Professional Documents
Culture Documents
PLANET TALENT
Argentine Ministry of Foreign Relations, Norwegian Embassy in Berlin, Peruanische Botschaft, Media Development Center SINGAPORE,
Flmische Reprsentanz Flmische Reprsentanz Wallonie-Bruxelles Wallonie-Bruxelles
We would like to thank our international network for their support:
TALENTS 2006
Embajada de Guatemala Embajada de Guatemala
The Berlinale Talent Campus is an arena
for know how and inspiration, in which
the worlds next lm generation moves to
learn, communicate and exchange expe-
riences in 2006 for the fourth time.
520 young lmmakers from 101 coun-
tries get together at the House of World
Cultures and have the great opportunity
to learn from experienced professionals
from all genres, cultures and generations.
Discover the Planet Talent on the internet:
www.berlinale-talentcampus.de
BERLINALE TALENT CAMPUS #4 PAGE 3
Embassy of Uruguay in Berlin, Finnish Film Institute, Mexican Embassy in Berlin, Colombian Embassy in Berlin, Colombian Ministry of Culture, Iranian Embassy
Embassy of Finland Embassy of Finland
Embassy of Irela Embassy of Ireland nd Greek Film Centre Embassy of Cyprus Embassy of Cyprus
PAGE 4
Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
A Welcome from our Partners . . . . . . . . . . . . . . . . . . . . . . . . . . 6
House of World Cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Special Focus: Editing
Editing: Portrait Jim Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Editing: Portrait Angie Lam . . . . . . . . . . . . . . . . . . . . . . . . . 11
Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Virtual Berlinale Talent Campus . . . . . . . . . . . . . . . . . . . . . . . . 13
Hunger, Food & Taste
For Hungry Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Portrait Carlo Petrini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Portrait Vandana Shiva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Films on Hunger, Food & Taste . . . . . . . . . . . . . . . . . . . . . 18
Cuisines et Cinma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Portrait Park Chan-wook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Portrait Stephen Warbeck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
BTC Abroad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Berlin Today Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
BTC Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Goodbye, Campus, Hello Berlinale! . . . . . . . . . . . . . . . . . . . . 25
Manfred Durniok Produktion . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Campus Programme
Saturday 11: Orientation Day . . . . . . . . . . . . . . . . . . . . . . . . . 27
Sunday 12: Philosophy Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Monday 13: Pre-Production Day . . . . . . . . . . . . . . . . . . . . . . 33
Tuesday 14: Production Day . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Wednesday 15: Post-Production Day . . . . . . . . . . . . . . . . . . 47
Thursday 16: Promotion Day . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Robert Bosch Stiftung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
The Making Of: Berlinale Talent Campus . . . . . . . . . . . . . . . 57
Working Campus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Index of Experts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Index of Films on Hunger, Food and Taste . . . . . . . . . . . 66
Note of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Team / Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
CONTENTS
CONTENTS
HERO, edited and photographed by Angie Lam and Christopher Doyle
Campus venue: The House of World Cultures
MOSTLY MARTHA by Sandra Nettelbeck in the programme Cuisines et Cinma
THE GODFATHER, produced by Fred Roos
BERLINALE TALENT CAMPUS #4 PAGE 5
experts from ve continents and nearly 2,000 Talents
from more than 100 countries have taken part in this
international arena of dialogue, co-operation and
exchange. Furthermore, it seems fair to conclude that
the opening of Talent Campuses in Cape Town, New
Delhi, Buenos Aires and Kiev testies to the progressive
environment that is created both by and for the young
lmmakers that attend the event each year.
We are happy to announce that in 2006 Euromed, the
Euro-Mediterranean Partnership Programme, has
joined our group of long-time partners and established
sponsors such as MEDIA, Medienboard Berlin-Branden-
burg, Skillset and the UK Film Council, and Volkswagen.
The co-operation and willingness of these sponsors to
endorse and support young lmmakers around the
world has turned the Berlinale Talent Campus from an
idea into a reality.
Come be inspired by the unique and creative spirit of
the Campus. Be part of the excitement and enjoy the
week.
Dieter Kosslick
Director Berlin International Film Festival
Join in as 520 of the worlds most eager young lmmakers
work together, get in touch with each other, and learn
from experienced international professionals at the fourth
edition of the Berlinale Talent Campus. The Campus ena-
bles the lm industrys most creative young Talents from
around the globe to assemble and work together for one
week in Berlin. It is the collaboration of these unique and
fresh international lmmakers that places the Berlinale
Talent Campus at cutting edge of the lm industry.
The Berlinale Talent Campus 2006 has selected editing as
its focal point and looks forward to showcasing editing as
one of lms most fundamental and fascinating features.
The art of editing encompasses far more than putting
together a story shot by shot, or rescuing a director when
a lms continuity is nowhere to be found. Editing not
only establishes a lms rhythm, it is the heart beat of nar-
ration, the spirit between the shots, and the conductor of
the audiences emotional journey. Any lm can provide
an audience with a cli while only a well edited lm can
grant an audience the pleasure of a cli-hanger. This year,
we are very fortunate to have some of the industrys most
esteemed editors joining the Berlinale Talent Campus.
These editors include Angie Lam, Sabine Krayenbhl, Jim
Clark and Dirk Grau, each of whom will share their experi-
ence and insight regarding this exciting element of lm.
In building the programme for the Berlinale Talent Cam-
pus 2006 it became apparent that the question of exclu-
sion vs. omission is not only important for editors. This
very inquiry is equally applicable to the many decisions a
cook has to make while preparing a dish. The connections
between lmmaking and cooking are manifold and give us
a lot of food for thought in the special programme Films
on Hunger, Food and Taste. Thanks to the support of peo-
ple like Vandana Shiva, Alice Waters, Tom Luddy and Carlo
Petrini, the Berlinale Talent Campus will oer entertaining,
critical and widely opened discussions on the theme of
Hunger, Food and Taste.
Be it culinary or editorial, the hallmark of the Berlinale
Talent Campus lies within the wonderful cross-section of
opinions, thoughts, and views that its constantly increas-
ing global network of Campus alumni, friends and col-
laborators share with its students. Over the last three years
BE A PART OF IT!
EDITORIAL
Editing lms deepens the
understanding of human nature.
Pauliina Punkki, Finland
PAGE 6
The strength and success of the UK lm industry hinges
on the skills, talent and ideas of the people working in
it. Film is a global marketplace with a global audience.
To continue to cater for and appeal to that audience we
must remain fresh and exciting. Skillset is committed
to encouraging and nurturing the next generation of
bright new lmmakers to do just that.
For the second year in a row Skillset, Sector Skills Coun-
cil for the Audio Visual Industries, is supporting the
Berlinale Talent Campus.
Last years highly successful speed-matching sessions
will take place again every day at lunch time start-
ing on Orientation Day, when all 520 Talents will have
the chance to meet each other informally and start
networking. It is an invaluable way for Talents from
around the globe to discover potential co-production
partners. We will also be giving Talents the opportunity
to Meet the experts, staging intimate group sessions
with leading industry gures to discuss topical issues
in lmmaking. The Campus is an amazing opportunity
for lmmakers and we are delighted to be working with
the Berlinale again in 2006.
To sign up for speed-matching or a meet the experts
session please visit the Skillset stand in the Campus
Lounge. For more information on how Skillset can help
lmmakers please visit our website at www.skillset.
org/lm.
A WELCOME FROM OUR PARTNERS
PARTNERS
As an o cial partner of the 56th Berlin International
Film Festival, Volkswagens support for the Berlinale
Talent Campus has now entered its third year, and
we are again focusing on encouraging young tal-
ent. Our work with promising talent, which began
in 1997, when the Volkswagen Sound Foundation
was established to support young musicians, has
been extended to the lm industry and is growing
steadily stronger. Over the coming days, 520 talents
from 101 nations will come to the House of World
Cultures. These young lmmakers will exchange
past experiences, create new trends and put team-
work to the test. Representatives from our Career
Development Department will lend their support
during the workshop entitled Potluck Recipes for
Inspired Teamwork. The Volkswagen Score Compe-
tition, where young composers and musicians from
the Babelsberg Film Orchestra set a Volkswagen clip
to music, will again take place in 2006.
We look forward to our partnership at this years
event and wish all participants an exciting and
stimulating time in Berlin.
Judy Counihan
Director of Film, Skillset,
Sector Skills Council for the
Audio Visual Industries
Dirk Groe-Leege
Head of Corporate
Communications
at Volkswagen AG
BERLINALE TALENT CAMPUS #4 PAGE 7
Great ideas are at the root of all great lms. And where can a new
generation of lmmakers go to brainstorm about great ideas? To the
Talent Campus of the Berlin International Film Festival, of course!
The Talent Campus is a ve-day creative get-together attended by
hundreds of young industry players from over 100 countries.
Berlin German capital and creative metropolis - has always held
a special attraction for the international lm industry. The entire
Berlin-Brandenburg region oers all the essential ingredients for
lm production and much more. Hardly any other location in Europe
features such a variety of cultural and creative currents. Berlin has
also long been famous for its avant-garde atmosphere, its cutting
edge combination of history and myth, its independent scene and
its pioneering club culture. This inimitable atmosphere acts like a
magnet for young and creative people from all over the world. The
Berlinale continues to be one of the most important lm festivals on
the planet, bringing the industrys leading lmmakers to the German
metropolis each year.
The Medienboard helped to initiate the Berlinale Talent Campus and
has provided comprehensive support for the meeting from the very
beginning. We are especially looking forward to congratulating this
years winner of the Medienboards Berlin Today Award for young
talent on February 11th at the opening of the Campus. Incidentally,
each and every participant at the Talent Campus is once again invited
to apply for the award. The top three nalists are then asked to make
a 20 minute lm about contemporary Berlin.
Welcome to Berlin-Brandenburg!
PARTNERS
Kirsten Niehuus
CEO
Medienboard-Berlin-Brandenburg
Management Film Funding
Petra M. Mller
CEO
Medienboard Berlin-Brandenburg,
Management Location Marketing
The Berlinale Talent Campus brings young talents
from all over the World to Berlin for one week, where
they get to know each other, share their experience
and meet exceptional international lmmakers. This
not only builds the foundations for future closer
international co-operation and business relations
but also contributes to stimulating the exchange
of ideas and views and hence a better understand-
ing between peoples and cultures. The objective of
the MEDIA Programme of the European Union is to
encourage and support the circulation and diver-
sity of European works and professionals in Europe
and in the world. The MEDIA programme devotes
a signicant share of its budget to support dozens
of training initiatives in Europe. The MEDIA pro-
gramme has been happy to support the Berlinale
Talent Campus as a major partner since its creation
in 2002. We would like to whish every success and
lots of encounters to the 520 Talents
gathered by the Berlinale Talent Campus in the
appropriately named House of World Cultures.
Costas Daskalakis
Head of the EU MEDIA
programme at the Education,
Audiovisual and Culture
Executive Agency.
PAGE 8
Legend has it that Zhang Yimou donated blood to raise
money for his rst camera an action which in spirit
is not far removed from the Hunger, Food and Taste
at the focus of this years Berlinale Talent Campus. The
anecdote captures the passion of a director, whose
work the House of World Cultures will feature as part
of the Spring 2006 programme China Between Past
and Future. This form of hunger is of course familiar to
all the Talents it is the same passion that transforms
the House of World Cultures into the Campus every
February, the same passion driving our co-operation
with the Berlinale and our long-standing commitment
to providing Berlin audiences with programming fea-
turing cinematic highlights from around the world.
In 2007, the building of the House of World Cultures will
celebrate its 50th birthday reason enough for renova-
BLOOD FOR A CAMERA
CAMPUS VENUE
Film, Passion and the House of World Cultures a promising combination!
House of World Cultures. Photos: Sabine Wenzel
tion, but also and above all for contemplation
of modernitys utopias, which its architecture so
clearly reects. Beginning with the halls founding,
artists, writers, thinkers and scientists have lled its
visionary architecture with the visions the spaces
sought to inspire Thornton Wilder, Martha Gra-
ham, Henry Miller, and other leading protagonists
of the New World, as seen through 1957 eyes. Fast-
forward fty years: While we physically reconstruct,
artists and thinkers from all parts of the globe will
build for the future, lay the foundations for continu-
ing discussions on modernity and its many forms. In
this spirit, we wish you a warm welcome to Berlin
and invite you to make our House your home not
only for the next days to come but as part of an
ongoing relationship and continuing dialogue.
BERLINALE TALENT CAMPUS #4 PAGE 9
The ve P's of lmmaking
Philosophy, Pre-Production, Produc-
tion, Post-Production and Promotion:
These are the essential steps of lm-
making, and form the foundation of
the Campus week.
