of the game. To endure and get acknowl‐ #,B#,$ 2%$ !"#$ .*5"$ .0'#$ 2+!#'#%9+B$ task. @5*'$6!)&$75"#1231*$5*0)$'!$!c)#$12$ ')#9&$!($-12)9*F J"*'2+B2($0D#'%$($7#(*91*)$7(5?,'0/$ 32!"$ ($ 7*+5"$ 01$ &#'8$ ,2D#'#+!$ (+,$ 2+!#'#%9+B$)05(90+%C$(+,$+0!$()3(8%$ 7*!$0e#+$+25#$/#0/)#= V!"$5*0)$;))2$120!.0)6$12$9*2/$-!J A#!6"-4!2&$ ,1'5$ L*.H*2$ -!"2'#1)&+$ %.9&$ '5*'$ ,)#)$ 9*6)$ 12$ L".3*#1*+$ ^*-)6!21*+$ *26$ T)#;1*?$ B!)&$ 1'$ *..$

5*AA)2$ ;/$ -!12-16)2-)+$ !#$ *#)$ /!"$ )&A)-1*../$ *I)240)$ '!$ '51&$ A*#'$ !($ E"#!A)F Yes and no! Coming from the former jHgC$.8$7*%2+#%%$/('!+#'$I('5#)$(+,$ V$"(&#$+(!*'()$9#%$(+,$/('())#)%$32!"$ our friends and colleagues from the a()?(+$ '#B20+=$ V!$ 3(%$ ()3(8%$ #(%8$ !0$ -+,$ B00,$ %0)*90+%$ 2+$ 72^#'$ %2!*(‐ 90+%=$ a*!$ !"2%$ (7%0)*!#)8$ ,0#%$ +0!$ .#(+$!"(!$0*'$30'),$#+,%$!"#'#=$V!$2%$ .*5"$.0'#$($f*#%90+$01$%!0'2#%$(+,$ the people behind them. V!"$ *I)26)6$ '5)$ 7!#12!81.9:*;$ ^))423$ E0)2'$ ;!'5$ 12$ <==]$ *26$ <=\<?$ R!,$ -!9)$ /!"$ 5*0)2U'$ 3!'J ')2$ !2$ ;!*#6$ ,1'5$ *2/$ A#!S)-'$ /)'F$ @*&2U'$'5)#)$*2/$/!"$().'$)2!"35$)2J '5"&1*&9$(!#F J'25?8$f*#%90+=$J"#'#$3#'#$.(+8$2+‐ !#'#%9+B$ /'0`#5!%$ 2+$ !"#%#$ %#%%20+%=$ But besides the enthusiasm it is al‐

3(8%$($f*#%90+$01$!"#$'2B"!$.0.#+‐ !*.C$5"#.2%!'8$(+,$)*5?=$LQ+,$3#$('#$ not based in Berlin where obviously #&#'870,8$3(+!%$!0$7#=O G2$ <=\=$ /!"$ !#3*21&)6$ '5)$ &5!!423$ !($T*0)#1!$M!&'*2h!U&$7$&(:/6%B'.&(/0( B$&( 1*%3&( \'3C&*+$ 12$ /!"#$ #)31!2?$ @5*'$,!".6$/!"$2))6$'!$-!JA#!6"-)$ ,1'5$G'*./F$ J"(!G%$ #(%8$ !0$ (+%3#'o$ ($ %!0'8$ !"(!$ 2%$ +0!$ )2.2!#,$ !0$ V!()8C$ ($ !'*%!30'!"8$ partner, who is willing to communi‐ 5(!#$2+$Z+B)2%"C$(+,$.0+#8T B16$ /!"#$ 7!#12!81.9:*;$ )NA)#1)2-)$ 310)$/!"$&!9)$-!2'*-'&$*26}!#$16)*&F V,#(%d$M"$8#%T$Q+,$V$.#!$!"#$5"('.‐ ing crowd of TorinoFilmLab, a lot of old and new friends and producers, and maybe in the future one or two V!()2(+$-)..(?#'%Td

s r e b m e m team

from Wadjda, by Haifaa Al Mansour (Interchange 2009)

Chairman of the Advisory Board, Italy

alberto

)3)26$ 5*&$ 1'$ '5*'$ 7!#12!J 81.9:*;$ 1&$ *-'"*../$ '5)$ #)01&1423$ !($ *2$ 16)*$ /!"$ 5*6$6"#123$/!"#$%#&'$9*2J 6*')$ *'$ K)21-)$ 81.9$ 8)&4J 0*.$ O\]]]J<==\`+$ ,51-5$ /!"$ ,)#)$ 2!'$*;.)$'!$19A.)9)2'$*'$'5)$49)?$ G&$'51&$'5)$'#"'5$;)5126$7!#12!81.9J :*;U&$-#)*4!2F V!G%$ !'*#=$ V$ %!('!#,$ !0$ !"2+?$ (70*!$ ($ project that aimed to strengthen the /#'.(+#+!$ (59&29#%$ 01$ !"#$ @#+25#$ 1#%9&()$ 2+$ :;;A=$ I8$ 2+!#+90+$ 3(%$ !0$ 10))03$ !"#$ #4(./)#$ 01$ 0!"#'$ 2.‐ /0'!(+!$ -).$ 1#%9&()%$ )2?#$ Y*+,(+5#C$ b(++#%C$ g0^#',(.C$ a#')2+$ (+,$ 60‐ carno, which had already developed ,2D#'#+!$ /'0`#5!%$ !0$ %*//0'!$ 80*+B$ (+,$2+,#/#+,#+!$-)..(?#'%C$7*!$!0$ ,0$%0.#!"2+B$%)2B"!)8$,2D#'#+!$(!$!"#$ %(.#$9.#=$V$!'2#,$!0$2+&0)&#$gQV$b2+‐ #.($(+,$I#,*%($L!30$01$!"#$.(`0'$ V!()2(+$/'0,*590+$50./(+2#%$01$!"(!$ .0.#+!O$ 2+$ !"#$ /'0`#5!C$ (+,$ V$ ()%0$ succeeded in convincing Bernardo Bertolucci to chair it, but my man‐ ,(!#$ #4/2'#,$ %00+#'$ !"(+$ #4/#5!#,=$ The project remained on paper or, 7#^#'C$2+$.8$.2+,$*+9)$!"#$&#'8$.0‐ .#+!$ V$ 3(%$ (7)#$ !0$ 50+&2+5#$ L32!"$ !"#$ 50))(70'(90+$ 01$ Y!#1(+0$ H#))($

b(%(O$!"#$F2#,.0+!$g#B20+C$!"#$b2!8$ 01$J*'2+$(+,$!"#$I2+2%!'8$01$b*)!*'#$ !0$-+(+5#$!"#$J0'2+0U2).6(7=$$ ^*2/$(!#)132$!;&)#0)#&$-!2&16)#$7!J #12!81.9:*;$*&$*$91#*-.)$12$'5)$-!2J ')N'$!($G'*.1*2$-12)9*?$B!$/!"$&5*#)$ '51&$91#*-".!"&$*2*./&1&F M+#$ 01$ !"#$ .(`0'$ /'07)#.%$ 01$ V!()‐ ian cinema concerns its inability to 50+5#2&#$ /'0`#5!%$ 01$ 2+!#'+(90+()$ breadth. The real miracle was to con‐ &2+5#$!"'##$/*7)25$70,2#%$!0$-+(+5#$ a programme that is not aimed at %*//0'9+B$0+)8$V!()2(+$-)..(?#'%T$ 7!#12!81.9:*;$ *-'"*../$ %'&$ 12'!$ *$ .*#3)#J&-*.)$ -".'"#*.$ A!.1-/$ !($ '5)$ Q1)9!2')$ #)31!2$ '5*'$ *19&$ '!$ &"AJ A!#'$1'&$-#)*40)$126"&'#1)&i Both the Piedmont Region and the b2!8$01$J*'2+$3#'#$10'5#,$!0$-+,$+#3$ ways to support a local economy that was endangered by increasing ,#2+,*%!'2()2%(90+=$J"#$5*)!*'()$-#),$ 3(%$2,#+9-#,$(%$0+#$01$!"#$/0%%27)#$ (4#%$01$,#&#)0/.#+!C$+0!$!0$.#+90+$ the fact that cinema has been part 01$J*'2+G%$5*)!*'#$(+,$!'(,290+$%2+5#$ the beginning of the 20th century: !"#$V!()2(+$-).$2+,*%!'8$3(%$70'+$2+$

our city. So, it seemed quite natural to invest in this domain, which in‐ 5)*,#%$ 0+#$ 01$ !"#$ 72BB#%!$ -).$ .*‐ %#*.%$01$!"#$30'),C$($&#'8$#D#59&#$ -).$ 50..2%%20+$ (+,$ !"'##$ -).$ 1#%‐ 9&()%C$ (.0+B$ 0!"#'%$ 2+29(9&#%=$ J"#$ 0'B(+2%(90+$ 01$ !"#$ :;;l$ M)8./25$ >2+!#'$j(.#%$/'0&2,#,$!"#$.2%%2+B$ elements: a strong push towards in‐ !#'+(90+()2%(90+C$ (+$ 2+5)2+(90+$ !0$ #)(70'(!#$(.7290*%$/'0`#5!%$(+,$('‐ 95*)(!#,$%!'(!#B2#%C$(%$3#))$(%$%0.#$ fresh money to invest in these pro‐ jects. 7#*614!2*../+$ '5)$ 91&&1!2&$ !($ %.9$ 9"&)"9&$*#)$'!$-!..)-'$*26$)N51;1'$ %.9&$ *26$ %.9$ *#')(*-'&+$ &!$ '!$ A#)J &)#0)$ !;S)-'&$ *26$ '!$ )6"-*')$ *"61J )2-)&?$@5/$1&$&"AA!#423$)9)#3123$ %.9$ '*.)2'$ '5#!"35$ 7!#12!81.9:*;$ #).)0*2'$ (!#$ '5)$ ^"&)!$ q*h1!2*.)$ 6).$M12)9*F From the beginning of my mandate (%$,2'#5!0'$V$3(%$($%!'0+B$%*//0'!#'$ of the idea that a museum cannot be content to be just a museum, namely (+$2+%9!*90+$,#&0!#,$!0$/'#%#'&2+B$ (+,$ #4"2729+B$ ($ -).$ 50))#590+$ P$ (%$ 2./0'!(+!$(%$!"2%$2%=$M+$!"#$50+!'('8C$ it has to become a sort of cultural