Curriculum
The Berlinale Talent Campus oers
more than 70 lectures, discussions,
excursions, screenings and workshops
for Talents and interested visitors.
Working Campus (see also p. 58)
The Working Campus brings Talents
together to work actively with one
another in small teams and come to
a tangible result during the Campus.
All Working Campus activities require
special application procedures and
consist of the following ve projects:
Talent Movie of the Week
Around 20 Talents have the oppor-
tunity to team up and produce a
ve-minute digital short lm during
the Campus week. The lms will be
presented at the Farewell Cele bration.
This year's mentor is Korean director
Park Chan-wook.
THE TALENT'S GLOSSARY
GLOSSARY
The most important catchwords at the Berlinale Talent Campus
fast forward information for everybody who always wanted to know.
Script / Doc Clinic
27 selected Talents will receive advice
and guidance from experienced script
consultants and lmmakers about
the development of their feature lm
scripts and treatments or documen-
tary lm ideas.
Talent Project Market
The Talent Project Market gives 17
Talents the opportunity to work
together with professionals attend-
ing the Co-Production Market, and to
receive personal feedback from well-
known producers about their current
projects.
Volkswagen Score Competition
Three Talents create a new sound
design for three short lm clips. Dur-
ing the Campus they are recorded in
a Berlin sound studio and with the
Babelsberg Film Orchestra. The nal
results are presented at the Farewell
Celebration. This year's mentor is
Stephen Warbeck.
The Talent Press
Ten young lm critics are invited to
report on the Berlinale Talent Campus
and the lms of the Berlinale. Their
articles will be published on the fol-
lowing websites: www.talentpress.org,
www.presci.org, www.goethe.de.
Berlin Today Award
After each Campus, the Talents are
asked to propose short lm concepts
with reference to Berlin. The three
best ideas are awarded a production
budget of 50,000 Euro from the Medi-
enboard Berlin-Brandenburg and the
lm industry of Berlin-Brandenburg
(see also p. 22).
Application
Every year by the end of June, the
application documents become
available at www.berlinale-talent-
campus.de. The application deadline
for 2007 is November 1. Filmmakers
are encouraged to apply with a short
sample of work. Application samples
of this years Talents can be viewed at
the terminals in the Campus Lounge.
All samples of all Talents are contini-
ously streamed on the Campus web-
site.
What are the elds of work
of the Talents in 2006?
Most of the 520 Talents are working
in more than one eld. 386 direct,
195 write scripts, 75 produce, 80 are
cinematographers, 105 edit, 40 are
production designers or art directors,
35 are sound designers or composers,
37 are actors, and 10 are critics or lm
journalists.
PAGE 10
Im far more interested in the well-made lm than I am in the razzle-daz-
zle of CGI, says Jim Clark in Vincent LoBrutto's portrait for the ACE Tribute
Book. Because these days you can do anything provided you have enough
money but it doesnt necessarily make the goods any better.
Making the goods any better that was Jim Clark's challenge as editor of up
to fty productions till this day. Born 1931 in Boston, Lincolnshire, England,
he was attracted at a young age by moving pictures, and started out his
editing career at the le gendary London-based Ealing Studios. As an assist-
ant editor there he learned the editor's crafts, as well as montage tricks and
strategies on lms like Alexander Mackendrick's famous THE LADYKILLERS,
or THE TITFIELD THUNDERBOLT directed by Charles Crichton. In the early
1960's Jim Clark established himself in England and in the USA as a freelance
editor by working with directors like Stanley Donen on successful lms such
as THE GRASS IS GREENER and CHARADE.
In the late 1960's, the New Hollywood began to emerge and also in Europe
alternative lmic forms enriched the contemporary cinema. A younger
generation of directors came to the fore, including John Schlesinger, with
whom Jim Clark edited a couple of thrillingly structured lms, like DARLING
and then MARATHON MANN. Michael Apted (AGATHA) and Roland Jo also
the editing of some of their lms to Jim Clark. The collaboration with Roland
Jo yielded honorary fruit when Jim Clark won an Oscar for best editing for
THE KILLING FIELDS in 1985 and a nomination for THE MISSION in 1987.
For the last ve decades the English editor Jim Clark has improved internationally acclaimed lm
productions with his ne grasp of rhythm and dramaturgy. Honoured with an Oscar for his editing
of Roland Joff's THE KILLING FIELDS, Jim Clark graces the Campus by sharing his experiences.
A MASTER CRAFTSMAN
EDITING
Edited by Jim Clark: Mike Leigh's VERA DRAKE
Jim Clark
Bruce Beresford (A GOOD MAN IN AFRICA),
Michael Caton-Jones (THE JACKAL), Richard
Loncraine (THE GATHERING STORM) and most
recently Mike Leigh (VERA DRAKE), to name just
a few, are some of the directors he has worked
with during the past decade.
All the lmmakers Jim Clark prefers to collabo-
rate with possess a unique cinematic signature,
and above all a distinctive passion for the craft
of the lm medium. It's the strict technical prin-
ciples with attention the story and content, as
Vincent LoBrutto wrote, that characterises the
highly acclaimed editing of Jim Clark. One of
his latest works is Peter Cattaneo's OPAL DREAM,
which opens this year's Berlinale Kinderlm-
fest. This year's Campus Talents will be oered
a once-in-a-lifetime opportunity: watching Jim
Clark edit his new project DECAMERON: ANGELS
AND VIRGINS, directed by David Leland, live on
stage!
Sunday 12, 14:00 Auditorium
Meet the Cutting Crew
Monday 13, 10:30 Theatre
Live with Jim Clark
BERLINALE TALENT CAMPUS #4 PAGE 11
Considered by many one of the worlds top
lm editors, Angie Lams passion for her work
borders on the poetic. Based in Hong Kong,
she has dozens of lms to her credit, having
worked as both an editor and a post-pro-
duction supervisor. She is known for having
edited lms such as HERO, HOUSE OF THE
FLYING DAGGERS and IRON MONKEY, and
her reputation as an editor for martial arts
lms is unparalleled.
Lams editing philosophy ensures her active
participation in the editing process, because
in her words, the editor is not a bystander
Making it simple, I am the ultimate ghter
when I am cutting on an action lm... And I
know where to cry when I am cutting a mel-
odrama. Getting into the lm as an editor
takes away the prominence of the technical
elements of editing, and gives a truly human
feel to the lm. The human element is not
limited only to an editing style: according
to Lam, real human contact is still the most
important kind of contact.
She sees her expertise as a martial arts editor
fully transferable to other genres, the key
being in the rhythm and impulse of the edit-
ing. She explains if you are cutting with the
wrong rhythm, its like singing a song in the
wrong tune. Lams straightforward approach
to nding the heartbeat of narration is a val-
uable tool for all aspiring editors.
No stranger to the food and lm theme, Lam
said that when she was learning to edit, her
mentor inuenced her with a wide variety
of ideas. She told the Berlinale Talent Cam-
pus that her mentor explained to her that
to make a cut is to complete a dish from a
designated recipe. If the script is the recipe,
Angie Lam is known the world over for her editing on martial arts lms. This year,
she shares with the Campus her editing strategies in an intensive seminar, and below,
she gives the Campus Magazine some insight into her editing philosophy.
THE EDITOR'S KITCHEN
EDITING
Editor Angie Lam
Edited by Angie Lam: KUNG FU HUSTLE
then the process of cooking is the job of
editing. You cannot at this point choose to
make a dierent dish, since the director has
already selected all his ideal ingredients.
Obviously these were wise words, as they
have led Angie Lam to great success in the
editing world.
The connections between food and lm dont
end there for Lam She also told the Cam-
pus that she had initially planned to name
her editing suite The Cutting Kitchen. The
2006 Berlinale Talent Campus is very excited
that Angie Lam will be joining us for several
sessions.
Sunday 12, 10:30 Auditorium
Eat and Shoot the Indie Way
Sunday 12, 14:00 Auditorium
Meet the Cutting Crew
Wednesday 15, 10:30 Theatre
The Cutting Kitchen
PAGE 12
Das Wasser zum Essen.
Das Wasser zum Drehen.
www. voes l auer. com
Das Wasser zum Drehen_210x140 12.01.2006 18:52 Uhr Seite 1
EQUIPMENT
It may seem that nobody cares about the techni-
cal aspects of post production in the rst place.
But somewhere down the line, when you are
sitting between hours of footage, every scene
an essential fragment of your story, the nal cut
can separate a nice try from a masterpiece. At
this point you are sitting at the cutting edge of
making movies.
You need tools that are easy to learn but give
you the exibility to work with every format,
from lm to DV and native HDV to fully uncom-
pressed HD just in case. Tools you can use
down the road, with your PowerBook or your
new MacBook Pro. Tools that are aordable, so
COMPLETE THE PICTURE
you dont have to rent a system. You know the benets of keeping your
whole production cycle under one roof. Why not keep all your production
tools in one box? Final Cut Studio combines the industry-standard Final
Cut Pro 5 with the real-time design engine of Motion 2 for stunning motion
graphics, the exible audio creation and control tools of Soundtrack Pro and
the sophisticated SD and HD DVD authoring features of DVD Studio Pro 4.
Final Cut Studio also scales up to a High End Post Production System. Make
Final Cut Studio your all-in-one virtual studio and youre all set.
You are not alone. Apple oers free daily trainings on Final Cut Pro, Motion,
Soundtrack Pro. Sign up for your free training in the main hall of Berlinale
Talent Campus at the Apple counter. And your audience is already waiting:
The o cial Campus Video Podcast, supported by Apple, is featuring a
showcase of the best movies, providing access to millions of iTunes users.
More information can be found at www.apple.com
What's lmmaking about? It's about the passion to translate ideas
into a convincing, compelling stories for you and for your audience.
As a Campus participant, (we presume that) you are talented. Prove it.
BERLINALE TALENT CAMPUS #4 PAGE 13
There are two parts to Virtual Talent: The Talent
Database, which is set up during the Berlinale
Talent Campus, and the Campus Website, which
acts as an archive and a reference point for Tal-
ents after the Campus ends. Here is your guide
to all that Virtual Talent has to oer!
The Talent Database
Between the 11th and the 16th of February in
the House of World Cultures (HKW), the Virtual
Berlinale Talent Campus becomes real: Talents
can turn on and tune in to the work of other Tal-
ents. In the main lounge area of the HKW, youll
nd terminals equipped with at screen moni-
tors and headphones, each linked to the Cam-
pus database, making all of this years samples
of work available for your perusal. The system
also allows Campus visitors to get in contact
with the Talents. If you are a Talent scout this is
the place to nd what you are looking for.
Youll also be able to access the internet in the
HKW. Apple has provided computers to the
Campus, making it possible for you to stay on
top of your communications without missing
out on the Campus ambiance.
The Campus Website
A visit to www.berlinale-talentcampus.de is a
worthwhile endeavor for anyone, from curi-
ous lmmakers who have never set foot on the
Campus to seasoned Campus veterans hoping
to catch up on missed events. Maintained by
our web-wizard Marcus Forchner and program-
mer Jens Rietdorf, the Campus website has an
impressive menu, bound to serve something to
satisfy any appetite.
The feast of knowledge is held in the Experts
section of the Campus website, where youll
nd video archives of previous Berlinale Talent
Campus presentations from a growing list of
Discover the Planet Talent! The Virtual Services at the Berlinale Talent Campus
Lounge and on the internet reect the variety of the Campus itself.
THE TASTE OF VIRTUAL TALENT
VIRTUAL BERLINALE TALENT CAMPUS
lms biggest names, including Dante Ferretti, Frances
McDormand, Anthony Minghella, Walter Salles and Wim
Wenders.
Or, sample our tasty buet of lm samples from more
than 2,000 participating Talents over the past three years.
These are accessible year round from the Talent Database
portion of the website, which lets web users search Talents
by name, by eld of work, or by country. And for dessert,
how about Talent Stories, where previous Talents share
with the world their lmmaking experiences after the
Campus? Talent Stories is bound to leave a good taste in
your mouth!
To get all the information on 2006s theme, you can check
out our section Special: Films on Hunger, Food and Taste.
Here youll nd articles on food by great lmmakers like
Angie Lam, and thoughts about lm from Slow Food chair-
person and Campus special guest Carlo Petrini.
Keep on checking back to the Campus website, which in
2006 will include a Campus podcast for the rst time. If you
cant make it to the Campus, or if you missed a workshop,
the next best thing is the online Campus at www.berlinale-
talentcampus.de.
PAGE 14
HUNGER, FOOD & TASTE
The Five Ps
Preparing delicious meals like high concept lmmak-
ing makes the highest demands on quality, team
members, logistics, taste and composition. Alice Waters,
chef, gardener, writer and special guest at the Campus,
built up her career on these standards. Her restaurant
Chez Panisse in Berkeley, California opened in 1971,
serving a single xed-price menu that changed daily.
The set menu format remains at the heart of her phi-
losophy of serving the most delicious organic products,
but only when they are in season. Over the course of
three de cades, Chez Panisse has developed a network
of local farmers whose dedication to sustainable agri-
culture assures Chez Panisse a steady supply of pure
and fresh ingredients.
The ve Ps of lmmaking (philosophy, pre-production,
production, post-production, promotion) that struc-
ture not only the course of lm production but also
the Campus programme are also basic elements in the
cooking process of chefs like Alice Waters.
Step One: Recipes / Philosophy
Filmmaking, like every creative act, begins with a phi-
losophy, with thoughts leading to an idea. An idea will
guide the lmmaker from the very beginning to the
very end of the production. A cook may make up his
or her mind by reading recipes or inspecting raw mate-
rials at the market. Wherever the inspiration comes
from, the maker needs a concept to start cooking or
lming.
Step Two: Ingredients / Pre-Production
The second phase in lmmaking is pre-production,
which in some cases can last years. Several drafts of
a script grow out of the original idea. A core team is
formed, and theres work to be done on nancing and
casting until everything is ready for shooting. What
about the cook? In the pre-production phase she or
he is assembling the ingredients: some may come a
long way by cargo, others might have taken a whole
season to grow. The components of the meal must be
cleaned, chopped, mixed and prepared. The ingredi-
ents and the tools must already be in place to make
the timing possible.
Step Three: Cooking / Production
Be it in the kitchen or on the lm set, in the hot phase
of production, smooth interaction of the crew is vital.
The actors transform the screenplay into a three-dimen-
sional reality which is recorded by the camera.
The camera is the equivalent of the oven. The word
focus comes from Latin and means hearth. The appli-
cation of heat transforms raw material into a tasty sub-
stance. This process can also be compared with transla-
tion. In many cases the body doesnt understand the
composition of the raw material and refuses to take it
in. However, when it is translated into another form,
the body understands and absorbs it. A lm director
should know how the chemistry of the camera and
the language of lm transform the reality before his
or her eyes.
Step Four: Arranging / Post-Production
In the post-production phase, lm takes its nal form.
Discontinuity is transformed into a continuous chain of
events. Scenes might be digitally reworked. Sound and
picture are blended together until the day of the nal
cut. Thus many elements together became a whole.
But, the picture is still not ready for release.
Cutting back to the kitchen: The chef and the crew
are busy arranging the courses of the meal such as
soup, entres or dessert, preparing the side-dishes,
and reducing the sauce. The sommelier takes care of
the wine. The feast can almost start.
This year's special at the Berlinale Talent Campus is dedicated to the relationship
between food and lm. A wide range of parallels will be uncovered during several
Campus events, with help from chef Alice Waters and other special guests, and what
seems to be a special idea at rst sight, may suddenly work on many levels.
FOR HUNGRY EYES
BERLINALE TALENT CAMPUS #4 PAGE 15
HUNGER, FOOD & TASTE
Chef and natural food advocate Alice Waters,
photographed by Norman Jean Roy (left) and
Thomas Heinser (above)
Step Five: Serving / Promotion
Promotion is the nal stage of lm production. A concept is needed to present
and sell the lm. The producers will reformulate the original idea of the lm,
which might have changed along the way. Agents and distributors start mar-
keting in the hope of having a hot selling point. The critics are the rst ones
to judge whether the fresh release suits their taste.
In the kitchen, it is the turn of the waiters to serve the meal. Service is an
important element in achieving your primary goals. Even if you just cooked
pasta for yourself, it is the way you serve yourself that will bring you satisfac-
tion. Charlie Chaplin couldnt digest the shoe laces in THE GOLD RUSH but he
kept his dignity which ultimately saved him.
At Chez Panisse
Serving succulent dishes implies a large amount of responsibility towards
consumer as well as the environment. Alice Waters, Vice President of Slow Food
International, and her natural food concept do exactly this. Her Chez Panisse
Foundation, for example, committed in 1996 to transforming public education,
and continues to support projects that integrate gardening, cooking, and the
sharing of a daily school lunch into the core academic curriculum. The Edible
Schoolyard at Berkeleys Martin Luther King Jr. Middle School is the Founda-
tions primary beneciary. This hands-on programme involves children directly
in growing, and cooking, their own food.
In 2003, Alice Waters helped conceive The Yale Sustainable Food Project, with
the goal of making food an integral part of the academic experience at the
university level. By supporting small-scale, organic farmers in the Northeast
who care for the land, Yale hopes to set an example of responsible eating for
institutions around the country.
At the Campus Table
The Berlinale Talent Campus will be a place
to watch, eat, and explore the relationship
between lm and food. Talks on Hunger,
Food and Taste, hosted by Tom Luddy, will
take place at the Campus with a solid back-
ground. As Bertolt Brecht said: Erst kommt
das Fressen und dann die Moral (Chow rst,
then moralise).
Alice Waters will enrich the Campus pro-
gramme in three events by arguing for two
substantial passions: quality food and qual-
ity lms.
Sunday 12, 10:30 Auditorium
Eat and Shoot the Indie Way
Monday 13, 14:00 Theatre
Passion Food
Monday 13, 18:00 Restaurant
Food for Thought: ALICE WATERS AND
HER DELICIOUS REVOLUTION
PAGE 16
HUNGER, FOOD & TASTE
In a world of fast food, slow food is occupying a healthy
counter position to mass consumption. Will the lm
industry also nd a counter balance favouring small
independent productions as opposed to industrial
mass production? The simple pleasure of making time
to break bread with friends and family, the healthy
goodness of locally grown produce and the impor-
tance of maintaining a connection to the land through
what we eat are at the heart of the Slow Food philo-
sophy.
Petrini is the face behind Slow Food, and in his daily
work he places gastronomy out in front as a creative,
educational, diplomatic and cultural tool that is not
only aimed at individuals, but that can also be used to
breathe fresh life into ecological movements across the
globe. The 2006 Berlinale Talent Campus is not the rst
time that Petrini has stood at the intersection between
food and lm, because while the philosophy of Slow
Food is simple, the projects that have emerged from
the movement are diverse, and include a biannual Slow
Food on Film Festival. Every two years, the Golden Snail
is awarded to the team that produces a documentary
that best captures the essence of a food that is dying
out or a cooking tradition that is being forgotten. Film
is here combined with food in a way that makes it a
sort of memory, a record of past traditions that can be
stored for future generations.
The connections between food and lm certainly
dont stop there. Petrinis approach to the realities of
unsustainable mass production, ecological destruc-
tion, unhealthy fast food, and the loss of traditional
knowledge is valuable to lmmakers because it is prag-
matic, and not just philosophical. A lmmaker might
have similar worries: the hyper-proliferation of digital
technology, the amount of waste generated and the
excessive resources used during shooting, the produc-
Already a household name to natural food buffs, Carlo Petrini is the founder of Slow Food,
a movement that is quietly changing the way that people eat and think about food. He joins this
years Campus as a special guest, examining the points of contact between food and lm.
I EAT, THEREFORE I AM
Founder of Slow Food: Carlo Petrini
tion of cinema only to satisfy a commercial appetite,
and the loss of knowledge with regards to cinematic
customs now deemed out of date.
Instead of complaining about the sorry state of aairs,
Petrini advocates the relevance of a new way forward,
rooted in rural knowledge and cultivation traditions.
He encourages people create local demand for local
products, to take the time to eat together, and to get to
know their local gastronomic traditions. Through these
simple measures, real change and education happens.
Filmmakers have a lot to learn from this philosophy,
and Talents and guests will have a chance to hear Carlo
Petrini speak twice during the Campus.
Sunday 12, 10:30 Auditorium
Eat and Shoot the Indie Way
Monday 13, 16:30 Auditorium
The Case for Taste
BERLINALE TALENT CAMPUS #4 PAGE 17
HUNGER, FOOD & TASTE
Vandana Shiva is one of the worlds most recognizable physicists,
known for her strong stances in favor of local control over land,
water, agriculture and seeds against the patenting of life, and for
her strong support of ecological feminism. She has been and
continues to be on the front lines of the so-called anti-globali-
sation movements that are today changing the worlds political
landscape, one demonstration at a time.
Based in New Delhi, Vandana Shiva is a dedicated writer, com-
menting at least weekly on various websites and magazines on
topics ranging from the miniscule (a particular local seed) to
the massive (anti-WTO protests from Seattle to Cancun to Hong
Kong). She is an authority on Indian politics, and an important
gure in third-wave feminism, but when it comes to food and
activism, Dr. Shivas central axis rests on diversity: biodiversity
and diverse people.
Shiva founded the Research Foundation for Science Technology
and Natural Resource Policy in 1984, the same year that the Bho-
pal disaster rocked India and showed the world the ugliest face
of careless development. Today, in addition to research facilities,
the foundation features a school, an organic garden and a Slow
Food caf.
Whether helping to create markets for local farmers, advocating
for the right to sovereignty over seeds through lawsuits, brin-
ging a Third World perspective to a discussion or making space
for womens voices in the environmental movement, Dr. Shiva is
eminently holistic in her approach. The Guardian newspaper has
called her one of the worlds most prominent radical scientists.
A respected writer and speaker, with hundreds of articles and
many books to her credit, she has also contributed to a number
of documentaries, including LIFE RUNNING OUT OF CONTROL
(directed by Bertram Verhaag and Gabriele Krber). Her multifa-
ceted approach to activism can serve as a model and inspiration
to creative people, breaking with the consumerist mold to create
new meanings and to savor forgotten recipes.
A prominent scientist and activist, Vandana Shiva, winner of the Right Livelihood
Award, will be attending this years Campus. Her voice will add an essential scientic
and political aspect to the Campus theme of Hunger Food and Taste.
Vandana Shiva with Thomas Struck
Filmmakers young and old will most denitely
take something away from Dr. Shivas addresses
in the two Sunday panels that inspire them to
consider, or to continue to integrate, environ-
mental and feminist awareness not only in their
creations, but also in their lmic practices.
Sunday 12, 10:30 Auditorium
Eat and Shoot the Indie Way
Sunday 12, 12:15 Theatre
Who Owns Life? Talk with Vandana Shiva
and Renate Knast
THE SEED SAVER
PAGE 18
HUNGER, FOOD & TASTE
The idea of combining the themes of food and lms has matured
from a rough sketch to a multifaceted and challenging element
of the 2006 Berlinale Talent Campus. The creative vision is best
summed up in the poetic words of Campus Talent Manager Tho-
mas Struck, Your body is a Cinema. Films are food for your soul.
Cinemas are restaurants for feelings. It is with this sense of open-
ness and creativity that food and lm metaphors have begun to
overlap, and the lm and food idea has crystallized.
Producer of nine lms and consultant to many more, Tom Luddy
is also the former programme director of the Pacic Film Archives
in Berkely, California, and currently sits on the advisory board for
ALL-STORY, a short ction magazine published by Francis Ford
Coppola.
The intersections of lm with hunger, food and taste have become a special
programme for the 2006 Berlinale Talent Campus. This has been developed with the
creative support of Tom Luddy, co-director of the Telluride Film Festival, Colorado.
APPETITE FOR CREATIVITY
Cuisines et Cinma places to be for Tom Luddy
Luddy brings to the Campus great know-
ledge and skill as a programming director,
as he is well known for making the Tellu-
ride Film Festivals line-up one of the most
interesting and exclusive in the world. He
chose the lms that will be shown in the
Cuisines et Cinma section of the Campus
that is made possible in partnership with
the French Embassy in Berlin and was on the
jury of the Campus short lm competition
on hunger, food and taste.
In addition to Luddys Cuisines et Cinma
programme, the Campus has invited very
special guests Vandana Shiva, Alice Waters
and Carlo Petrini to help us make new lin-
kages between social responsibility, hunger,
food and taste, and lmmaking.
The Campus team is also very excited about
the 350 lm samples about hunger, food and
taste that were sent as applications to the
Campus. The best of these short lms will
be shown at the Campus Exhibition Hall as
well as in the Food for Thought program-
mes. They are also invited to compete for
the Golden Snail at the Slow Food on Film
Festival, an initiative of Petrini that will take
place this April in Bra, Italy.
Talents can catch Tom Luddy as he mode-
rates a variety of seminars and discussions
during the course of the Campus.
BERLINALE TALENT CAMPUS #4 PAGE 19
HUNGER, FOOD & TASTE
Saturday 11, 20:30 (admission: 19:30)
Opening Programme
Babettes Fest (Babettes Gstebud)
DK 1984. Dir.: Gabriel Axel. With Stphane Audran,
Birgitte Federspiel, Bodil Kjer. 103 min.