alberto hub, a reference point for all of the '#B20+G%$ -).$ (59&29#%C$ (+$ 2+5*7(!0'$ for ideas, events and projects that 5(+$ "#)/$ !0$ %!'#+B!"#+$ !"#$ -).$ 5*)‐ !*'#C$ /(%%20+$ (+,$ /'0,*590+=$ J"2%$ 2%$ !"#$ 7#%!$ 3(8$ !0$ 1*)-)$ 2!%$ .2%%20+$ 2+$ !"#$ .0%!$ 50+5'#!#$ (+,$ #D#59&#$ 3(8X$($50+!'27*90+$!0$!"#$1*!*'#$01$ cinema which is based on love and knowledge of its heritage. @51-5$*-4!2&$,!".6$/!"$.1H)$'!$19J A.)9)2'$12$!#6)#$'!$("#'5)#$*2-5!#$ '5)$ 7!#12!81.9:*;$ 12$ 1'&$ .!-*.$ )201J #!29)2'F$ J"#$ J0'2+0U2).6(7$ 2%$ %9))$ B'032+BC$ #4/(+,2+B$2!%$(590+%$!"'0*B"0*!$,21‐ 1#'#+!$ /'0B'(..#%$ (+,$ (59&29#%=$ U2+,2+B$($3(8$!0$%*//0'!$,2%!'27*90+$ L(+,$ +0!$ 0+)8$ %5'2/!$ ,#&#)0/.#+!$ (+,$ /'0,*590+$ -+(+52+BO$ 2%$ /'07‐ (7)8$!"#$+#4!C$*+#(%8$%!#/= @5)2$ A#!6"-)#$ M*#.!$ M#)&'!JB12*$ &*/&k$ l@+( KB"6%"5( <*/.'?&*+,( 7/*%5/9 D%63="C(%+("(C%B(6%S&(G%+%O52("(8/59 .&*0'6( B/;( +B/*&( 8%B$( ;/'*( <"*&5B+( +$/'O52_( M)/5ZB( B/'?$( "5;B$%52`( 4&(?"5ZB("R/*.(%B`a+$,5*'$6!)&$'51&$ 12&A1#)$12$/!"F >"(!$ b'#%!0PH2+($ %(8%$ 2%$ 5#'!(2+)8$ !'*#C$7*!$V$(.$50+-,#+!$!"(!$%00+#'$ 0'$ )(!#'$ %0.#$ V!()2(+$ /'0,*5#'%$ 32))$ understand that their only hope of %*'&2&()$ 2+$ (+$ 2+5'#(%2+B)8$ 50./#9‐ 9&#$ -).$ .('?#!$ )2#%$ 2+$ ,#&#)0/2+B$ 50P/'0,*590+$%!'(!#B2#%=$ G2$ '5)$ &*9)$ .12)$ !($ '5!"35'+$ T*.0!$ 61#)-'!#&$ D2'!21!$ Q1*hh*$ W$ 8*;1!$ _#*&&*6!21*$ 6)-.*#)6$ '!$ '5)$ 2),&J A*A)#$ :1;{#*4!2k$ l^<&5%52( '<( B/( /B$&*(?/'5B*%&+(8"+(/'*(/56;($/<&aT 75)$ !'5)#$ G'*.1*2$ %.9&$ &"AA!#')6$ ;/$ 7!#12!81.9:*;$ '5*'$ 3!'$ 9*6)$ &!$

(*#$ [$ =&( H'"#*/( G/6B&,( :&#&( /<&*&( .%(3%+&*%?/*.%",(*26$K6(:'.(b(\%&5B& &5*#)$ &191.*#$ A#!6"-4!2$ 91&(!#J '"2)&$12$G'*./?$V)'$*..$'5)&)$%.9&$6)*.$ ,1'5$ '5)$ .!-*.$ #)*.14)&$ '5)&)$ 61#)-J '!#&$*#)$-!9123$(#!9k$Q*.)#9!+$'5)$ M*.*;#1*2$-!"2'#/&16)+$7!#12!U&$&";J "#;&+$*26$'5)$&'#*1'$!($^)&&12*i This is nothing less than the contem‐ porary tagline for art and cinema: think local, act global.

< A museum has to become a sort of cultural hub. > G2$ /!"#$ !A121!2+$ ,5/$ 6!$ %.99*HJ )#&$.!!H$(!#$'5)$&"AA!#'$!($&-5)9)&$ &"-5$ *&$ 7!#12!81.9:*;$ '!6*/+$ ,5)2$ '5)/$ 616$ 2!'$ &))9$ '!$ 5*0)$ &"-5$ 2))6&$~=+$|=+$!#$u=$/)*#&$*3!F Because in the golden era of cinema 2!$ 3(%$ !"#$ -).$ 2+,*%!'8$ 2!%#)1$ !"(!$ assumed the role and responsibil‐ 2!8$ 01$ 2+&#%9+B$ 2+$ !'(2+2+BC$ ,#&#)0/‐ .#+!C$ '#%#('5"C$ #4/#'2.#+!(90+$ (+,$B#+#'(90+()$!*'+0&#'C$)2?#$#&#'8$ industry worthy of the name which cares about its future. Unfortunate‐ )8C$ !0,(8$ 52+#.($ 2%$ #45)*%2&#)8$ (+,$ dangerously focused on the pursuit of an immediate and short‐sighted %*55#%%=$J"2%$#4/)(2+%$!"#$%*55#%%$01$ /'0`#5!%$ )2?#$ Y*+,(+5#$ V+%9!*!#C$ J0‐ '2+0U2).6(7C$ b2+z10+,(90+C$ >0'),$ Cinema Fund, Hubert Bals Fund, and .(+8$0!"#'%o$7#5(*%#$!"#8$('#$0e#+$ !"#$0+)8$"0/#$10'$80*+B$-)..(?#'%= T)0)#*.$ ()&40*.$ A#!3#*99)#&$ 5*0)$ )NA#)&&)6$ '5)1#$ *9;10*.)2-)$ '!J ,*#6&$ %.9&$ '5*'$ ,)2'$ '5#!"35$ '5)$ A#!-)&&$ !($ '5)&)$ &-5)9)&?$ C2$ '5)$

!2)$ 5*26+$ '5)&)$ %.9&$ *#)$ *9!23&'$ '5)$ ;)&'J6)0).!A)6$ *26$ A#!6"-)6$ %.9&$ ()&40*.&$ #)-)10)$ [$ ".49*')./$ '5)/$ !Y)2$ )26$ "A$ ;)123$ &).)-')6t$ !2$ '5)$ !'5)#$ 5*26+$ '5)&)$ %.9&$ #"2$ '5)$ #1&H$ !($ 5*0123$ '5)1#$ *#4&4-$ )NJ A#)&&1!2$(!#9*I)6?$G2$!'5)#$,!#6&+$ *$ A!&&1;.)$ &'*26*#61&*4!2$ !($ %.9J 9*H)#&$ 1&$ A!&&1;./$ 12$ *-4!2?$ D&$ 61J #)-'!#$ !($ K)21-)$ 81.9$ 8)&40*.$ 5*0)$$ /!"$!;&)#0)6$&"-5$*$A5)2!9)2!2F V$ (.$ /#'1#5!)8$ (3('#$ 01$ !"2%$ ?2+,$ 01$ '2%?=$ Z&#'8$ 9.#$ 80*$ %#!$ ($ %!(+,(',C$ 80*$ '*+$ !"#$ '2%?$ 01$ )2.29+B$ !"#$ /#'‐ %0+()$ 5'#(9&2!8$ 01$ (+$ ('9%!=$ Q!$ !"#$ %(.#$ 9.#C$ V$ 5(+G!$ %##$ (+8$ '#()$ ()‐ !#'+(9&#$ !0$ !'(2+2+B=$ V1$ 80*$ 32%"$ !0$ help young talents who are looking for support, you have to take the chance. At that point, the most im‐ portant thing is to keep in mind that your role is to help them to pull out 3"(!G%$ 2+%2,#$ (+,$ +0!$ !0$ !#))$ !"#.$ how to write a script or to make a -).$ (550',2+B$ !0$ ($ 5#'!(2+$ 10'.(!=$ Always. G($/!"$-!".6$*AA./$'!$*2/$!($'5)$7!J #12!81.9:*;$ A#!3#*99)&$ *&$ *$ A*#J 4-1A*2'+$,51-5$!2)$,!".6$'5*'$;)F VG,$ )2?#$ !0$ %!('!$ 1'0.$ !"#$ 7#B2++2+Bo$ so, Script&Pitch for sure.

"#123$ /!"#$ 12')#0)24!2&$ *'$ 7!#12!J 81.9:*;+$/!"$*#)$)N-)..)2'$*'$120)2'J 123$ 01;#*2'$ 19*3)&$ '!$ 9*H)$ &"#)$ /!"$ 9*H)$ /!"#&).($ "26)#&'!!6?$ @51-5$9)'*A5!#$,!".6$/!"$"&)$'!$ 6)&-#1;)$'5)$S!;$!($*$%.9$A#!6"-)#$ ,1'512$ <=\XU&$ &5*I)#)6$ -12)9*$

matyas

.*26&-*A)F [.C$)#!$.#$f*0!#$($%5#+#$1'0.$I#)$a'00?%G$a,25+%;&+:& 5D$&M+%(EY&N'%5&J?& b0.25*%C$/)(8#,$78$I#)$a'00?%$"2.%#)1C$B0#%$!0$!"#$*+‐ #./)08.#+!$0_5#o b)#'?o$ M55*/(90+d Comicus: Stand‐up philosopher! b)#'?o$ >"(!d b0.25*%o$Y!(+,P*/$/"2)0%0/"#'=$V$50()#%5#$!"#$&(/0*'%$ 01$"*.(+$#4/#'2#+5#$2+!0$($&2(7)#$(+,$.#(+2+B1*)$50.‐ prehension. b)#'?o$ M"C$($7*))%"2!$('9%!T b0.25*%o$j'*.7)# b)#'?o$ H2,$80*$7*))%"2!$)(%!$3##?d b0.25*%o$]0= b)#'?o$ H2,$80*$!'8$!0$7*))%"2!$)(%!$3##?d Comicus: Yes! And then Comicus gets his unemployment pay.