Introduced by Carlo Petrini and Dieter Kosslick.
In 19th century Denmark, two adult sisters live in an
isolated village with their father, who is the honoured
pastor of a small Protestant Church. After some years, a
French refugee arrives at their door, begs them to take her
in, and commits herself to work as their housekeeper.
Saturday 11, 23:00
Harvest (Regain)
FR 1936. Dir.: Marcel Pagnol. With Gabriel Gabrio, Orane
Demanzis, Fernandel. 127 min. Introduced by Alice Waters.
Powerful black and white cinematography featuring the
young Fernandel. The lm deals with the trials and tribu-
lations of peasant farmer Panturie and his attractive lover,
apprentice knife-grinder Arsule.
Sunday 12, 20:30 (admission: 19:30)
Eat Drink Man Woman (Yin Shi Nan Nu)
TW/US 1994. Dir.: Ang Lee. With Sihung Lung, Yu-wen
Wang, Chien-lien Wu. 123 min. Introduced by Carlo Petrini.
A senior chef who lost his sense of taste lives with his three
daughters. The middle one nds her future plans aected
by unexpected events, and the life changes of the other
household members.
The lm programme Cuisines et Cinma Celebrating Food in Film at the Ambassade de
France (French Embassy) may whet your appetite for cinematographic fancy foods. Between
February 11 and February 15, six lms will accompany the Campus discussions on Film and Food.
CUISINES ET CINMA
BELLA MARTHA by Sandra Nettelbeck
Each screening will be preluded by a short lm from the
Campus competition Hunger, Food and Taste. Films will
be subtitled in English. Tickets for the screenings are avail-
able at all Berlinale Ticket Counters. All screenings will take
place at the French Embassy, Wilhelmstrae 69, where
the Caf Voltaire will oer Hors deuvres. Shuttle busses
will run from the House of World Cultures to the French
Embassy beginning one hour before showtime.
Monday 13, 20:30 (admission: 19:30)
Mondovino
AR/FR/IT/US 2004. Dir.: Jonathan Nossiter. 135 min.
Introduced by co-producer Juan Pittaluga.
An unsparing and direct documentary about the impact of
globalization on the worlds dierent wine regions.
Tuesday 14, 20:00 (admission: 19:00)
Be with Me
SG 2005. Dir.: Eric Khoo. With Theresa Chan,
Chiew Sung Ching. 93 min.
Introduced by Michel Ciment.
BE WITH ME is a tapestry of three stories woven around
the themes of love, hope and destiny a communication
without words and the magic of food.
Wednesday 15, 20:30 (admission: 19:30)
Bella Martha
DE 2001. Dir.: Sandra Nettelbeck. With Martina Gedeck,
August Zirner, Sergio Castellito. 109 min.
Introduced by Sandra Nettelbeck.
When a headstrong chef takes charge of her equally stub-
born 8-year-old niece, the tension between them mounts
until an Italian sous-chef arrives to lighten the mood.
PAGE 20
PORTRAIT
This dynamic South Korean director is the face of
new Korean cinema most familiar to the West, grac-
ing the big screen with his own cinematic style ever
since the release of his rst full-length lm in 1992. He
has enjoyed great mainstream success in Korea, with
lms like JOINT SECURITY AREA, and won much critical
acclaim for others, like SYMPATHY FOR MR. VENGE-
ANCE, a phenomenon he attributes simply to the fact
that people have diering tastes.
Park Chan-wook grew up in Seoul, South Korea, where
he later studied philosophy, with the aim of becoming
an art critic. An avid cinemagoer, he was inspired by
Hitchcocks VERTIGO to become a director in his own
right, and to this day remains focused on the aesthetic
aspects of his work.
Twelve years after the making of his rst feature lm,
Park Chan-wook was awarded the Grand Prix at the
57th Cannes festival for his lm OLDBOY. He is quoted
after his acceptance speech at Cannes as having told
a journalist that he made the lm in the spirit that
spectators could watch OLDBOY many times, and dis-
cover new elements each time. His attention to detail
and the richness of his work come through in the fact
that it is only through multiple screenings that one can
truly appreciate his craft.
Park Chan-wook is at the forefront of a new generation of Asian directors, turning
out lms that provoke the audience and please the eye. He joins the Campus this
year to lend a skilled and steady hand to the Talent Movie of the Week teams.
THE FINE POINTS OF FILMMAKING
Happy together: Park Chan-wook's JOINT SECURITY AREA
Park Chan-wook on set
OLDBOY was the second lm in a loose trilogy on venge-
ance, the last being SYMPATHY FOR LADY VENGEANCE
(in competition in the 2005 Venice lm Festival), which
explores themes of revenge and violence. His scenes
are often fraught with disturbing, excruciating violence,
while at the same time stylish and controversial, all the
while visually overwhelming. He is sometimes com-
pared to Quentin Tarantino and David Fincher. Parks
future plans include crafting lms in varied genres,
with a romantic comedy of sorts planned for 2006, to
be followed by EVIL LIVE, a vampire movie.
Park Chan-wook described his movie making formula-
tion to the Hollywood Reporter as follows I plan out
the outline with the speed of a jet, write out the draft
with the speed of a sports car, and retouch the script
like an afternoon walk. These attributes will make Park
an invaluable mentor for the three teams selected for
the Talent Movie of the Week, as he guides each team
through the ne points of lmmaking.
Monday 13, 14:00 Auditorium
Sympathy For the Devil
BERLINALE TALENT CAMPUS #4 PAGE 21
PORTRAIT
Stephen Warbeck started out as a composer in 1977, and from his
humble beginning as a young man making music, he has followed
his passion, leading him to where he is today: an established com-
poser with many musical projects on the go. He has scored music for
dozens of lms, including BILLY ELLIOT, CAPTAIN CORELLIS MANDO-
LIN, and SHAKESPEARE IN LOVE, for which he won an Oscar. His work
for theater is just as broad, having written an abundance of scores
for plays, as well as for touring plays, such as THE INSPECTOR CALLS.
Most recently, he completed his rst score for a ballet, expanding
again his frontiers as a composer.
What makes Warbeck unique in the music world is the scope of his
interaction with other creative people in his daily work. In an inter-
view with the BBC, he described his job as wonderful, because it
gives me the opportunity to work with a huge number of dierent
people dierent musicians, lm directors, theatre directors on a
very wide range of dierent projects so I am constantly stimulated
by dierent things outside this room where I work. This constant
interchange of ideas and projects can only kindle the creative spirit,
and in Warbecks case it has certainly been a successful formula for
producing innovative, top quality scores.
The hKippers, a band for which Warbeck composes as well as sing-
ing and playing the accordion, mandolin, and piano allow him yet
another creative outlet for his music. In an interview with amazon.
co.uk, he described playing in a band as being like a safety valve. In
my work Im writing for lm and theatre and you have to keep your
silliness slightly under control or things go horribly wrong. But with
the hKippers, we dont have to.
Warbeck has also participated in a BBC programme called Challenge
Cantata, where he was given a week to compose, write, arrange,
rehearse and perform a cantata for an orchestra and choir. This long
list of credentials make him the ideal mentor for the Volkswagen
Score Competition at this years Campus. As the three Score Com-
petition Talents work through a similar process during the Campus,
theyll most denitely be glad to have the support and guidance of
Stephen Warbeck.
Thursday 16, 14:00 Auditorium
Hitting the Right Note
Stephen Warbeck live on stage with members of the VW Orchestra
Stephen Warbecks ability to write scores across a multitude of genres, as
well as his musical prociency with a variety of instruments make him a true
jack of all trades in the music world. The Oscar winning lm composer joins
this years campus as a mentor for the Volkswagen Score Competition.
GET RHYTHM!
Above: LOVES BROTHER, scored by Stephen Warbeck
Below: No need to hide: Stephen Warbeck
Photo: Luk Monsaert
PAGE 22
BTC ABROAD
The rst oshoot of the Campus took place 2003 in
Ukraine, during the Molodist Kiev International Film
Festival. The rst Molodist Campus (molodist means
youth in Ukrainian) saw young Ukrainian lmmakers
get together for master classes, and gave three young
directors the chance to realise their lms and present
them at the 2004 Berlinale Talent Campus in Berlin.
Since 2003, two more successful Campus Abroad Initia-
tives have taken place in Kiev.
This back and forth ow of lmic knowledge and expe-
rience typies the goals of the Talent Campuses abroad.
2004 saw the beginning of two more Campuses abroad,
extending the Campus to the Southern tip of Africa,
and to India, where the rst Campus was held in New
Delhi.
The South African Campus, known as the Sithengi
Campus, takes place in November, during the Cape
Town World Cinema Festival, in conjunction with the
Sithengi Film and Television Market. It was held with
great success in 2004 and again last year, in 2005, when
46 Talents had the chance to participate in workshops
focused on various aspects of lmmaking.
The roots of the Talent Campus are rmly planted
in Berlin, but since 2003, new shoots of the Campus
initiative have been sprouting internationally.
CAMPUS, CAMPUS, EVERYWHERE!
From Berlin to Cape Town: Christine Trstrum surrounded by Talents
The success of the Sithengi Campus is bound to grow,
as the Goethe Institute announced at the last campus
that they would provide a grant of 15,000 towards
travel costs of Talents from Sub-Saharan African coun-
tries for the 2006 Sithengi Campus. This exciting infu-
sion will ensure that more budding lmmakers from
countries like Tanzania, Zimbabwe, Namibia, Angola
and Malawi to name a few are able to attend the
next Sithengi Talent Campus.
The New Delhi Campus, now two years old, is held in
conjunction and partnership with the Osians Cinefan
Festival of Asian Cinema yearly in July. In each 2004 and
2005, 50 young lmmakers from India and Sri Lanka
attended the Campus, including Sainath Choudhury,
the winner of the Talent Movie of the Week Competi-
tion at the 2005 Berlinale Talent Campus. Experts at the
New Delhi Campus in 2005 included Christopher Doyle
and Andres Veiel, as well as reputed Indian lmmakers
Apama Sen and Adoor Gopalakrishnan.
The newest incarnation of the Talent Campus took
place in Buenos Aires, in partnership with Universidad
del Cine and in the context of the Buenos Aires Inde-
pendent International Film Festival, in April of 2005.
65 Talents from the entire continent were invited to
Buenos Aires to participate in four jam-packed days of
lectures, workshops and presentations. The overarch-
ing theme of the Buenos Aires Talent Campus was the
relation between cinema and the city, featuring experts
including Chantal Akerman and Agns Godard.
With all these Campuses and more potential cam-
puses in store the diusion of the energy and extraor-
dinary possibilities of the Talent Campus is exponen-
tially amplied. It is with great excitement that we look
forward to a long and continuing tradition of Talent
Campuses worldwide!
Further information:
http://www.sithengi.co.za/
http://www.ucine.edu.ar/talent_campus/welcome.
BERLINALE TALENT CAMPUS #4 PAGE 23
I consider this experience to be very special, says direc-
tor Harrie Verbeek, whose digital short lm project was
realised during 2005. 182 proposals were submitted by
last years participants of the Berlinale Talent Campus, and
Verbeeks project UNDER THESE WINGS was among the
three nominees for the Berlin Today Award. Nomination
means receiving a grant worth 50,000 Euro from the Medi-
enboard Berlin-Brandenburg and an additional 20,000
Euro in non-cash support from the lm industry in Berlin-
Brandenburg to realise your short lm. During a one-week
Summer Campus, the three hosts of last years Berlin Today
Award, producer Roshanak Behesht Nedjad and directors
Hannes Sthr and Andres Veiel, chose the three nominees
from among ten pre-selected projects. From that moment
forward, these three lms were realised to premiere at the
Campus opening 2006.
In UNDER THESE WINGS Dutch director Harrie Verbeek
describes a one night close encounter between two young
people during the fall of the wall, and how they come in
contact again 16 years later. After all, Berlin IS the city of
angels, agree Darija Andovska (Macedonia) and Mladen
Djukic (Bosnia-Herzegovina), whose lm IF YOU NEED ME
a dialogue between Angel Gabriel and a human being is
the second nominee. Its also the rst time that a partly ani-
mated project is made for the BTA. The third nomination,
BERLINBALL by Anna Azevedo (Brazil), is a documentary
oering a Brazilian view on Berlin, from the perspectives
The Berlin Today Award enables the Talents of the Campus to realise a
Berlin-related short lm script. Three lms by last years Talents have been
produced and will premiere on February 11 at the House of World Cultures.
VISIONS OF BERLIN
BERLIN TODAY AWARD
Nominated for the Berlin Today Award: BERLINBALL, IF YOU NEED ME and UNDER THESE WINGS (from left to right)
Photos (from left to right): Eduardo Souza Lima, Daniel Horowitz, Florentine Sievers
of people from the hometown of Marcelinho, the football
star of Berlins club Hertha BSC.
The Berlin Today Award is a prize collectively founded by
Medienboard and the lm industry in Berlin-Brandenburg
and organised by boxsh events. All three lms were pro-
duced by zero lm and were edited by Das Werk, Hoferich-
ter & Jacobs, Elektrolm and Studio Funk. These and the
following companies belong to a group of sponsors who
support the Talents work during production and post-pro-
duction: BFC Berliner Film Companie, Cinegate, cine plus
Media Services, Electric Sun, FGV Schmidle, Film und Video
Untertitelung Lehmann, KOPPFILM, KORTWICH Film-Ton-
Technik, Unverzagt von Have, Script House, Studio Berlin
Adlershof, Theaterkunst, Tonbro, TV + Synchron Berlin
and the Vienna Symphonic Library. The media partner of
the Berlin Today Award is Deutsche Welle DW-TV.
The premiere of the three lms concurrently is the kick-o
for the fourth Berlin Today Award. You're invited to send in
your drafts by April 13 to the organisers at boxsh events,
Berlin (further details at www.berlintoday.de). Berlin Today
Create Your Vision: Three new hosts, Aelrun Goette, Thilo
Graf Rothkirch and Christian Petzold, are already looking
forward to your applications!
Saturday 11, 17:00 Auditorium
Opening Night & Presentation of Berlin Today Award
Monday 13, 18:00 K1
Berlin Today Award How to Become a Berliner
PAGE 24
ALUMNI SUCCESS STORIES
At the last three Campuses, many Talents have gotten to know each
other, and started working on common projects.
German cinematographer Philipp Blaubach, alumnus from 2004, was
invited to shoot the feature FLESH AND BLOOD thanks to the Talent
Database, via which director Caradog James contacted him. London-
based Blaubach will also photograph US-alumnus Lance Hammers next
lm. Another international alumni-collaboration was established by
Spanish writer/director Diego Maximiliano Sabans and editor Cristian
Perenyi who together completed the documentary SEEDS. The very
successful short lm UNDRESSING MY MOTHER won the European Film
Award in 2005, and was produced and directed by two Irish lmmakers
who are both previous Talents, Andrew Freedman and Ken Wardrop.
Many, many international lm festivals have been conquered by Cam-
pus alumni lms over the last three years. Vimukthi Jayasundara from
Sri Lanka, for example, won the Camra dOr at Cannes in the section
Un certain regard for his documentary THE LAND OF SILENCE. In the
same section at Cannes, SANGRE, the rst feature by Mexican alumnus
Amat Escalante, won the FIPRESCI Prize. Malaysian alumnus James Lee
was also happy about winning the FIPRESCI Prize, which was awarded
to him at the Bangkok International Film Festival along with the award
for Best Asian lm for his debut THE BEAUTIFUL WASHING MACHINE.
Romanian actress Ana Ularu, Talent at the 2005 Campus was recently
chosen as Best Actress of the Year by the National Association of Film-
makers in Romania. In addition, US alumnus Dean Wareham scored
More than 1,500 Talents have attended the rst three Berlinale Talent Campuses, mingling,
establishing contacts, learning and working. After the Campus they all made their ways back
home, making the best out of their experiences. A small survey of alumni success stories.
TASTE SUCCESS!
THE LAST TO KNOW by Marc Bauder
the music for THE SQUID AND THE WHALE, which
won the Grand Jury Prize at last years Sundance
Film Festival. This year, following their respective
post-Campus successes, Score Competition alumni
Ognjan Milosevic and Tom Third have been brought
back to the Campus to help the next group of music
Talents along.
The list of successful alumni collaborations, deco-
rations and invitations to festivals worldwide con-
tinues to grow. But theres one development were
particularly happy about: the increasing number
of alumni lms reappearing in the Berlin Inter-
national Film Festival. In the 2006 Berlinale Pro-
gramme, there are 18 lms that were made with
major involvement of current or former Talents. As
a Talent in 2004, German director Marc Bauder had
presented a project at the Co-Production Market
which this year is included in the Panorama section:
the documentary LAST TO KNOW. A second result
of the Talent Project Market is the lm BIG RIVER. In
2004 Japanese Talent-director Atsushi Funahashi
pitched his project in Berlin to O ce Kitano, Take-
shi Kitanos production company. BIG RIVER, star-
ring former Talent and co-producer Mohammed
Naqvi from Pakistan, will run in the Forum. The lm
that will open this years Berlinale Kinderlmfest,
OPAL DREAMS by Peter Cattaneo, was co-written
by 2003 Campus alumnus Philip Traill. Singh Hard-
esh, a former Talent from Malaysia, has composed
the scores for two lms in this years Forum: THE
LAST COMMUNIST and MONDAY MORNING GLORY.
JACOUBIAN BUILDING (Panorama), the most suc-
cessful Egyptian lm ever, was directed by 2003
alumnus Marwan Hamed. And in the Perspektive
Deutsches Kino, three Talents, siblings Dietrich
and Anna Brggemann as well as Benjamin Hrbe,
directing, acting and sound designing alumni in
2003, will present NEUN SZENEN.
This list of Talent success stories is far from exhaus-
tive, and with a little luck and a lot of hard work, you
might eventually see your own name amongst the
Talent success stories.
BERLINALE TALENT CAMPUS #4 PAGE 25
First of all you will need to choose the section for which you
should apply. The O cial Programme is comprised of the fol-
lowing: Competition, Berlinale Special and Panorama, the
Kinderlmfest/14plus, the Perspektive Deutsches Kino, the Ret-
rospective and the International Forum of New Cinema which is
organized independently.
You may choose a section to which you wish to apply with your
lm. Be aware that there are distinct regulations covering partici-
pation in each section of the festival. In order to submit a lm to
the Berlinale you have to send the completed entry form to the
festival before the given deadline. After the submission selection
screenings are held at the Festival. For these screenings, lms
must be submitted in their original language. Films in German
and English may be submitted without subtitles, but lms in any
other language should either be subtitled or accompanied by
a complete dialogue-list in German or English. In exceptional
circumstances, work prints and double-headed prints may be
accepted.
Check all the regulations on the internet at www.berlinale.de.
There you will also nd the entry form and all of the information
you will need to apply. Films that have a former Talent as editor,
cinematographer, producer, director, production designer, sound
designer or lead actor are subject to a waiver of entry fees. Ulti-
mately, the most important factor will be the quality of your lm.
With a little good luck, we'll meet again in Berlin!
When the Berlinale Talent Campus is over, you know at least one thing for sure:
what it is like to walk the Red Carpet. And there is one chance to repeat it:
Go further, tell your stories and apply for the Berlin International Film Festival.
GOODBYE, CAMPUS. HELLO BERLINALE!
BERLIN INTERNATIONAL FILM FESTIVAL
Slice a little Kusturica into thin slices and dust in the Lynch.
Heat the Jeunet and fry the Scola in it. Crush the Gilliam.
Cook for a few minutes. Return the Greenaway, add the Wenders
and heat through. Sprinkle with Fellini.
Emiliano Romero, Argentina
PAGE 26
MANFRED DURNIOK PRODUKTION
The Berlin based lmmaker and producer Manfred Durniok, who
passed away three years ago, had a deep passion for South- Eastern
Asian culture. Manfred Durniok successfully produced Istvn Szab's
Oscar-awarded MEPHISTO and OBERST REDL, and was, in 1986, one
of the rst Europeans to originally shoot a lm in Beijing. EIN CHINESE
SUCHT EINEN MRDER, directed by Hans Borgelt, was a Chinese-
German co-production one of many lms that Durniok dedicated
to this beloved region.
A foundation is currently being esta blished to administer the estate
of Manfred Durniok. One of the aims of this foundation, soon to
be established by Ayano Teramoto, Manfred Durniok's 18-year-old
daughter, will be the promotion of South-Eastern Asian lm art and
the support of young creatives. This year, for the rst time, the travel
expenses of Talents from South Eastern Asia will be covered. Thirty
artists have learned the true promise of the Durniok-Ticket, and are
taking part in the Campus 2006 (further info at www.durniok.com).
FROM ASIA WITH LOVE
Thanks to the Durniok-Ticket 30 Talents from South-Eastern Asia
are given the opportunity to attend the Berlinale Talent Campus.
Manfred Durniok's daughter Ayano Teramoto
The ARRI Group is the worlds largest manufacturer and
distributor of motion picture cameras, digital intermediate
and lighting equipment. ARRI cameras & lighting prod-
ucts are available worldwide through ARRI Rental facili-
ties. ARRI Film & TV provides lab and post production for
domestic and international feature lms, TV productions
and commercials, oering the rst state of the art digital
color grading suite in Germany.
The ARRIMAX 18/12 is a new 18 or 12 kW daylight instru-
ment. It can be focused like a Fresnel, but surpasses the
light output of a classic 12 k PAR by over 50%. The ARRIFLEX
D-20 is a lm-style digital camera with a 35 format CMOS
sensor that combines the immediacy of digital cameras
with lm style functionality, handling and creative
options. 12 new MASTER PRIME lenses (16 100
mm) combine high speed with superior image qual-
ity. The ULTRA PRIME 8R is a unique extreme wide
angle lens. The ARRIFLEX 235 is a new, extremely
small and lightweight 35 mm lm camera. Its per-
fect for hand held, Steadicam or action sequences.
The ARRISCAN and the ARRILASER are two of the
most important tools for the Digital Intermediate
process, both products being fully compliant to
the DCI specications. ARRISCAN and ARRILASER
are bridging the gap between the analogue world
and the digital realm in highest quality: no loss of
information from original negative to digital data
and vice versa. Together with the ARRI Color Man-
agement System the complete chain oers total
control over your Digital Intermediate workow.
More information can be found at www.arri.com
THE BEST SUPPORT
YOUR VISION CAN GET
BERLINALE TALENT CAMPUS #4 PAGE 27
ORIENTATION DAY SATURDAY 11
th
10:00 Campus Lounge
Talent Accreditation and
Travel Cost Reimbursement
During Orientation Day, Talents will nd out about all dif-
ferent activities oered in the programme, get an overview
of Working Campus projects, logistics, ticketing and not
to forget get in touch with the other participants.
At 10:00 the doors of the House of World Cultures will
open for Talent accreditation and registration at the Talent
Counter. There we will also take care of your Travel Cost
Reimbursement.
13:00 Auditorium
Taking Off Brieng for All Talents
At 13:00 the initial and essential Talent brieng takes place
to enlighten Talents about the week to come. The brieng
for all Talents gives an introduction to the team members,
to internet access, the use of the Campus database, and
to the variety and cost of meals at lunch break. Above all,
you will be introduced to the general programme and this
year's Working Campus: the Talent Movie of the Week, the
Volkswagen Score Competition, the Talent Press, the Script
and Doc Clinics and the Talent Project Market.
17:00 Auditorium
Opening Night
& the Berlin Today Ceremony
Anna Azevedo, Darija Andovska, Mladen Djukic,
Harrie Verbeek, moderated by Markus Kavka. In co-
operation with Medienboard Berlin- Brandenburg.
After a welcome by Federal Foreign Minister Frank-
Walter Steinmeier and Dieter Kosslick, the direc-
tor of the Berlin International Film Festival, the
Opening Ceremony will take place, and the three
short lms nominated for the Berlin Today Award
will be presented. After their screening the win-
ner, chosen by the mentors of next year's BTA, will
be announced (see p.23 for further details on the
Berlin Today Award).
By invitation only.
14:30 Exhibition Hall
Global Speed Matching
Gary Townshend. In co-operation with Skillset.
Networking, socialising and meeting your peers from around
the world are key elements of the Berlinale Talent Campus. To
kick-start this crucial experience, come and participate in Global
Speed Matching our own professional version of speed-dating.
All Talents are invited to come and along to the Exhibition Hall to
meet each other in a succession of rapid re ve minute meetings.
Exciting and hectic, this is your rst chance to meet each other,
exchange details and break the ice with fellow Talent.
More focussed and less frenetic Speed Matching will continue
every lunchtime at 12:30 in front of the Auditorium on the Mez-
zanine where you will get the opportunity to meet potential
future work partners. Register at the Skillset booth for the session
that suits you.
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Orientation Day
19:00 Restaurant
Opening Night
In co-operation with Medienboard Berlin-Brandenburg.
After the Opening Ceremony we'll settle in at the House
of World Cultures, celebrating the BTA Award winner
as well as the beginning of an exciting week at the
Campus. Free drinks and several varieties of curry will
be served by star-chefs Sarah Wiener, Martin Schar
and their team. By invitation only.