Trainer & Director of Photography, Hungary

We producers are Jacks‐of‐all‐Trades ‐ we do! We write, !'8C$#''C$50*+!C$?25?C$(+()8%#C$%#,*5#C$+#B09(!#C$-+(+5#C$ 3#$30'?$(%$%"'2+?%C$,'2&#'%C$7*))2#%$n$(+,$%0.#9.#%$3#$ just try to bullshit. And if we are lucky, we succeed. V!"$ ,!#H$ *&$ *2$ )NA)#'$ (!#$ 0*#1!"&$ '#*12123$ !#3*21&*J 4!2&+$ 2!'*;./$ (!#$ EDKE$ *26$ 7!#12!81.9:*;?$ @5*'$ 6!$ /!"$.1H)$*;!"'$'5)$G2')#-5*23)$A#!3#*99)+$,51-5$(!J -"&)&$!2$'5)$D#*;$,!#.6F >#))C$)#!$.#$/*!$2!$)2?#$!"2%o$V+!#'5"(+B#$.(,#$.#$%##$ !"(!$ 2!$ 2%$ /0%%27)#$ !0$ -+,$ ($'0%#$ 2+$ ($%!0+#$ B(',#+$ P$ 2!$ never fails to surprise me. Besides, it proves that a fruit‐ 1*)$50))(70'(90+$7#!3##+$Z*'0/#$(+,$!"#$I2,,)#$Z(%!$ 2%$/0%%27)#$n$%0.#!"2+B$/0)2952(+%$"(&#$7##+$!'82+B$10'$ 8#('%=$J"#8$%"0*),$`*%!$&2%2!$V+!#'5"(+B#=$ G2$ <=\<$ /!"$ S!12)6$ :"6G2-?+$ *$-!9A*2/$ '5*'$ -#)*')&$ &'!#/$ ,!#.6&$ *26$ 3*9)&+$ ,1'5$ '5)$ 16)*$ !($ A#!016123$ A.*/(".$ .)*#2123$ (!#$ H16&?$ G&$ '51&$ /!"#$ -!2'#1;"4!2$ '!$ '5)$ #)120)24!2$ !($ '5)$ _)#9*2$ )6"-*4!2*.$ &/&')9F$ B!)&$ 1'$ 5*0)$ .1I.)$ '!$ 6!$ ,1'5$ /!"#$ ,!#H$ *'$ 8./123$ ^!!2F s#%C$2!$2%$/('9())8$.8$50+!'27*90+$!0$!"#$'#2+&#+90+$01$ !"#$#,*5(90+()$%8%!#.$2+$B#+#'()$L+0!$0+)8$j#'.(+8O$ 7#5(*%#$ V$'#())8$ 7#)2#&#$ 2+$ #,*5(90+T$ Q+,$ V$7#)2#&#$ 2+$ storytelling. Therefore it is related to my work at Flying I00+=$V!$2%$()%0$(70*!$B#w+B$5)0%#'$!0$80*'$(*,2#+5#=$ >2!"$6*,V+5=C$!"#$B(/$7#!3##+$/'0,*5#'$(+,$(*,2#+5#$ "(%$7#50.#$f*2!#$%.())=$V$-+,$!"(!$.0'#$!"(+$1(%52+(!‐ 2+B$(+,$%(9%182+B=

roshanak Tutor & Producer, Germany

*H123$ A*#'$ 12$ *$7!#12!81.9:*;$ ,!#HJ &5!A$*&$*2$)NA)#'$1&$A#!;*;./$61&'*2'$ (#!9$/!"#$#)3".*#$,!#H$*&$*$61#)-'!#$ !($A5!'!3#*A5/?$@5*'$616$/!"$#)'*12$ (#!9$'5)$)NA)#1)2-)F V!$3(%$(+$(.(k2+B$#4/#'2#+5#$!0$!()?$!0$%0$.(+8$ ,2D#'#+!$7*!$#f*())8$!()#+!#,$/#0/)#C$3"0$5(.#$ 1'0.$ ,2D#'#+!$ 5*)!*'#%$ (+,$ 7'0*B"!$ ,2D#'#+!$ %#+%272)29#%=$m*%!$!0$.##!$32!"$())$!"#%#$/#0/)#$ 3(%$ ($ 7#(*91*)$ #4(./)#$ 01$ "03$ #(5"$ /#'%0+$ "(%$($*+2f*#$(//'0(5"$!0$-)..(?2+B=$V$)#('+!$($ )0!=$V!$3(%$'#())8$2+!#'#%9+B$!0$/*!$.8%#)1$2+$!"#$ ,2'#5!0'%G$ %2!*(90+%C$ (+,$ !'8$ !0$ 50.#$ */$ 32!"$ f*#%90+%$!"(!$3#'#$%/#52-5$!0$!"#2'$/'0`#5!%= V!"$ -!2&16)#$ 1'$ 0)#/$ ;)2)%-1*.$ (!#$ '5)$ B!Q$ '!$ )2')#$ 12'!$ *$61&-"&&1!2$ ,1'5$ '5)$ 61#)-'!#$ !0)#$ '5)$01&"*.$&'/.)$!($'5)$%.9$*'$*2$)*#./$&'*3)$!($ 6)0).!A9)2'?$R!,$)*#./$-*2$'5*'$;)$J$*.#)*6/$ 6"#123$'5)$&-#1A',#1423$A#!-)&&F V+$ [*+B('8C$ 3"#'#$ V$ (.$ 1'0.C$ H0F%$ ('#$ %0.#‐ 9.#%$ 2+&0)&#,$ 2+$ !"#$ -)..(?2+B$ /'05#%%$ 1'0.$ !"#$&#'8$#(')8$%!(B#%=$Y0.#9.#%$#&#+$1'0.$!"#$ -'%!$%8+0/%2%=$$K%*())8$!"#$,2'#5!0'%$3'2!#$!"#2'$ own scripts, so it is a very organic process to

i-+,W$!"#$-).$!0B#!"#'=$V$7#)2#&#$!"2%$2%$($B'#(!$ 3(8$!0$.(?#$-).%$7#5(*%#$(%$($H0F$80*$5(+$"#)/$ the writer/director to translate his/her ideas to visual ideas very early in the process. B"#123$'5)$-!2&".'*2-/$&)&&1!2&$/!"$5*6$,1'5J 12$'5)$8#*9)@!#H$A#!3#*99)+$616$/!"$&!9)J 49)&$ ()).$ .1H)$ S"9A123$ *;!*#6$ *$A#!S)-'$ *26$ !c)#123$/!"#$&)#01-)&F J"#'#$ 3#'#$ %0.#$ #45#/90+()$ /'0`#5!%$ !"#'#C$ 7*!$.8$`07$3(%$!0$50+%*)!$32!"$!"#$,2'#5!0'%=$V$ honestly hope that somehow a few of these pro‐ jects will come back to me though! @5*'$ #)-"##123$ 91&'*H)&$ 5*0)$ /!"$ !;&)#0)6$ %#&'J49)$61#)-'!#&$6!123+$,5)2$1'$-!9)&$'!$'5)$ #).*4!2&51A$'5)/$5*0)$,1'5$'5)1#$B!QF V$,0+G!$!"2+?$V$"(&#$#+0*B"$#4/#'2#+5#$32!"$-'%!P 9.#$,2'#5!0'%$!0$/'0/#')8$(+%3#'$!"2%$f*#%90+C$ 7*!$ V$ -+,$ !"#$ /'05#%%$ 01$ 5"00%2+B$ ($ H0F$ 10'$ ($ -).$&#'8$%2.2)('$!0$5(%9+B$!"#$)#(,$(5!0'=$J"#'#$ are many elements that have to work, but if they ,0$.(B25$"(//#+%=$m*%!$)2?#$32!"$(5!0'%=$V$B*#%%$2!$ is all about taste and trust.

isabelle

!"$ 5*0)$ '5!#!"35$ )NA)#4&)$ 12$ -!2J 2)-423$ A";.1&5)#&$ *26$ %.9$ A)!A.)+$ '!$ )2-!"#*3)$ *6*A'*4!2&$ (!#$ -12)9*?$ G2$ '51&$-!2')N'+$,5*'$1&$'5)$2!0).'/$!($'5)$ D6*A':*;$ A#!3#*99)$ .*"2-5)6$ ;/$ 7!J #12!81.9:*;$12$<=\\+$12$-!!A)#*4!2$,1'5$ /!"#$-!9A*2/$G214*40)$81.9F J"#$ .(2+$ 5"('(5!#'2%95$ 01$ Q,(/!6(7$ 2%$ !"(!$ 10'$ !30$ groups out of three, screenwriters have to deal with a novel they didn‘t choose. This enables them to get %0.#$ (,(/!(90+$ !'(2+2+B=$ a#80+,$ !"2%$ (%/#5!C$ !"#$ 2,#($ 3(%$()%0$!0$%/'#(,$700?%C$(%$3#))$(%$!()#+!%C$78$B#w+B$ them introduced to an assembly of accomplished profes‐ %20+()%$,*'2+B$!"#$J0'2+0$I##9+B$Z&#+!=

AdaptLab Head of Studies, France )#!4-$2!0).$Ob!9*2$Q!.*2&H1`+$!#$)0)2$*2$*2'5#!A!.!3/$ ;!!H$OD#2*"6$B)&A.)-512`?$B!$/!"$&))$'51&$*&$*$&1321%J -*2'$2),$'#)26F J"#'#$ "(&#$ ()3(8%$ 7##+$ (,(/!(90+%$ (+,$ !"#'#$ ()3(8%$ will be. However, writer‐directors who adapt tend to "(&#$.0'#$,2&#'%#$/'0-)#%$!"(+$2+$!"#$/(%!=$Q+,$(%$80*$ pointed out, it is the same thing for the type of works: !"#$ (,(/!(90+%$ 50&#'$ ($7'0(,$ '(+B#$ 01$ 3"(!$ 2%$ 7#2+B$ /*7)2%"#,=$ J"#$ .(2+$ ,2D#'#+5#$ !0,(8$ 2%$ !"(!$ /'0,*5#'%$ 7*8$0/90+%$32!"0*!$(^(5"#,$,2'#5!0'%=

G($ )NA)#1)2-)6$ %.99*H)#&$ *#)$ )*3)#$ '!$ 9*H)$ *6*A'*J 4!2&+$'51&$6!)&$2!'$&))9$'!$;)$'5)$-*&)$(!#$)9)#3123$ '*.)2'&?$G2$/!"#$!A121!2+$,5*'$A#)0)2'&$*$%#&'J49)$61J #)-'!#$(#!9$3!123$(!#$*2$*6*A'*4!2F C2)$ !($ '5)$ -!#)$ 16)*&$ !($ D6*A':*;+$ J"#$(+%3#'$2%$%2./)#o$21$,2'#5!0'%$5(+G!$ < We can fore-!2&1&423$ !($ '*H123$ *2$ !A4!2$ !2$ (D0',$!"#$'2B"!%$10'$($+0&#)C$&#'8$1#3$ *$2!0).$ *26$ '5)2$ 9*'-5123$ 1'$ ,1'5$ will take the risk to do it, cast an impressive producers *$&-#1A',#1')#+$,5!$'*H)&$"A$'5)$-5*.J knowing that the screenplay has to .)23)$ !($ *6*A423$ 1'$ 12'!$ *$&-#1A'+$ 1&$ comeback for mel- 7#$3'2^#+$(e#'3(',%=$V+$+0+PZ+B)2%"P 61&-!2-)#423$ *'$ %#&'$ &135'?$ @1'5$ ',!$ %/#(?2+B$50*+!'2#%C$-'%!$1#(!*'#%$('#$ /)*#&$ !($ )NA)#1)2-)$ "26)#$ /!"#$ ;).'+$ odrama. Let’s hope .0%!)8$3'2^#+$78$,2'#5!0'%$P$!"#8$B2&#$ 5*&$1'$A#!0)6$'!$;)$*$&"--)&&(".$16)*F there will be a new ($-'%!$0'$%#50+,$,'(e$!0$!"#$/'0,*5‐ V!$ 2%$ 2+,##,$ ,2%50+5#'9+B$ (+,$ V$(,‐ #'%=$V!$2%$2./0%%27)#$!0$30'?$!"2%$3(8$21$ .2!$ !0$ "(&2+B$ '#%2%!#,$ !"2%$ i.(''2(B#$ Douglas Sirk or Luigi you adapt a novel, because you have of convenience” myself. Yet we soon !0$(5f*2'#$(+$0/90+$-'%!=$J"#$0/90+%$ ,2%50&#'#,$ +*.#'0*%$ 7#+#-!%=$ a8$ Comencini to take given directly to directors, and in par‐ 30'?2+B$ 0+$ /'0`#5!%$ !"#8$ ,2,+G!$ 2+29‐ 95*)('$!"#$80*+B#%!$0+#%C$('#$+0!$07‐ (!#C$ %5'##+3'2!#'%$ 3#'#$ 2+$ ($ /0%290+$ up the challenge. > &20*%$ !0$ B#!=$ Q+,$ !"#8$ ,0+G!$ )(%!$ 10'$ to respond to a commissioned work, .0'#$ !"(+$ %24$ .0+!"%C$ 3"25"$ 7('#)8$ !"#2'$ &#'8$ -'%!$ 10'$ %0.#=$ I0'#0&#'C$ ())03%$!"#.$!0$-+,$($/'0,*5#'= some true encounters happened: between a book and a screenwriter, between screenwriters themselves, or 75#1..)#$ *6*A'*4!2&+$ ,5!&)$ 2*##*40)&$ *#)$ !Y)2$ ,)..$ for screenwriters who were also directors, between a di‐ &"1')6$(!#$7K+$5*0)$;!!9)6$!0)#$'5)$A*&'$/)*#&?$@5*'$ '#5!0'$(+,$(+$2+%/2'2+B$%*7`#5!=$U0'$#4(./)#C$%24$%5'##+‐ ,1..$ ;)$ '5)$ 2)N'$ &"--)&&(".$ 3)2#)$ (!#$ *6*A'*4!2&$ *-J 3'2!#'%$1'0.$10*'$,2D#'#+!$50*+!'2#%$3"0$.#!$,*'2+B$!"#$ -!#6123$'!$/!"F -'%!$ Q,(/!6(7$ "(&#$ 7##+$ 30'?2+B$ 1*'!"#'$ 0+$ (%%2B+#,$ K+)#%%$ V$ !(?#$ ($ )00?$ (!$ .8$ 5'8%!()$ 7())C$ 3"25"$ V$ 0+)8$ ,0$ /'0`#5!%=$J30$700?%$1'0.$!"#$-'%!$#,290+$('#$5*''#+!)8$ 10'$ .8$ .0%!$ /'2&2)#B#,$ 5)2#+!%$ L)(*B"%OC$ 2!$ 2%$ ,2_5*)!$ !0$ 2+$ ,#&#)0/.#+!=$ Q%$ 10'$ !"#$ %#50+,$ #,290+C$ 2!G%$ %9))$ !00$ give a precise answer. However you can tell, by looking soon to answer. 5)0%#)8$(!$%0*'5#%$01$2+%/2'(90+C$!"(!$!"#'#$('#$585)#%=$U0'$ instance, we can forecast an impressive comeback for D'$'5)$.*&'$M*22)&$81.9$8)&40*.+$*.9!&'$5*.($!($'5)$%.9&$ .#)0,'(.(=$6#!G%$"0/#$!"#'#$32))$7#$($+#3$H0*B)(%$Y2'?$ 12$-!9A)44!2$,)#)$*6*A'*4!2&$[$2!$9*I)#$1($'5)$!#13J 0'$6*2B2$b0.#+52+2$!0$!(?#$*/$!"#$5"())#+B#C$()!"0*B"$V$ 12*.$ ,!#H&$ ,)#)$ *$ 3#*A51-$ 2!0).$ O'5)$ Q*.9)$ 6•C#`+$ *2$ ()'#(,8$!'*%!$Uz)24$&(+$j'0#+2+B#+$10'$!"(!=

antoine Tutor & Artistic Director, France

!"$ 5*0)$ ;))2$ A*#'$ !($ '5)$ 7!#12!81.9:*;$ ')*9$ (#!9$ '5)$ 0)#/$ ;)3122123+$ ;!'5$ 12$ '5)$#!.)$!($&-#1A'$-!2J &".'*2'$ (!#$ 0*#1!"&$ A#!3#*99)&$*26$'5*'$!($A*#'2)#+$*&$ *#4&4-$ 61#)-'!#$ !($ _#!"A)$ C")&'?$ R!,$6!$/!"$%26$/!"#$;*.*2-)F V$!"2+?$2!$/)(8%$70!"$3(8%=$V+$j'0*/#$ M*#%!$3#$"(&#$7##+$!'82+B$!0$#)(70‐ rate from scratch a new methodo‐ logical approach to coaching writ‐ ers in residency. This approach is bringing something so unusual in !"#$ U'#+5"$ 50+!#4!$ !"(!$ 3#$ .(2+)8$ only had ourselves to rely on. And V$7#)2#&#$!"(!$0*'$03+$'#%#('5"$"(%$ 7##+$ 7#+#-52()$ !0$ !"#$ J0'2+0U2).‐ Lab, which has been facing similar challenges. What Script&Pitch has 7##+$ B#+#'(9+B$ 10'$ j'0*/#$ M*#%!$ is an invaluable source of inspira‐ 90+$(+,$7'(2+%!0'.2+B=$V!$2%$,##/)8$ %9.*)(9+B$ (+,$ +#5#%%('8$ !0$ 50.‐ /('#$!00)704#%$1'0.$,2D#'#+!$50*+‐ !'2#%$(+,$(//'0(5"#%$!0$3"(!$($-).$ should or could be. This also brings the possibility for French writers to realise that what they thought was !'*#$2+$!"#$F('2%2(+$50+!#4!$5(+$7#‐ 50.#$ /'#^8$ *+!'*#$ 1'0.$ (+0!"#'$ /#'%/#59&#=$ V$!"2+?$ !"2%$ B2&#%$ !"#.$ ($)0!$ 01$ 50*'(B#$ !0$ 50+9+*#$ 30'?‐ ing on projects that may seem a bit i0*!%2,#$01$!"#$704W= @5*'$)NA.*12&$'51&$.!23J.*&423$-!.J .*;!#*4!2F Q70&#$())C$V$%"('#$32!"$Y(&2+($]#2'0!‐ 9$ (+,$ !"#$ J0'2+0U2).6(7$ !#(.$ !"#$ belief that these kinds of human ad‐ ventures can only grow properly on ($B'0*+,$ 01$,##/$ #45"(+B#C$ B#+#'‐ osity, and desire to help the writers 2+$ ())$ !"#$ 1'(B2)2!8$ 01$ !"#2'$ /0%290+$ when they come to us. This can only be achieved through a constant 2++#'$ f*#%90+2+B$ (+,$ 78$ )#w+B$ +#3$ 2,#(%$ 5"(+B#$ 0*'$ /#'%/#59&#=$ This is where we have to stay both strong in our ability to analyse and "*.7)#$2+$!"#$/0%290+$3#$!(?#=$V!$2%$ (+$(.(k2+B$"*.(+$(,&#+!*'#=

M!".6$/!"$)NA.*12$5!,$/!"$120!.0)$ '5)$ 125*;1'*2'&$ !($ '5)$ -!*&'*.$ 01.J .*3)&$ 12$ L#1I*2/$ *#!"26$ ,51-5$ _#!"A)$C")&'$1&$;*&)6F What we do is invite them so they ,2%50&#'$ !"#$ -).$ /'0`#5!%$ (+,$ %!0‐ ries of the residents. This creates a precious moment for the writers, where their scripts meet a real au‐ dience! We know how art‐house 52+#.($%*D#'%$%0.#9.#%$1'0.$7#‐ ing disconnected with viewers com‐ ing from outside the cinema world. U2+,2+B$($3(8$!0$5(!5"$!"#$(^#+90+$ or curiosity of the grocery shopkeep‐ er, the local bartender, the teacher, (%$ 3#))$ (%$ !"#$ 1#3$ -%"#'.#+$ !"(!$

<Our kids already use computers and green screens to create images in a way which would have been impossible to forecast ten years ago.> 3#$%9))$"(&#$('0*+,C$%##.%$!0$*%$01$ a great value, especially for writers 3"0$ )2&#$ 2+$ 72B$ 529#%C$ !'(//#,$ 2+!0$ %052()$ 50+!#4!%$ !"(!$ 5*!$ !"#.$ 0D$ from the real world… L!'5$ 7!#12!81.9:*;$ *26$ _#!"A)$ C")&'$ *#)$ 1214*40)&$ '5*'$ ;)2)%'$ (#!9$'5)$&"AA!#'$!($#)31!2&$,5)#)$ '5)/$ *#)$ )&'*;.1&5)6+$ #)&A)-40)./$ Q1)9!2')$ *26$ L#)'*32)?$ R!,$ 19J A!#'*2'$1&$'51&$'!$/!"F Where you grow up, as well as the place where you live, has an inevita‐ 7)#$2+h*#+5#$0+$80*'$30'),&2#3T$V+$ j'0*/#$M*#%!C$(%$3#))$(%$2+$J0'2+0‐ U2).6(7C$ 3#$ 7#)2#&#$ !"(!$ -).%$ (+,$ stories have to come from every‐ where, in order to display the huge &('2#!8$ 01$ "*.(+$ '#/'#%#+!(90+%C$ 50+!#4!%C$/(2+%$(+,$"0/#%=$J"#$1(5!$