The evening's Opening Night also celebrates the BTA
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BERLINALE TALENT CAMPUS #4 PAGE 53
PROMOTION DAY THURSDAY 16
th
10:30 Auditorium
Stardust Memories
Charlotte Rampling, interviewed by Peter Cowie.
English-born Charlotte Rampling has succeeded in building up an amazing
career by shooting with some of the most interesting directors in several
countries and dierent languages. She has worked in England with Alan
Parker and John Boorman, in Italy with Luchino Visconti, Liliana Cavani and
Adriano Celentano, in France with Patrice Chreau and Franois Ozon, in the
USA with Woody Allen and Sidney Lumet, in Japan with Nagisa Oshima, in
Norway with Hans Petter Moland. Interviewed by Peter Cowie, this years
President of the Berlinale Jury Charlotte Rampling will share her memories
and experiences with the audience.
Charlotte Rampling in Franois Ozon's SWIMMING POOL
10:30 Theatre
Bites of Reality
Sophie Maintigneux. Lecture. In co-operation with Kodak.
Cinematographer Sophie Maintigneux started her career
in France working with directors like Eric Rohmer and Jean-
Luc Godard before she moved to Germany. Here she began
to regularly collaborate with Michael Klier and Jan Schtte,
directors who appreciated her authentic style, and started
focussing on documentaries.
In today's session Sophie Maintigneux will talk about the
dierences between the cinematographer's requirements
working on a feature lm or a documentary. Supported by
screened scenes from some of her lms she will discuss
topics like intuition, curiosity and distance as possible
attributes for directors of photography.
10:30 K1
Land of Plenty Revisited
Moritz Laube. Screening and discussion.
Max. 90 participants.
In co-operation with Reverse Angle.
Moritz Laube will present the results of
the four editing workshops he held dur-
ing the Campus. The screening of dier-
ently edited versions of scenes from Wim
Wenders' LAND OF PLENTY may show
how deeply a lm can be inuenced by
the editor's personality.
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Promotion Day
09:00 Restaurant
Early Bird Breakfast
Presented by Kodak and ARRI.
For those who love the early hours, the
Berlinale Talent Campus oers a daily
free Early Bird Breakfast in the Restaurant.
Todays breakfast is hosted by Kodak and
Arri, partners of the Campus. While hav-
ing tasty coee and snacks, this morning
is a wonderful and comfortable opportu-
nity for relating to other Talents as well
as to experts and representatives Thierry
Perronnet (KODAK), Walter Brus and Tho-
mas Popp (ARRI).
Sophie Maintigneux's authentic photography in Michael Klier's HEIDI M.
PAGE 54
16:30 Restaurant
Sparkling Tales
Talent actors and Talent writers, moderated by Rajen-
dra Roy. In co-operation with European Film Promo-
tion and the Hamptons International Film Festival.
17 lm projects by 19 Talents have been invited to
the Script Clinic where scriptwriting experts work on
them with the Talents during the Campus week (see
p.58). Today, chosen scenes from these projects will
be presented for the rst time to a public audience.
The sequences will be read and performed by several
acting Talents. Casting directors and Rajendra Roy, pro-
gramming director for the Hamptons International Film
Festival, will moderate this spontaneous and entertain-
ing session.
14:00 Theatre
How Did That Movie Get Made?
All Talents participating in the Talent Movie of the Week,
moderated by Sandy Lieberson. Screening, discussion.
In co-operation with FFA.
During the Campus week several Talents are given the chance to
realise their idea for a short lm within eight working days. With
the Korean director Park Chan-wook acting as mentor and sup-
ported by the Berlin-based production company Avanti Media,
three digital short lms have been produced. Interviewed by
English producer Sandy Lieberson the participants of the Talent
Movie of the Week report on their experiences during the stress-
ful weeks, that will reach its crescendo tonight when the Talents
vote for the winner at the Farewell Ceremony.
PROMOTION DAY THURSDAY 16
th
A huge success in Germany: the documentary RHYTHM IS IT!
10:30 K3
Rhythm Is It!
Focus on Arthouse Distribution
Arne Hhne, moderated by Margret Albers and
Thomas Hailer. Discussion. Max. 20 participants.
In co-operation with Berlinale Kinderlmfest/14plus.
620,000 admissions in Germany after the world pre-
miere at the Berlinale! Arne Hhne, Head of the Ger-
man Distribution Company Pi Media, presents the
success story behind the distribution of the German
documentary RHYTHYM IS IT! Instinctive risk-taking
as market strategy. The panel will be moderated by
Margret Albers (Head of the Childrens Film and TV
Festival Goldener Spatz) and Thomas Hailer (Head of
the Berlinale Kinderlmfest/14plus).
14:00 Auditorium
Hitting the Right Note:
Stephen Warbeck Live on Stage
Stephen Warbeck and members of the VW orchestra.
In co-operation with European Film Academy,
World Soundtrack Academy and Volkswagen.
Composer and musician Stephen Warbeck will perform some
of his compositions live on stage, accompanied by members of
the VW orchestra. Stephen Warbeck, this years mentor of the
Volkswagen Score Competition, is one of UKs most acclaimed
composers for lm, theatre and television. His score for SHAKE-
SPEARE IN LOVE earned him an Oscar in 1999. Further composi-
tions include BILLY ELLIOT and CAPTAIN CORELLIS MANDOLIN.
An Associate Artist of the Royal Shakespeare Company, he also
writes music for his band The hKippers.
Dancing to the right tune: Stephen Warbeck's scored the music for BILLY ELLIOT
BERLINALE TALENT CAMPUS #4 PAGE 55
PROMOTION DAY THURSDAY 16
th
16:30 K1
World Cinema Fund How to Apply
Sonja Heinen and Vincenzo Bugno. Discussion. Max. 90 participants.
In co-operation with the World Cinema Fund.
In co-operation with the German Federal Cultural Foundation the Berlin
International Film Festival has set up the World Cinema Fund to support
lmmakers from transition countries in realising projects which otherwise
could not be produced. Successful examples of funded lms are PARADISE
NOW, winner of a 2006 Golden Globe Award, and the Berlinale Competi-
tion lm EL CUSTODIO. Until 2007, the geographical focus will be on Latin
America, Africa, the Middle East and Central Asia. Talent directors and
producers from those regions are invited to attend today's event to get
to know all facts about the application rules. Fund Manager Sonja Heinen
and Fund Advisor Vincenzo Bugno will oer all important information and
will open up for a Q&A.
14:00 K1
4 Countries 1 Film:
International Co-Producing
Barbara Albert, Jasmila bani, Boris Michalski, Jrg Schneider,
moderated by Amra Baki amo and Sonja Heinen. Max. 90 par-
ticipants. In co-operation with Berlinale Co-Production Market.
Case Study on the Berlinale competition lm GRBAVICA, the
feature lm debut by Bosnian lmmaker Jasmila bani. The
panelists, including the director, the producers Barbara Albert
(coop99), Boris Michalski (Noirlm) and commissioning editor
Jrg Schneider (ZDF), will discuss how this Austrian/Bosnian/Ger-
man/Croatian co-production was realised in terms of creative and
nancial aspects. What kind of obstacles are lurking, and where
do the advantages of international co-producing and -nancing
lie? A session about facing problems and nding solutions.
20:00 Auditorium
Farewell Ceremony
In co-operation with DW-TV, Avanti Media,
Volkswagen and Dolby.
At the Farewell Ceremony the DW-TV team will show
the ultimate Making-Of Berlinale Talent Campus
2006. Furthermore, the participants of the Volkswa-
gen Score Competition and the Talent Movies of the
Week will present their results. All Talents will vote
for the best of three digital movies.
Afterwards, the Farewell Party will demand the last
bit of energy from all Talents, topping o an excit-
ing Campus week.
16:30 Theatre
Wild Space
Surprise guest or lm screening.
During the three years of the Berlinale
Talent Campus numerous great creatives of
the worlds lm scene have sponaneously
found their way to the House of World Cul-
tures. Todays Wild Space is reserved for a
lmmaking guest or a special lm screening
from the Berlin International Film Festival
who feels like joining gathered passion at
the Campus. Be aware of special announce-
ments in the Campus Lounge on what might
ll the Wild Space today, or simply be sur-
prised!
GRBAVICA by Jasmila bani
A packed auditorium at the Farewell Ceremony
PAGE 56
PROMOTIONAL PRIZE FOR JOINT
FILM PRODUCTIONS
ROBERT BOSCH STIFTUNG
Contestants must submit a sample fea-
ture by their lm team director as well
as a detailed project outline and budget
plan. Each team must consist of a mini-
mum of a producer, director, camera
operator, and a screenwriter.
The grant primarily covers the produc-
tion teams expenses for travel, meals,
and accommodation. It may, to a lesser
extent, also be allocated to cover produc-
tion expenses (cut, copies). Filming mate-
rial and technical lm equipment such as
cameras, post-production tools etc. are
not allowed. Every winning production
can receive up to 70,000 euros in funds.
Qualifying applications will be sub mitted
to an independent jury. The jury will short-
list up to 15 teams. Up to three members
of each short-listed team will be invited
to Stuttgart to present their lm. The
promotional prizes will be awarded at a
gala in December. Up to two members of
each winning team will have the oppor-
tunity to participate in the Berlinale Tal-
ent Campus.
A detailed description of criteria and
rules as well as a downloadable applica-
tion form and the deadlines are available
at www.lmfoerderpreis.com
In 2005 the Robert Bosch Stiftung sup-
ported the German-Polish animated lm
SPLINTER (directed by Wojtek Wawsz-
czyk), the German-Romanian documen-
tary NABEL DER WELT (directed by Ileana
Stanculescu and Klaudia Begic) and the
The Robert Bosch Stiftung issues three promotional prizes for joint lm productions
by young German and Eastern as well as South Eastern European lmmakers.
The prize is awarded in the categories of animated lm, documentary, and short lm.
German-Serbian-Montenegrenian short
lm AMOR FATI (directed by Dennis
Todorovic).
For 2006 the jury decided to give the
grants to the German-Bulgarian ani-
mated lm THREE SISTERS AND ANDREY
(by Boris Despodov), the German-Roma-
nian-Latvian documentary LES ENFANTS
DE PARADA (by Annett Schtze) and the
German-Croatian short lm MILAN (by
Michaela Kezele). All these productions
will be nished at the end of 2006.
We are pleased to invite you to our Early
Bird Breakfast on February 14, 9 a.m. in
the House of World Cultures to meet
most of the aforementioned directors
and producers and to learn more about
the prize.
For more information please contact:
Filmbro Baden-Wrttemberg e.V.
Im Filmhaus
Oliver Mahn
Friedrichstrae 23a
D-70174 Stuttgart
Fon: 0049 (0)711-22 10 67
E-mail: info@lmfoerderpreis.com
Robert Bosch Stiftung GmbH
Frank Albers
E-mail: frank.albers@bosch-stiftung.de
BERLINALE TALENT CAMPUS #4 PAGE 57
When you are on your way through the House of World
Cultures, or busy with one of the Working Campus projects,
and you suddenly get the feeling of being watched: Its no
reason to get nervous. Up to four camera crews are moving
from event to event, from project to performance and up
and down the hallways in order to document the entire
Berlinale Talent Campus.
The Making Of is organised by Germanys international
broadcaster Deutsche Welle TV (DW-TV), o cial co-part-
ner of the Berlinale Talent Campus 2006. Responsible for
this documenting project are DW-TV producers Melanie
Matthus and Bettina Kolb who try to cover the most
important and most interesting scenes and activities dur-
ing the six Campus days. Their team consists of 16 trainees
from Berlin (digital media designers/sound and vision)
and ve journalists who are divided into four TV crews.
One of these crews has already been on the road since
January to follow all pre-production activities of the Talent
Movies of the Week, whereas a second team closes in on
the work of the three sound designers at the Volkswagen
Score Competition. The other teams swarm the House of
World Cultures to collect atmospherical material, quotes
and event highlights. Canon supports the project by pro-
viding the Mini-DV cameras and equipment.
Every evening in the o ce of the DW-TV team at the
House of World Cultures the entire days material is viewed,
selected, digitalised and edited on AVID Adrenalin into a
5-8 minute-long Daily.
Beginning from the Philosophy Day these daily recaps are
screened every day at 14:00 in the Auditorium and Theatre,
and at 16:00 in the Campus Lounge and the Wild Screening
room. At the end of the week the DW-TV crew produces
its wrap up Making of Talent Campus the denitive
documentary of an unforgettable week, marking the best
moments, collecting voices and preserving extraordinary
experiences. It will be shown on Thursday, February 16,
20:00 at the Farewell Ceremony.