!"(!$-)..(?#'%$"(&#$!0$)2&#$5)0%#$!0$ 3"#'#$ !"#$ /0!%$ 01$ .0+#8$ 10'$ -).%$ ('#$LF('2%C$60+,0+C$a#')2+C$#!5=O$5'#‐ (!#%$ (+$ 2+#&2!(7)#$ '#,*590+$ 01$ !"#$ /02+!%$01$&2#3%$1'0.$3"25"$-).%$('#$ made. We believe our mission is to ,#5#+!'()2%#$ 5'#(90+C$ 2+$ 0',#'$ !0$ 7'0(,#+$ !"#$ /()#^#$ 01$ 2+%/2'(90+$ 1'0.$ 3"25"$ Z*'0/#(+$ -)..(?#'%$ 5(+$50+5#2&#$!"#$-).%$01$!0.0''03= _#!"A)$C")&'$-!J-#)*')6$'5)$M#!&&$ M5*22).$ 81.9$ :*;+$ ,51-5$ .!!H&$ *'$ '5)$"&)$!($K8€$*&$).)9)2'&$!($&'!J #/')..123$ (!#$ .!,$ ;"63)'$ E"#!A)*2$ ()*'"#)$%.9&i The central idea is to generate a de‐ &#)0/.#+!$ (+,$ '#%#('5"$ /)({0'.$ 10'$ 2+,#/#+,#+!$ 1#(!*'#$ -)..(?‐ #'%$ 3"0$ 3(+!$ !0$ *%#$ &2%*()$ #D#5!%C$ 50./0%29+BC$ 50./*!#'$ B#+#'‐ (!#,$ 2.(B#%$ (+,t0'$ %!#'#0$ NH=$ >#$ strongly believe that these tools can 50+!'27*!#$!0$2+&#+9+B$+#3$30'),%C$ new ways to work with images for cinema. Probably only low to mid‐ budget art‐house cinema can invent a new use of these tools, far away 1'0.$ !"#$ [0))8300,$ /#'%/#59&#=$ >#$+##,$!0$"#)/$!"#$i/0#!%W$!0$*%#$ them in order to push new bounda‐ '2#%=$M*'$?2,%$()'#(,8$*%#$50./*!#'%$ and green screens to create images in a way which would have been impossible to forecast ten years (B0=$ >#$ -+,$ 2!$ f*2!#$ 1(%52+(9+B$ !0$ contribute to opening new doors, which could also help independ‐ ent cinema to stay connected with -).$ 1(+%C$ 3"0$ ('#$ )00?2+B$ 10'$ +#3$ %#+%(90+%C$ +#3$ &2%*()$ (//'0(5"#%=$ J0$/('(/"'(%#$I#')#(*PF0+!8C$!"#'#$ is a new Phenomenology of Per‐ 5#/90+$ !0$ 7#$ 5'#(!#,C$ (+,$ "#)/2+B$ %52#+9%!%$ (+,$ -)..(?#'%$ !0$ 30'?$ together around that idea is very #4529+B=

savina

#1!#$ '!$ -!2-)10123$ *26$ 61#)-423$ 7!#12!81.9J :*;+$ /!"#$ A#!()&&1!2*.$ )NA)#1)2-)&$,)#)$12$'5)$ %).6&$ !($ -.*&&1-*.$ 9"&1-$ O,!#H123$ *'$ bDG$ q*4!2*.$ T/9A5!J 2/$C#-5)&'#*`$*26$.1')#*'"#)$O*&$-!J (!"26)#$ !($ T-"!.*$ R!.6)2`?$ @5*'$ 12')#)&'&$/!"$9!&'$12$'5)$*#'&F ]03$!"(!$80*$.(?#$.#$!"2+?$(70*!$ it, probably what interests me the most is the process of making art 50.#$ ()2&#=$ U'0.$ 50+5#/90+$ !0$ '#()2%(90+C$ !"#$ /(!"$ 2%$ )0+BC$ 0e#+$ !'0*7)#,C$ 7*!$ #4!'#.#)8$ #+B(B2+B=$

Director, Italy V+$ -).$ (%$ 2+$ 5)(%%25()$ .*%25C$ !"#'#$ are more pathways in this process than for other visual arts: the score, !"#$ %5'##+/)(8$ 50.#$ -'%!$ n$ !"#+$ !"#$ #4#5*90+=$ V+$ !"2%$ %2!*(90+$ 0+#$ concept becomes central, and that 2%$50))(70'(90+=$J"#$(*!"0'G%$&2%20+$ needs to be understood and shared before it can be presented to the 30'),$ (!$ )('B#=$ M+$ 0+#$ %2,#$ 80*$ "(&#$ !"#$ (*!"0'G%$ *+2f*#$ /02+!$ 01$ view but it can only be channelled !"'0*B"$ !"#$ 2+!#'/'#!(90+$ 01$ 0!"‐ #'%=$U(%52+(9+B=$

@!".6$ /!"$ &*/$ '5*'$ 2!'$ ;)123$ *$ l-12)9*$ 2*40)j$ ,*&$ *2$ *&&)'$ 12$ 6)0).!A123$*$01&1!2$(!#$'5)$7!#12!J 81.9:*;F$ V$+#&#'$!"0*B"!$01$2!$2+$!"#%#$!#'.%=$ V$ 3(+!#,$ !0$ 7'2+B$ /#0/)#$ !0B#!"#'C$ 5'#(!#$ ($ i%(1#W$ %/(5#C$ 3"#'#$ 2,#(%$ could be shared when they were %9))$ &#'8$ 1'(B2)#=$ b0.2+B$ 1'0.$ !"#$ #4/#'2#+5#$01$Y5*0)($[0),#+C$3"#'#$ the central word is storytelling, my focus was the people and the sto‐ '2#%C$ +0!$ -).$ "2%!0'8$ (+,$ -).$ 5'29‐ 52%.=$V$3(%C$V$%9))$(.C$30'?2+B$()0+B$ that line.

G2$ !2)$ !($ /!"#$ %#&'$ 12')#01),&$ *&$ 7!#12!81.9:*;$ 61#)-'!#+$ /!"$ &*16k$ l4&( 8"5B( B/( ?/5+B*'?B( +/3&B$%52( %3</*B"5B,( ?$"52&( B$%52+,( 3"S&( "( .%R&*&5?&Tj$ @5!$ *#)$ '5)$ •,)U$ /!"$ ,)#)$#)()##123$'!+$*26$,51-5$'5123&$ 616$ /!"$ ,*2'$ '!$ -5*23)F$ B!$ /!"$ '512H$/!"$&"--))6)6F J"#$/#0/)#$V$30'?$32!"C$())$01$!"#.=$ U'0.$!"#$&#'8$7#B2++2+BC$V$.#!$50)‐ laborators from all over the world that helped TFL grow, bringing their energy, their knowledge, their pro‐ fessionalism, and most of all their passion. The change referred to %0.#!"2+B$!"(!$3(%$.2%%2+B$V$!"2+?C$ more than to something that was 3'0+Bo$ V$ 3(+!#,$ !0$ 7'2+B$ !"#$ %/0!‐ )2B"!$ 0+$ %!0'8!#))2+BC$ 50))(70'(90+$ and on that development phase !"(!$ 0e#+$ !(?#%$ )0+B#'$ !"(+$ !"#$ 3"0)#$ .(?2+B$ 01$ !"#$ -).%=$ V$ !"2+?$ 3#$%*55##,#,$2+$5'#(9+B$!"2%$%/(5#C$ for sure. And in bringing together 0//0'!*+29#%$10'$!'(2+2+BC$,#&#)0/‐ ment and funding, all under one umbrella. C2)$ !($ '5)$ ()*'"#)&$ !($ 7!#12!81.9J :*;+$ ,51-5$ 1&$ ,16)./$ #)-!321&)6$ *26$ A#*1&)6+$ 1&$ 1'&$ (*91./J.1H)$ *'J 9!&A5)#)?$R!,$616$/!"$9*2*3)$'!$ -#)*')$ '51&$ *'9!&A5)#)$ *26$ 9*H)$ 1'$.*&'F >#))C$%2+5#$V$!'(&#)$($)0!C$0e#+$"(&‐ ing to be separated from my family, V$ +##,$ ($ %#50+,$ 0+#T$ m0?#%$ (%2,#C$ V$ B*#%%$ !"#$ %#5'#!$ 2%$ !"(!$ 01$ )2%!#+‐ 2+B$!0$,2D#'#+!$&025#%C$+#&#'$!'82+B$ to have people around that think #4(5!)8$ )2?#$ .#C$ 7*!$ 3#)50.2+B$ !"#$ 50+!'('8C$ (+,$ (55#/9+B$ !"(!$ %0.#‐ 9.#%$ 2!$ !(?#%$ ($ )2^)#$ .0'#$ #+#'B8$ to solve the personal dynamics than the work itself. But then the 30'?$2./'0&#%$V$7#)2#&#C$2!$7#50.#%$ %!'0+B#'=$ J0$ B0$ 7(5?$ !0$ 80*'$ -'%!$ f*#%90+C$"03$30+,#'1*)$(+$0'5"#%‐ tra is in that respect! The needs of a trumpet player, and the challenges "#t%"#$1(5#%C$('#$50./)#!#)8$,2D#'‐ ent from those of a violin player: the -'%!$,0#%+G!$/)(8$(%$0e#+C$7*!$3"#+$ the moment comes, with only one

mistake the whole symphony can be damaged. The violin player, on !"#$50+!'('8C$/)(8%$.0%!$01$!"#$9.#C$ (+,$ 5(+$ 5"00%#$ !0$ i"2,#W$ 7#"2+,$ the others ‐ but if this happens, the whole sound of the orchestra is di‐ minished. The skills are completely ,2D#'#+!C$ !"#$ /"8%25()$ 5"())#+B#%$ also, yet there is no orchestra with‐ out each of them.