So, the next time you have the feeling of being watched in
the House of World Cultures: Dont panic! Its DW-TV or
someone who wants to get in touch with you. But thats
another story.
With 80 events and lectures over six days, 520 Talents from all over
the world, activities around the clock its impossible to be aware
of everything. But there is no need to: thanks to the Making Of.
EVERY DAY HAS ITS OWN STORY
THE MAKING OF
The DW-Making Of Team interviews Talents at the 2005 Campus
PAGE 58
Daily reporting on the Campus: The Talent Press
The Talent Press
Armed with a press pass and a set of assignments and
deadlines, ten young journalists will have the opportunity
to cover the Talent Campus from the inside, writing daily
features, interviews and reviews that will be posted to
the Talent Press website at www.talentpress.org. Chosen
from 120 applications the largest number to date the
participants in this years Talent Press hail from around
the globe.
The Talent Press is made possible with support from the
Goethe Institute, Goethe Forum, FIPRESCI and technical
equipment from Apple. The mentors for this years Tal-
ent Press include renowned lm writers Derek Malcom,
Ulrich Gregor, Hugo Salas and Peter Cowie, who will work
together with the Talents to encourage innovative and
high quality lm journalism. This years Talent Press Talents
are Olga Aylarova (Russia), Tams Bella (Hungary), Sou-
maya Beltifa (Tunisia), Vera Brozzoni (UK), Katie Kohn (USA),
Leo Mirani (India), Oleksiy Radynskiy (Ukraine), Laurence
Reymond (France), Maria Antonia Velez-Serna (Colombia),
and Anne von der Goenne (Germany).
During the Campus week, Talents are working on numerous projects.
From script writing to realising short lms, creating sound designs and
reviewing lms there are creativities all around the clock.
WORKING CAMPUS
WORKING CAMPUS
The Doc Clinic
The Doc Clinic is back for its second year, thanks to the
support of the Filmfderungsanstalt (FFA) who also
contributed to the Script Clinic. The Doc Clinic allows
12 Talents from 10 countries the chance to bounce their
documentary script ideas o of industry professionals.
The mentors for the 2006 Doc Clinic include Aelrun
Goette (Director, DIE KINDER SIND TOT), Dick Fontaine
(Head of Documentary Direction, NFTS London), and
David Wingate (SOURCES2). The Doc Clinic is comprised
of intensive one on one meetings in combination with
a series of seminars, kicking o on Sunday, February 12
with a welcome session, and winding down on Febru-
ary 14 with a wrap up session.
The Script Clinic
The 15 participants in this years script clinic are mem-
bers of the third cohort of the Script Clinic. This years
mentors include renowned experts like Franz Roden-
kirchen (ScriptHouse), Alby James (Leeds University),
Gaby Prekop (Sources2), Pierre-Erwan Guillaume (La
BERLINALE TALENT CAMPUS #4 PAGE 59
Femis) and Gyula Gazdag (Screenwriting, UCLA).
Before the Script Clinic begins, each of the ve men-
tors will read the scripts of the participants, and dur-
ing the Campus, Talents will have the opportunity
to meet with their mentors for feedback. The Script
Clinic runs over three days, from the welcome ses-
sion on Sunday, February 12 to the closing session
on February 14.
Talent Movie of the Week
Almost 400 young lmmakers from 56 countries
applied for the Talent Movie of the Week, and
three scripts were chosen to be realised by teams
made up of selected Talents. From script to screen
in about two weeks, this is instant lmmaking in
the spirit of the Berlinale. The idea seems crazy to
some, but the results of the TMOTW competition
have proved pleasantly surprising. Last years win-
ning lm, the 8 minute long CATARACT by Sainath
Choudhury, went on to various Festivals, including
the Milano International Film Festival. This years
mentor, Park Chan-wook, will work closely with the
three teams, helping them move their ideas from
the page to the big screen.
The three Talent directors arrived in Berlin at the
start of February to begin putting their projects
together with help from Edda Baumann-von Broen
and Cordula Kablitz-Post of the Berlin based pro-
duction company Avanti Media Fiction GmbH. After
a few days of mingling, meeting and greeting, cast-
ing and visiting locations, the two-day shoot began,
using an HDV Cam XL H1 digital camera provided
by Canon. The editing was packed into another two
days, using AVID Xpress, and followed by another
jam packed two days of mixing and colour grading
at cine plus.
WORKING CAMPUS
Three Words: Sound! Sound! Sound!
Its 50%! A sound takes
you everywhere in an instant.
Trker Ser, Germany
Mixing engineer Martin Steyer helps nishing the VW Score Competition on
the Harrison console in the HFF Konrad Wolf
At 14:00 on Thursday, February 16th, in the session entitled
How did that Movie get Made?, moderated by Sandy Lie-
berson, the Making of the Talent Movies will be discussed.
During the Farewell Ceremony they will play on the big
screen, and the 520 Talents in attendance will chose the
winning lm by voting.
The Talent Movies of the Week
AT SIX O'CLOCK. Written and directed by Paul Andia
(Bolivia).
THE CLEANER. Written and directed by BJ Soh (Korea).
HIGH MAINTENANCE. Written by Simon Biggs (GB) and
directed by Philip Van (USA).
PAGE 60
WORKING CAMPUS
I make lms as an excuse for getting closer
to life, people and stories that interest me.
Hanna Andersson, Sweden
Volkswagen Score Competition
To take advantage of the many gifted sound designers
and composers that apply to the Berlinale Talent Cam-
pus every year, the Working Campus includes a compe-
tition where music is the main attraction. Before arriving
in Berlin, musically focused Talents were encouraged to
apply for the Volkswagen Score Competition by add-
ing their own music to three lm clips made available
to them online. The head of the selection jury and this
years Mentor for the Volkswagen Score Competition
is Stephen Warbeck, (p.21), who will provide valuable
coaching to the three Talents as they navigate through
the creation of totally new soundscapes.
During the Campus, the three selected talents are
given the opportunity to work with the Babelsberg
Film Orchestra conducted by Bernd Wefelmeyer, to
practice sound editing with cine plus, and work on
their compositions with the Konrad Wol Film and
Television Academy in Potsdam. Their creations will
go before a jury on the 15th of February. During the
Farewell Ceremony on the 16th, Stephen Warbeck,
Christiane Krebs-Hartmann (Volkswagen), and a rep-
resentative from Dolby will announce the lucky winner,
who will be invited by Dolby for a trip to Los Angeles
where she/he will visit the best studios in town.
Talent Project Market
The 17 projects chosen for the Talent Project Mar-
ket are presented in cooperation with the Berli-
nale Co-Production Market, allowing Talents a rare
opportunity to get in touch with over 350 produc-
ers, nanciers, distributors, sales agents and broad-
casters from around the world. On the rst day of
the Talent Project Market, Talents are advised with
regards to pitching, presenting and preparing their
projects for the international market. Furthermore,
they receive training on international co-produc-
ing and nancing. On the second day, Talents take
part in the Berlinale Co-Production Market, where
they meet possible partners for their project. The
potential of this experience is exemplied by the
work of Atsushi Funahashi, whose feature BIG RIVER
was in the Talent Project Market in 2004, and is
back at the Berlinale this year as a part of Forum,
and by Marc Bauders LAST TO KNOW, which will
be screened during this years Panorama. The VFF
Verwertungsgesellschaft der Film- und Fernseh-
produzenten is also sponsoring, for the third year,
a Highlight Pitch, where three pre-selected Talent
projects are pitched to the industry and receive
an award.
BERLINALE TALENT CAMPUS #4 PAGE 61
Albers, Helge (p.51) German produ-
cer with lms to his credit including
HAVANA MI AMOR and MARRY ME,
he is also a founding member of the
Flying Moon production company.
Albers, Margret (p.54) Head of Gol-
dener Spatz Foundation, she is also
the director of its annual Kinderlm-
und Fernsehfestival, which takes
place in the German towns of Gera
and Erfurt.
Albert, Barbara (p.55) Director of the
lms NORTHERN SKIRTS and FREERA-
DICALS, co-founder of the Austrian
production company coop99 whose
productions stand for authenticity
and an individual approach.
Bakrim, Mohamed (p.31) Journalist
and lm critic, he is the rst Vice Presi-
dent of the Federation of African Film
Critics. He is also active as the assistant
director of the Moroccan Cinemato-
graphic Centre.
Bakic Camo, Amra (p.55) Head of
CineLink, the Sarajevo Film Festivals
annual co-production market. Cine-
Link focuses on feature-length lm
projects by authors from Southeast
Europe.
Ballhaus. Michael (p.37) Legendary
cinematographer who will be awar-
ded with Berlinale Kamera 2006. He
worked with directors like Rainer Wer-
ner Fassbinder, Wolfgang Petersen,
Martin Scorsese, Barry Levinson and
Robert Redford.
Barney, Matthew (p.42, 45) Contem-
porary artist who works in diverse
mediums. Having nished the CRE-
MASTER CYCLE, he has recently
released DRAWING RESTRAINT 9.
Member of this year's Int. Jury.
Benke, Dagmar (p.44) Script consul-
tant and author who has taught dra-
maturgy at the Berlin Film and Televi-
sion Academy. She is now a consultant
with Berlin Script House and board
member of VEDRA, the German asso-
ciation of dramatic advisors.
Bensted, Fraser (p.31) Professional
editor who works with Picture Produc-
tion in London, and has edited count-
less movie trailers. In 2001, he won a
Golden Trailer Award for his trailer for
BILLY ELLIOT.
Blawut, Jacek (p.41) Polish lm direc-
tor and director of photography both
in a eld of documentary and ction.
His most famous works include the
documentaries LUMP OF SUGAR and
THE COUNTRY OF BIRTH.
Block, Tina (p.45) Consultant, mana-
gement trainer and moderator of
assessment centers with dierent
target groups at Volkswagen.
Borggrefe, Holger (p.41) Head of
department direction/acting at the
ifs cologne. He works as a director
himself, among others for German
Childrens Television.
Broderick, Peter (p.37) President of
Next Wave Films, a California based
company providing support to inde-
pendent young lmmakers from the
US and internationally. He is a trailbla-
zer in the realm of low budget digital
lmmaking.
Brokemper, Bettina (p.51) Currently
producer of Cologne's Pain Unlimited,
Heimatlm and Neue Impuls Film, she
was responsible for last year's Cannes
premieres DEAR WENDY (Thomas Vin-
terberg) and FALSCHER BEKENNER
(Christoph Hochhusler).
Bugno, Vincenzo (p.55) Film critic
and journalist, he is an advisor to a
long list of lm festivals, a curator with
numerous retrospectives to his credit,
and the initiator and co-manager of
the Berlinales World Cinema Fund.
Bscher, Mareile (p.47) Berlin based
lawyer focussing on press and media
law and intellectual property, tele-
communications, media and enter-
tainment litigation. She is also a spe-
cialist in copyright law, and a lecturer
at Humboldt University.
Christie, Ian (p.51) Professor of lm
and media history at the University
of Londons Birkbeck College. He is a
specialist in Russian Cinema and on
Powell and Pressburger. Most recently
he has collaborated on the upcoming
exhibition Modernism: Designing a
New World at the Victoria & Albert
Museum in London.
Ciment, Michel (p.19, 48) A prolic
writer, lecturer, and long-time director
of the inuential lm journal, Positif.
He is President of the international
lm critics association FIPRESCI and
Berlinale Delegate.
Clark, Jim (p.10, 30, 33) Prolic editor
of lms including THE KILLING FIELDS,
MARATHON MAN, and THE MISSION.
In 2005, he was awarded the Ameri-
can Cinema Editors Career Achieve-
ment Award.
Cowie, Peter (p.30, 47, 48, 53, 58) The
former international publishing edi-
tor for Variety magazine, and author
of many inuential books on cinema,
including the recently published
REVOLUTION! THE EXPLOSION OF
WORLD CINEMA IN THE SIXTIES. He
is consultant to the Berlinale Talent
Campus.
INDEX OF EXPERTS
INDEX OF EXPERTS
PAGE 62
Dod Mantle, Anthony (p.33) Award
winning lmmaker, he has won two
European Film Awards for best cine-
matographer, one for 28 DAYS LATER
and another for DOGVILLE.
Doyle, Christopher (p.33, 48) Cine-
matographer who has collaborated
with some top Asian lmmakers inclu-
ding Chen Kaige, Zhang Yimou and
with Wong Kar-wai on lms such as
IN THE MOOD FOR LOVE his Film INVI-
SIBLE WAVES is running in Berlinale
Competition 2006.
Elfenbein, Stefan (p.??) Food and
culture journalist, he has written for
Der Feinschmecker and as well as a
New York correspondent for the Ber-
liner Zeitung.