< People always inspire me. > 7!#12!81.9:*;$ 1&$ *2$ G'*.1*2$ 1214*J 40)+$;"'$1'$5*&$*$0)#/$12')#2*4!2*.$ 16)24'/$*26$&-!A)?$C2./$*$5*26(".$ !($G'*.1*2$A#!S)-'&$*#)$&).)-')6$)*-5$ /)*#+$ 9!&'$ !($ '5)$ ,!#H&5!A&$ '*H)$ A.*-)$ !"'&16)$ !($ G'*./+$ *26$ 9!#)$ '5*2$*$6!h)2$2*4!2*.14)&$*#)$#)AJ #)&)2')6$ 12$ 1'&$ -!#)$ ')*9?$ B!$ /!"$ -!2&16)#$ '51&$ *&$ *$ &'#)23'5$ !#$ 6!$ /!"$&)2&)$*$-)#'*12$6"*.1'/F V$50+%2,#'$2!$($%!'#+B!"=$V$,0$+0!$7#‐ )2#&#$2+$B"#^0%C$#%/#52())8$3"#+$3#$ are talking about art, and the uni‐ versality of its scope. T12-)$ 1'&$ 12-)A4!2$ 12$ <==>+$ 7!J #12!81.9:*;$ 5*&$ -!242"!"&./$ ;))2$ 3#!,123?$ E*-5$ /)*#$ *$ 2),$ A#!3#*99)$ 5*&$ ;))2$ .*"2-5)6?$ G'$ &'*#')6$ ,1'5$ G2')#-5*23)$ 12$ <==]+$ (!..!,)6$ ;/$ '5)$ @#1')#&U$ b!!9$ 12$ <=\=+$ D"61)2-)$ B)&132$ 12$ <=\\+$ D6*A':*;$12$<=\<+$*26$12$<=\X$7!J #12!81.9:*;$ )23*3)6$ 12$ *$ -!..*;!J #*4!2$ ,1'5$ K)21-)$ 81.9$ 8)&40*.$ (!#$ '5)$ L1)22*.)$ M!..)3)$ M12)9*+$ ,51-5$/!"$*#)$*.&!$5)*6123?$@5)#)$ 6!)&$'51&$*AA)4')$(!#$3#!,'5$-!9)$ (#!9F$ D26$ ,5*'$ 6!$ /!"$ 5*0)$ 12$ 9126$(!#$<=\~F V$B*#%%$V$"(&#$($72B$(//#9!#C$*+10'‐ tunately especially for food! But in B#+#'()$ V$ 30*),$ %(8$ !"(!$ /#0/)#$ ()‐ 3(8%$ 2+%/2'#$ .#C$ (+,$ V$ .##!$ ($ )0!$ of people along the way that know .*5"$ .0'#$ !"(+$ V$ ,0$ 0+$ ($ %/#‐

52-5$ %*7`#5!$ !"(!$ V$ (.$ 5*'20*%$ (70*!=$V$!"#+$1##)$(+$*'B#$!0$5'#(!#$ a programme for everyone who is 2+!#'#%!#,=$V+$/('95*)('$2+$:;AS$3#$ +##,$!0$50+%0)2,(!#C$7*!$10'$:;Ac}$ %*'/'2%#T$ M1$ 50*'%#$ 50+%0)2,(9+B$ means constantly bringing changes 2+%2,#$())$/'0B'(..#%=$V$,0+G!$!"2+?$ we ever had one year where things 3#'#$#4(5!)8$!"#$%(.#} V!"$*#)$A)#&!2*../$(!26$!($9"&1-*.&$ *26$ -!9)61)&+$ )&A)-1*../$ #!9*24-$ !2)&+$*26$/!"$5*0)$#)A)*')6./$&*16$ *&$*$S!H)$'5*'$7!#12!81.9:*;$&5!".6$ -#)*')$*$&A)-1*.$&-5)9)$'!$)2-!"#J *3)$ '5)9?$ @!".6$ /!"$ &*/$ '5*'$ /!"23$%.99*H)#&$'!6*/$*#)$.*-H123$ 12$)--)2'#1-1'/$*26$S!1)$6)$010#)$[$*'$ .)*&'$12$'5)1#$%.9$A#!S)-'&F Comedies and musicals need a huge dose of self‐irony to become 30'!"3"2)#=$ V$ B*#%%$ 0*'$ B#+#'(90+$ ,0#%+G!$)(5?$2'0+8C$7*!$5#'!(2+)8$%#)1P 2'0+8=$ V$ !"2+?$ 2!$ 2%$ !"#$ "2B"#%!$ 10'.$ 01$2+!#))2B#+5#C$70!"$#.090+()$(+,$ 2+!#))#5!*()=$Q+,$3#$0e#+$!(?#$0*'‐ selves too seriously. G($/!"$-!".6$*AA./$'!$*2/$!($'5)$7!J #12!81.9:*;$ A#!3#*99)&$ *&$ *$ A*#J 4-1A*2'$/!"#&).(+$,51-5$!2)$,!".6$ '5*'$;)F Adaptlab. Because there is a novel !"(!$V$30*),$)0&#$!0$%##$7'0*B"!$!0$ the screen – but it is a secret be‐ !3##+$0+#$01$!"#$!*!0'%$(+,$V}

Advisory Board Member & Moderator, New Zealand

marten

5*'$ ,*&$ /!"#$ %#&'$ #)*-4!2$ ,5)2$ /!"$ 5)*#6$ *;!"'$ '5)$ 7!J #12!81.9:*;$A#!S)-'F Y2+5#$ VG,$ %!('!#,$ 50))(70'(9+B$ 32!"$ Y(&2+($ ]2#'0w$ (+,$ Y5*0)($ $ [0),#+$ /'20'$!0$!"#$5'#(90+$01$J0'2+0U2).6(7C$ V$3(%$"(//8$!0$!(?#$/('!$2+$($50+%*)‐ !(9&#$/'05#%%$(%$!"#$!#''2-5$2,#($(+,$ 0//0'!*+2!8$ J0'2+0U2).6(7$ 0D#'%$ !0$ 2+!#'+(90+()$ -)..(?#'%$ 3(%$ !(?2+B$ shape. So when it was launched it was +0$%"05?$0'$%*'/'2%#X$V$0+)8$"(,$(,.2‐ '(90+$ 10'$ Y(&2+(C$ Q)7#'!0$ (+,$ !"#2'$ team, who had managed to convince the region to support such a bold in‐ +0&(90+$ 2+$ !()#+!$ ,#&#)0/.#+!$ (+,$ industry growth. D&$ D601&!#/$ L!*#6$ ^)9;)#+$ /!"$ '!!H$A*#'$12$'5)$S"#/$6)-16123$!2$'5)$ Q#!6"-4!2$ D,*#6&$ 6"#123$ '5)$ %#&'$ '5#))$ /)*#&$ !($ 7!#12!81.9:*;?$ @5*'$ ,!".6$/!"$.1H)$'!$#)'*12$(#!9$'51&$)NJ A)#1)2-)F$ The passion, intelligence and commit‐ ment of those fellow advisory board .#.7#'%$ 0+$ !"#$ `*'8$ 2%$ *+10'B#^(‐ 7)#=$ Q70&#$ !"(!$ VG.$ 2+5'#,27)8$ /'0*,$ 01$!"#$-).%$!"(!$3#'#$'#()2%#,$0*!$01$ !"#%#$-'%!$!"'##$8#('%$01$!"#$1*+,2+B$ (3(',%=$ Z&#'8$ 8#('$ !"#$ J0'2+0U2).‐ 6(7$ /'05#%%#%$ /'#%#+!$ %0$ .(+8$ -+#$ /'0`#5!%X$ !"#$ ,#52%20+P.(?2+B$ (+,$ ,#)27#'(90+%$ "(&#$ !0$ 7#$ ,'2&#+$ 78$ passion and a singular vision on the

part of the jury to match the same f*()29#%$ 3#$ -+,$ 2+$ !"#$ -)..(?#'%$ and their projects. A jury is not a com‐ .2^##$ (+,$ !"#$ !(%!#$ '#/'#%#+!#,$ 78$ the decisions should not be rooted 2+$ 50./'0.2%#=$ V$.2%%$ !"#$ 50+9+*2!8$ that a regular core jury brought to the (3(',%$ /'05#%%C$ (%$ #4/#'2#+5#$ 3(%$ gained through each successive year, and the core philosophy was clear, shared and ever evolving within the jury itself. Perhaps most importantly, that jury process provided a kind of crucible for the Advisory Board to test itself and refresh its vision each year. V!"$ #)9*12$ '5)$ 9!6)#*'!#J12J-51)($ !($'5)$7!#12!81.9:*;$^))423$E0)2'?$ R!,$ 6!$ /!"$ 9*2*3)$ '!$ S"9A$ (#!9$ !2)$ &'!#/$ ,!#.6$ '!$ *2!'5)#$ 12$ '5)$ ',12H.123$!($*2$)/)F V+!#'#%9+B$f*#%90+X$2!$,0#%$%##.$VE&#$ a natural capacity to move from one 30'),$ 2+!0$ (+0!"#'C$ 2+"(729+B$ #(5"$ one as fully as the last... Perhaps it 50.#%$ 1'0.$ .8$ ]#3$ p#()(+,$ H]QC$ 3"25"$78$,#-+290+$"(%$($%!'0+B$%!'(2+$ 01$ !"#$ &08(B#'$ 32!"2+$ 2!=$ VG&#$ !'(2+#,$ my mind to operate like a chain of railway carriages, fully occupying the 5(''2(B#$ 01$ ($ %!0'8$ 0'$ /('95*)('$ -).$ 50..*+2!8$ 0'$ !#''2!0'8$ VE.$ 2+$ (!$ (+8$ given moment... knowing the charac‐ ters, needs, wants, challenges of that /('95*)('$*+2&#'%#===$!"#+$.0&2+B$0+$ V$/(%%$ !"'0*B"$ !"#$ 50++#59+B$ ,00'%$

!0$!"#$+#4!$5(''2(B#C$(+,$(.$1*))8$2.‐ .#'%#,$2+$!"(!$+#4!$30'),=$J"#8$"(&#$ !0$ 7#$ 50./('!.#+!()2%#,$ 0'$ !"#'#G,$ be chaos. V!"$ *#)$ ;*&)6$ 12$ ^"9;*1+$ ,5)#)$ /!"$5)*6$6)0).!A9)2'$(!#$qB8M+$'5)$ %.9$*3)2-/$!($G261*?$M*2$/!"$')..$"&$ ,5*'$'51&$A!&14!2$)2'*1.&+$*26$,5*'$ -5*..)23)&$*#)$/!"$(*-123F [(&2+B$ %/#+!$ ($ 8#('$ %#w+B$ */$ !"#$ development & training department 01$!"#$]UHb$L3"25"$+#&#'$/'#&20*%)8$ #42%!#,OC$!"#$5"())#+B#$+03$2%$-+,2+B$ %*_52#+!$'#%0*'5#%$!0$%#'&#$!"#$"*B#$ wealth of talent and fresh stories the +#3$ 2+,#/#+,#+!$ 52+#.($ 2+$ V+,2($ 2%$ bringing out into the open. The suc‐ 5#%%#%$01$-).%$)2?#$J"#$6*+5"704$"(&#$ helped throw a spotlight on a kind of cinema which has the chance to !'(&#)$ (+,$ -+,$ ,2%!'27*90+$ 2+$ !"#$ rest of the world, but is also building (*,2#+5#%$ 10'$ -).%$ 32!"2+$ V+,2($ !"(!$ ,0+G!$+##,$!0$)#(+$0+$!"#$#%!(7)2%"#,$ 50..#'52()$ 10'.*)(%=$ q##/2+B$ */$ this momentum in a territory where script development and talent devel‐ 0/.#+!$ ('#$ '#)(9&#)8$ +#3$ (,,290+%$ !0$!"#$2+1'(%!'*5!*'#$2%$!"#$2+!#'#%9+B$ challenge.

RA Scout, Tutor & Script Consultant, Germany

franz

2$'5)$>=&$12$L)#.12+$/!"$,)#)$ #"22123$ *2$ *.')#2*40)$ -12J )9*$ -)2'#)$ ,1'5$ (#1)26&+$ ,5)#)$ /!"$ -!".6$ *I)9A'$ *..$ &!#'&$ !($ %.9$ )NA)#1)2-)&?$ @5*'$ *#)$ '5)$ A.*-)&$ !($ -12J )9*$(#))6!9$'!6*/+$*26$,!".6$/!"$ &*/$'5*'$'5)$7!#12!81.9:*;$1&$!2)$!($ '5)9F The freedom we had in the 80s was !0$ 0D#'$ ($1'(.#30'?$ 2+$ 3"25"$ !0$ #4/#'2#+5#$ 52+#.($ (%$ ($.#(+%$ 01$ ,2&#'%#$ #4/'#%%20+%=$ ]03(,(8%$ -).$ 1#%9&()%$ "(&#$ !(?#+$ 0&#'$ !"(!$5*'(!‐ 2+B$ 1*+590+=$ H#&#)0/.#+!C$ -+(+5‐ 2+B$(+,$/'0,*590+$%##.$.0'#$!"(+$ #&#'$ *+,#'$ /'#%%*'#$ !0$ `*%918$ !"#2'$ #D0'!%$ !03(',%$ 50..#'52()$ /0!#+‐ 9()C$()!"0*B"$,2B2!()$.#,2($"(&#$)27‐ #'(!#,$ /'0,*590+$ (+,$ 5"(++#)%$ 01$ ,2%!'27*90+=$J0'2+0U2).6(7$2%$%9))$(5‐ 9&#)8$+#B09(9+B$!"#$%/(5#$7#!3##+$ 52+#.($(%$($10'.$01$L()%0O$('9%95$#4‐ /'#%%20+$(+,$!"#$-+(+52()$1#(%272)2!8$ of the selected projects. V!"$ 5*0)$ ;))2$ A*#'$ !($ '5)$ 7!#12!J 81.9:*;$ ')*9$ (#!9$ 1'&$ 0)#/$ ;)312J 2123+$ 2!'$ !2./$ *&$ *$'"'!#}&-#1A'$ -!2&".'*2'+$;"'$*&$&!9)!2)$&)*#-5J 123$ (!#$ -12)9*$ '*.)2'&$ *..$ !0)#$ '5)$ ,!#.6?$@5*'$)NA.*12&$'51&$.!23J.*&'J 123$-!..*;!#*4!2F TorinoFilmLab has always been more !"(+$`*%!$($`07$10'$.#=$V!$3(%$(+$0/‐ /0'!*+2!8$ !0$ (59&#)8$ %*//0'!$ ,2&#'‐

%2!8C$B0&#'+#,$78$!"#$50+&2590+$!"(!$ ,#,25(90+$!0$52+#.($%!('!%$32!"$%*/‐ /0'9+B$ -)..(?#'%$ 2+$ '#()2%2+B$ !"#2'$ vision, instead of just streamlining projects into the market. Torino‐ U2).6(7$ 2%$ ($.##9+B$ /)(5#C$ 7*2),2+B$ a growing network for people who share a passion for cinema. V!"$ 5*0)$ *$&A)-1*.$ 12')#)&'$ 12$ 5!,$ %.9$ A#!S)-'&$ *#)$ A#)&)2')6$ '!$ *26$ #)01),)6$ ;/$ ("26123$ ;!61)&$ [$ *6J 0!-*423$ 2!'*;./$ (!#$ *$;)I)#$ '#*12J 123$!($6)-1&1!2$9*H)#&?$@5*'$,!".6$ *$A)#()-'$&).)-4!2$A#!-)&&$!($*$%.9$ ("26$.!!H$.1H)$12$/!"#$!A121!2F J0$ ,0$ `*%95#$ !0$ -).$ /'0`#5!%C$ 3#$ need to understand their aims. And where those aims and the means to (5"2#&#$ !"#.$ ('#$ *+50+&#+90+()C$ 3#$ +##,$ ,2D#'#+!$ 5'2!#'2($ !0$ '#5‐ 0B+2k#$ (+,$ #&()*(!#$ !"2%$ 0+$ 2!%$ 03+$ !#'.%=$ Q$/#'1#5!$ %#)#590+$ /'05#%%$ combines a vast knowledge of di‐ &#'%#$ 52+#.(95$ /'(595#%C$ ($ '#%/#5!$ 10'$2+,2&2,*()$('9%95$#4/'#%%20+C$(+,$ ($'#()2%95$(%%#%%.#+!$01$!"#$'#)(90+$ 7#!3##+$50%!%$(+,$7#+#-!%=$V$30*),$ /'#1#'$ 2!$ 21$ )#%%$ -).%$ 3#'#$ 1*+,#,C$ 7*!$ 1'0.$ ($/0%290+$ 01$ 50./#!#+5#$ (+,$ 50+-,#+5#$ '#B(',2+B$ !"#$ 2+,2‐ vidual projects. V!"$ S"&'$ )26)6$ *$#)&16)2-)$ *'$ '5)$ q)'5)#.*26&$81.9$D-*6)9/+$-!26"-'J 123$ *$ #)&)*#-5$ &'"6/$ !2$ '5)$ -5*.J

.)23)&$'5*'$'#*614!2*.$&-#1A',#1423$ 1&$ (*-123?$ @5*'$ ,*&$ '5)$ '#133)#123$ (*-'!#$(!#$'51&$#)&16)2-)F I8$ '#%#('5"$ f*#%90+$ 3(%$ i[03$ !0$ 3'2!#$ b2+#.(W=$ V$ 3(%$ #4/)0'2+B$ "03$ -)..(?#'%$ 3"0$ 30'?$ 32!"$ *+50+‐ &#+90+()$ %5'2/!%$ 5(+$ -+,$ 3(8%$ !0$ (,#f*(!#)8$50+&#8$!"#$&2%*()$#4/#'2‐ ence on the page. How can we get ($'#(,#'C$!"'0*B"$3'29+BC$(%$5)0%#$(%$ /0%%27)#$!0$#4/#'2#+52+B$!"#$-).$!"#$ way it is meant to be, especially if visual means outweigh dialogue. K1&"*.$*#4&'&$0)2'"#123$12'!$-12)9*$ 1&$&!9)'5123$'5*'$3#*;&$/!"#$*I)2J 4!2$[$/!"$2!'*;./$,!#H)6$,1'5$T51J #12$ q)&5*'?$ G&$ 1'$ '#")$ '5*'$ '5)$ ,*/$ &"-5$ A)!A.)$ *AA#!*-5$ -12)9*$ 1&$ #*61-*../$ 61c)#)2'$ (#!9$ !'5)#$ %.9J 9*H)#&F @2%*()$ ('9%!%$ ('#$ *%#,$ !0$ 1*+,2+B$ their projects at an early stage, and then they start developing them. Filmmaking asks for the opposite: -'%!$ 80*$ ,#&#)0/$ ($ %5'2/!C$ !"#+$ 80*$ .2B"!$B#!$!"#$1*+,%$!0$.(?#$!"#$-).=$ b0+%#f*#+!)8$ !"#$ -).$ 2+,*%!'8$ "(%$ problems allowing a more open pro‐ cess. And this is indeed a challenge for a script consultant, because the 5'#(9&#$/'05#%%$01$&2%*()$('9%!%$2%$01‐ !#+$#4/)0'(9&#$'(!"#'$!"(+$/*'%*2+B$ ($/'#P,#-+#,$B0()=

films

Le Quattro Volte Italy, Germany, Switzerland

WRITER & DIRECTOR PRODUCERS CO-PRODUCERS

SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Michelangelo Frammartino Marta Donzelli, Gregorio Paonessa – Vivo Film Susanne Marian, Philippe Bober – Essential Filmproduktion Gabriella Manfrè – Invisibile Film Elda Guidinetti, Andres Pfaeffli – Ventura Film Coproduction Office Cannes – Quinzaine des Réalisateurs, May 2010 FrameWork 2008 150 000 Euros

Agua Fria de Mar

Costa Rica, France, Spain, Netherlands, Mexico WRITER & DIRECTOR PRODUCERS CO-PRODUCERS

SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Paz Fábrega Paz Fábrega – Temporal Films Jean des Forêts – Les Films du Requin Fernanda del Nido – Tic Tac Producciones Els Vandevorst – Isabella Films Nicolás Celis – Pimienta Films Films Boutique Rotterdam – Competition, January 2010 FrameWork 2008 120 000 Euros

films 2010

Hi-So Thailand

WRITER & DIRECTOR PRODUCERS SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Aditya Assarat Soros Sukhum, Aditya Assarat – Pop Pictures Memento Films International Pusan, October 2010 FrameWork 2008 80 000 Euros

Hanotenet

The Slut - Israel, Germany

WRITER & DIRECTOR PRODUCER CO-PRODUCER SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Hagar Ben Asher Marek Rozenbaum – Transfax Film Production Benny Drechsel – Rohfilm Films Distribution Cannes - Critics’ Week, May 2011 FrameWork 2009 100 000 Euros

Swans

Germany, Portugal WRITER & DIRECTOR PRODUCERS SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Hugo Vieira da Silva Helge Albers – Flying Moon Francisco Villa-Lobos – Contracosta Produções The Match Factory Berlin – Forum, February 2011 FrameWork 2008 200 000 Euros

ORIGINAL / INT. TITLE

Sette opere di misericordia

Seven Acts of Mercy - Italy, Romania

films 2011

WRITERS & DIRECTORS PRODUCERS CO-PRODUCER SALES PREMIERE TFL PROGRAMME

Gianluca De Serio, Massimiliano De Serio Alessandro Borrelli – La Sarraz Pictures Dan Burlac – Elefant Films Intramovies Locarno – Competition, August 2011 FrameWork 2008

Yek Khanévadéh-e Mohtaram

A Respectable Family - Iran, France

WRITER & DIRECTOR PRODUCER CO-PRODUCERS SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Kebun Binatang

Postcards From the Zoo - Indonesia, Hong Kong (China), Germany WRITER & DIRECTOR CO-WRITERS PRODUCER CO-PRODUCERS SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Edwin Daud Sumolang, Titien Wattimena Meiske Taurisia – Babibutafilm Lorna Tee Thanassis Karathanos, Karl Baumgartner – Pallas Film The Match Factory Berlinale – Competition, February 2012 FrameWork 2009 180 000 Euros

films 2012

WRITER & DIRECTOR PRODUCERS

SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Massoud Bakhshi Mohamed Afarideh – Firoozei Films Jacques Bidou, Marianne Dumoulin – JBA Production Pyramide International Cannes - Directors’ Fortnight, May 2012 Script&Pitch 2009, FrameWork 2010 30 000 Euros (Audience Award)

Djeca

Children of Sarajevo Bosnia and Herzegovina, Germany France, Turkey

Aida Begić Aida Begić – Film House Sarajevo Benny Drechsel, Karsten Stöter - Rohfilm François d’Artemare – Les Films de l’Après-Midi Semih Kaplanoğlu – Kaplan Film Pyramide International Cannes – Un Certain Regard, May 2012 FrameWork 2010 100 000 Euros

Leones

Lions - Argentina, Netherlands, France WRITER & DIRECTOR PRODUCERS CO-PRODUCERS

Jazmín López

Benjamin Domenech, Santiago Galleli – Rei Cine Leontine Petit – Lemming Film, Jean des Forêts – Petit Film Marleen Slot – Viking Film, Felicitas Raffo, Andres Longares - Cepa Audiovisual SALES Premium Films PREMIERE Venice – Orizzonti, September 2012 TFL PROGRAMME FrameWork 2010 PRODUCTION AWARD 110 000 Euros

Nahrani me z besedami

Wadjda

Germany, Saudi Arabia

Feed Me with Your Words - Slovenia, Croatia WRITER & DIRECTOR PRODUCER CO-PRODUCERS SALES PREMIERE TFL PROGRAMME

Haifaa Al Mansour Roman Paul, Gerhard Meixner – Razor Film Produktion Amr Alkahtani – High Look Group Hala Sarhan – Rotana Studios The Match Factory Venice – Orizzonti, August 2012 Interchange 2009 – pilot edition

films 2012

WRITER & DIRECTOR PRODUCER CO-PRODUCERS SALES PREMIERE TFL PROGRAMME

Martin Turk Ida Weiss – Bela Film Marina Andree Škop, Darija Kulenović Gudan – Studio Dim Insomnia World Sales Portorož - Festival of Slovenian Film, September 2012 FrameWork 2010

The Lunchbox India, France, Germany

WRITER & DIRECTOR PRODUCERS CO-PRODUCERS SALES PREMIERE TFL PROGRAMME

Ritesh Batra Guneet Monga, Anurag Kashyap – Sikhya Entertainment Cedomir Kolar, Marc Baschet, Danis Tanovic – ASAP Films Benny Drechsel, Karsten Stöter - Rohfilm The Match Factory Cannes – Semaine de la Critique, May 2013 FrameWork 2012

Salvo Italy, France

WRITERS & DIRECTORS PRODUCERS CO-PRODUCERS SALES PREMIERE TFL PROGRAMME PRODUCTION AWARD

Fabio Grassadonia, Antonio Piazza Massimo Cristaldi – Cristaldi Pictures Fabrizio Mosca – Acaba Produzioni Antoine de Clermont-Tonnerre – Mact Productions Raphaël Berdugo – Cité Films Films Distribution Cannes – Semaine de la Critique, May 2013 Script&Pitch 2007, FrameWork 2009 140 000 Euros

Alaverdy

I’m Going to Change My Name Armenia, Russia, Denmark, Germany WRITER & DIRECTOR PRODUCERS CO-PRODUCERS

films 2013

SALES PREMIERE TFL PROGRAMME

Maria Saakyan Victoria Lupik, Maria Saakyan – Anniko Film Gevorg Nersisyan – Paradise Group Anders Skotlander, Kristian Jorgensen – Oscar Film Helge Albers – Flying Moon Reflexion Films Moscow, June 2013 FrameWork 2009

films 2013

Lupu

Wolf - Romania, Germany WRITER & DIRECTOR PRODUCER & SALES COPRODUCERS TFL PROGRAMME FIRST PUBLIC SCREENING PRODUCTION AWARD

Bogdan Mustață Marcian Lazar – Strada Film Gian-Piero Ringel, Erwin M. Schmidt – Neue Road Movies Script&Pitch 2009, FrameWork 2010 Sarajevo – Competition, August 2013 140 000 Euros

Il Sud è Niente

South is Nothing - Italy, France

DIRECTOR WRITERS PRODUCER COPRODUCER SALES FIRST PUBLIC SCREENING TFL PROGRAMME PRODUCTION AWARD

Fabio Mollo Fabio Mollo, Josella Porto Jean Denis Le Dinahet – b24 film Sébastien Msika – Madakai Doc & Film International Toronto, September 2013 FrameWork 2010 100 000 Euros

n o o s g n i m co

Chrieg

War - Switzerland WRITER & DIRECTOR PRODUCER TFL PROGRAMME

Bypass

Historia del Miedo

UK, Sweden

WRITER & DIRECTOR PRODUCER CO-PRODUCERS SALES TFL PROGRAMME PRODUCTION AWARD

History of Fear Argentina, Uruguay, France, Germany

Duane Hopkins Samm Haillay – Third Films Erik Hemmendorff - Plattform Produktion Kate Crowther - Severn Screen The Match Factory FrameWork 2009 130 000 Euros

WRITER & DIRECTOR PRODUCERS CO-PRODUCERS

TFL PROGRAMME

coming soon

Simon Jaquemet Christian Davi – Hugofilm Script&Pitch 2011, FrameWork 2012

Benjamin Naishtat Benjamin Domenech, Santiago Galleli – Rei Cine Emmanuel Chaumet – Ecce Films Fernando Epstein, Agustina Chiarino – Mutante Cine Leif Magne Tangen, Sarah Mirjam Schipschack – Vitakuben Script&Pitch 2010, FrameWork 2011

In Jouw Naam

In Your Name Netherlands, Belgium, France

DIRECTOR WRITERS PRODUCERS CO-PRODUCERS SALES TFL PROGRAMME

In Which City Does it Live?

Los Hongos

Malaysia, Netherlands, France, Germany WRITER & DIRECTOR PRODUCER CO-PRODUCERS TFL PROGRAMME PRODUCTION AWARD

Colombia, France, Mexico

Liew Seng Tat Sharon Gan – Everything Films Sdn. Bhd. Denis Vaslin – Volya Films, Mandra Films Roshanak Behesht Nedjad – Flying Moon FrameWork 2010 100 000 Euros

WRITER & DIRECTOR PRODUCERS CO-PRODUCERS TFL PROGRAMME PRODUCTION AWARD

coming soon

Marco van Geffen Jolein Laarman, Marco van Geffen Derk-Jan Warrink, Leontine Petit, Joost de Vries – Lemming Film Dries Phlypo, Jean-Claude Van Rijckeghem – A Private View Janja Kralj – KinoElektron Elle Driver Script&Pitch 2009

Oscar Ruiz Navia Diana Bustamante – Burning Blue Oscar Ruiz Navia – Contravia Films Guillaume de Seille – Arizona Productions Jaime Romandía – Mantarraya FrameWork 2011 50 000 Euros

Mr Kaplan

Uruguay, Spain, Germany

WRITER & DIRECTOR PRODUCERS CO-PRODUCERS SALES TFL PROGRAMME PRODUCTION AWARD

Tetarti 04:45

Mercuriales

Wednesday 4:45 AM Greece, Germany, Israel

France

DIRECTOR WRITERS PRODUCER TFL PROGRAMME

Virgil Vernier Virgil Vernier, Mariette Désert Jean-Christophe Reymond – Kazak Productions Script&Pitch 2010, FrameWork 2011

WRITER & DIRECTOR PRODUCERS

SALES TFL PROGRAMME

coming soon

Alvaro Brechner Mariana Secco – Salado Alvaro Brechner – Baobab Films Gerhard Meixner, Roman Paul – Razor Film Produktion Memento Films International Script&Pitch 2010, FrameWork 2011 100 000 Euros + 30 000 Euros (Audience Award)

Alexis Alexiou Thanassis Karathanos – Twenty Twenty Vision Filmprodukion Kostantinos Lambropoulos – CL Productions Talia Kleinhendler – Pie Films Rezo Film Script&Pitch 2010

credits TorinoFilmLab COMMUNITY, VOL.1 EDITOR Matthieu Darras GRAPHIC DESIGNER Maartje Alders PHOTOGRAPHER Lasse Lecklin PROOFREADER Jude Lister All portraits made by Lasse Lecklin, except: Hagar Ben Asher, by Andris Feldmanis Edwin, by Damien Rayuela Fabio Grassadonia & Antonio Piazza, by Giula Parlato Dora Bouchouchau – rights reserved. Helena Danielsson, by Peter Carlsson Matyas Erdelyi, by Marton Perlaki

TorinoFilmLab PRESIDENT Paolo Virzì CHAIRMAN OF ADVISORY BOARD Alberto Barbera DIRECTOR Savina Neirotti Published by TorinoFilmLab in cooperation with NISI MASA, November 2013

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