Ellis, Maggie (p.42) Head of Film
Londons production unit, she is also
responsible for developing the Micro
Budget Feature Film Fund.
Fessmann, Milena (p.47) Music
Supervisor and founder of Cinesong,
who oer a full range of services rela-
ted to music and lmg. She has also
worked as a radio DJ, currently she
hosts a show called free falling on
RadioEins in Berlin.
Fontaine, Dick (p.36, 58) Head of
Documentary Direction at NFTS, Lon-
don. He has directed and produced
innovative ction features, documen-
taries and music lms.
Friedmann, Julian (p.48) Editor of
SCRIPTWRITER magazine, leading
consultant on lm and TV scriptwri-
ting. He is the author of How to Make
Money Scriptwriting and has lectured
widely on the same theme.
Funahashi, Atsushi (p.49) Campus
alumnus of 2004 and director of
numerous award winning short lms,
as well as two feature length lms. He
is an active lm critic, and is currently
based in New York.
Gazdag, Gyula (p.58) Editor, screen-
writer and director of feature length
lms including A HUNGARIAN FAIRY
TALE, he has made lms across a vari-
ety of genres and styles. He is a mem-
ber of the Faculty of Film, Television
and Digital Media at UCLA.
Gitai, Amos (p.41) Director of over
40 lms, both documentary and c-
tion, including BERLIN JERUSALEM
and YOM YOM. A video installation
by Amos Gitai will be featured in this
years Forum, opening on February
8th at the KW Institute for Contem-
porary Art. During the last days of the
Berlinale, Kino Arsenal will feature a
retrospective of Gitais work.
Goette, Aelrun (p.58) Director of the
lm UNDER THE ICE, and the German
Film Award winning DIE KINDER SIND
TOT, she studied philosophy before
entering the lm industry.
Grau, Dirk (p.30, 43) Accomplished
German editor and writer whos also
directed a number of short lms. In
2005 he won a German Film Award for
RHYTHM IS IT!.
Gregor, Ulrich (p.58) Film Critic and
promoter of independent, internati-
onal cinema, he is the chairperson of
Friends of German cinema and the for-
mer director of the Berlinales Forum.
Guillaume, Pierre-Erwan (p.58)
French screenwriter and director, lms
to his credit include LENNEMI NATU-
REL, STORMY WEATHER and FRANCE
BOUTIQUE.
Hailer, Thomas (p.54) He was a
founding member of the indepen-
dent musical theatre group Bolshoi
Berlin and is now the Head of the
Kinderlmfest/14plus section of the
Berlinale.
Hamed, Marwan (p.31) Egyptian
director, this former Talent has visited
lm festivals world wide with his short
lms. His rst full length lm, YACOU-
BIAN BUILDING, is the biggest budget
lm in Egypts history.
Hamilton, Doug (p.39) Documen-
tary lmmaker, his lm proling Alice
Waters is titled ALICE WATERS AND
HER DELICIOUS REVOLUTION.
Heinen, Sonja (p.55) Head of the
Berlinale Co-Production Market and
of the World Cinema Fund, both initi-
atives of the Berlinale and dedicated
to international co-productions.
Hennet, Florian von (p.66) Science-
TV editor and food specialist, he ser-
ved as a consultant to the Campus
theme of Hunger, Food and Taste.
Hhne, Arne (p.54) Head of the Arne
Hhne Press and Public relations
group, he does media work for lm
distributors, covering dozens of lms,
including Pi Medias RYTHM IS IT!
Holland, Agnieszka (p.47) Director
and screenwriter who is well known
for her lm EUROPA EUROPA, for which
she received an Academy Award nomi-
nation in 1991. She recently comple-
ted COPYING BEETHOVEN.
Horakh, Andrea (p.39) Film and
culture correspondent for Deutsche
Welle TV.
James, Alby (p.58) Experienced edi-
tor, producer, and director, as well as
an accomplished lecturer, he has wor-
ked and studied in Britain, South Africa
and the US. He is currently the head
of Leeds Metropolitan Universitys
Screenwriting MA programme.
Jobson, Richard (p.41) Director who
has worked in various facets of the
business, his debut micro budget lm
was 16 YEARS OF ALCOHOL.
INDEX OF EXPERTS
BERLINALE TALENT CAMPUS #4 PAGE 63
Kaminski, Janusz (p.41) Cinemato-
grapher and two time Oscar winner,
hes photographed many lms inclu-
ding SCHINDLERS LIST, HUCK FINN
and SAVING PRIVATE RYAN.
Kavka, Markus (p.27) MTV veejay,
Music Journalist and DJ at house and
techno clubs in Berlin.
Kolbusch, Alissa (p.35) Production
designer, she most recently worked
on AUS DER TIEFE DES RAUMES, an
independent German success story.
Khler, Margret (p.48) Film journalist
and critic who has published in Ger-
man newspapers including DIE WELT,
and online lm journals like BLICK-
PUNKT and FILMZEIT.
Krayenbhl, Sabine (p.30, 43) Edi-
tor of documentary and feature lms,
she has worked in Europe and North
America on projects including MY
ARCHITECT, which was nominated for
an Oscar in 2004. She edited the 2005
documentary MAD HOT BALLROOM.
Kruger, Beatrice (p.31, 36) Actress
and casting specialist with Rome-
based company FBI Casting, she has
been the casting director for over 25
lms, and a European casting specia-
list for many more, including THE LIFE
AQUATIC WITH STEVE ZISSOU.
Kubelka, Peter (p.30) Fusing lm, cui-
sine, writing, architecture and music,
he has been at the cutting edge of
avant-garde cinema since the 1950s.
He is the co-founder of the Austrian
lm museum, and had a professorship
of lm and cuisine.
Knast, Renate (p.30) Green Mem-
ber of Parliament, she was the Minister
of Consumer Protection, Agriculture,
Food and Nutrition from 20012005.
Lam, Angie (p.11, 29, 30, 47) Renow-
ned editor specialising in martial arts
lms including SEVEN SWORDS, KUNG
FU HUSTLE and HERO.
Latour, Eliane De (p.41, 51) Director,
writer, cinematographer and anthro-
pologist, her latest lm is BIRDS FROM
HEAVEN.
Laube, Moritz (p.29, 53) Directing
student at the DFFB, Berlin and a
Talent at the Campus in 2004, where
he edited CATARACT, the winner of
the Talent Movie of the Week com-
petition. He has edited two lms for
Wim Wenders, ODE TO COLOGNE and
LAND OF PLENTY.
Levine, Sydney (p.43) Founder and
President of Film Finders, an indepen-
dent feature lm acquisitions, tracking
and festival programming database.
Li, Kathy (p.48) Cinematographer and
longtime collaborater with Campus
guest Christopher Doyle.
Lieberson, Sandy (p.49, 43, 54) Chair-
person at Film London, advisor to a
wide range of projects dedicated to
the development of talent in the lm
and media industries. Formerly the
president of production at 20th Cen-
tury Fox.
Luddy, Tom (p.18, 39, 45) Producer
of lms including Agnieszka Hollands
THE SECRET GARDEN, he is also a co-
founder and co-director of the pres-
tigious Telluride Film Festival.
Maintigneux, Sophie (p.53) Direc-
tor of Photography who has worked
with Eric Rohmer (LE RAYON VERT)
and Jean-Luc Godard (KING LEAR)
before she put her main focus on
German lm where she collaborated
with directors like Michael Klier, Jan
Schtte or Helga Reidemeister in fea-
ture lms and documentaries.
Malcolm, Derek (p.48, 58) Best known
as the highly respected and long-stan-
ding lm critic with The Guardian, and
author of A Century of Films. He is also
an Honorary President of FIPRESCI.
Manetti, Marco and Antonio (p.42)
Directors of micro-budget feature
length lm PIANO 17, they are also
known for making rap music videos.
Meixner, Gerhard (p.51) Producer
and co-producer of various films
including PARADISE NOW and DIAL 9
FOR LOVE. His current project is titled
OFFENE WUNDEN.
Michalski, Boris (p.55) Founder of
the production company Noirlm
together with Didi Danquart. GRBA-
VICA is their rst feature lm after pro-
ducing several documentaries.
Najjar, Najwa (p.51) Documen-
tary and short lmmaker, her lms
include QUINTESSANCE OF OBLI-
VION, YASMINES SONG and NAIM
WA WADEEA.
Nelson, Davia (p.29, 36) Producer of
radio stories for National Public Radio
in the US, she has since 1978 produ-
ced groundbreaking documentary
and live radio programming as half
of the well known team The Kitchen
Sisters. Since 1999, she has produced
the award winning series LOST AND
FOUND SOUND on NPR. Author of
The Hidden Kitchen.
Nettelbeck, Sandra (p.19, 36) Direc-
tor and writer whose lms include SER-
GEANT PEPPER and MOSTLY MARTHA,
the latter won various European lm
awards.
Nikitin, Nikolaj (p.41) Founder of
Schnitt Magazine, he is also the
Berlinales foreign delegate to Eas-
tern Europe. He served as the artistic
director for LOST AND FOUND, which
premiered as the opening lm in the
Berlinale Forum in 2005.
INDEX OF EXPERTS
PAGE 64
Noury, Hakim (p.31) Accomplished
actor and father of Imad and Swel.
Noury, Imad and Swel (p.31) Direc-
tors and brothers, who together shot
HEAVENS DOORS. The lm is premi-
ering in the Panorama section of this
years Berlinale.
Park, Chan-wook (p.20, 35) Acclai-
med South Korean director and
screenwriter who made his directo-
rial debut in 1992 with THE MOON
IS THE SUNS DREAM. His latest lm,
OLDBOY, won the Grand Prix at Can-
nes in 2004.
Petrini, Carlo (p. 16, 19, 29, 37) Foun-
der and current international president
of the Slow Food movement, which
today features a publishing house,
taste fairs, a foundation for biodiver-
sity and a gastronomic university. He
remains focussed on promoting food
and wine culture, as well as encoura-
ging small farmers and producers.
Pittaluga, Juan (p.19, 29, 37) Direc-
tor and writer of two recent lms,
ORLANDO VARGAS and RVER, he pro-
duced documentary MONDOVINO is
featured at this years Campus.
Prekop, Gaby (p.58) Script editor
for a number of Istvn Szab lms,
she is currently a script advisor and
board member of SOURCES 2, a script
development company oering work-
shops and consultations for European
scriptwriters.
Quinn, Eileen (p.42) Producer of inde-
pendent dramas, she is head of media
at IWC media. She freelances for The
Script Factory, specializing as a trainer
for pitch workshops.
Rampling, Charlotte (p.53) Actress
with dozens of lead roles to her cre-
dit, including UNDER THE SAND and
THE SWIMMING POOL. Her latest lm,
BASIC INSTINCT II is currently in post-
production. She is President of this
year's Berlinale International Jury.
Rene Meyer, Sylke (p.41) Director
and writer. Her recent works include
the documentary WHO IS ANNA
WALENTYNOWICZ? whose subject is
the basis of her screenplay for the fea-
ture lm FORGOTTEN HERO by Volker
Schlndor.
Richards, Julian (p.42) Director and
screenwriter, his feature length lms
include DARKLANDS, SILENT CRY and
most recently, the micro-budget THE
LAST HORROR MOVIE.
Rodenkirchen, Franz (p.58) Specia-
list in dramaturgical consulting, he is
the co-author of numerous lm pro-
ductions, author of a radio play, and
of a variety of essays relating to media
and lm. He is currently the director
of the consulting branch at SCRIPT-
HOUSE.
Roos, Fred (p.49) Co-producer of
classic lms including APOCALYPSE
NOW and THE GODFATHER parts II and
III. He was the executive producer of
LOST IN TRANSLATION, and he cur-
rently has four lms in post-produc-
tion. Member of this year's Berlinale
International Jury.
Roy, Rajendra (p.54) Director of pro-
gramming for the Hamptons Interna-
tional Film Festival, which takes place
yearly in October in East Hampton,
New York. Winners of the Hamptons
Golden Starsh Award for short lms
qualify for consideration in the Aca-
demy Awards.
Salas, Hugo (p.58) Film critic and cul-
tural writer, he has written many artic-
les on cinema and currently lectures at
a variety of Argentine Universities.
Schiller, Margaret von (p.51) A dis-
tinguished lm commentator, she is
the programme coordinator of the
Berlinales Panorama section.
Schneider, Jrg (p.55) Commissio-
ning editor at German broadcaster
ZDF Das kleine Fernsehspiel. The
department is dedicated to providing
support to young directors.
Schnellhardt, Astrid (p.45) Studied
Strategic Communication and Plan-
ning, and has been working for Volks-
wagen Coaching GmbH since 2002,
covering topics such as assessment
centers and management training.
Sellars, Peter (p.31) A leading thea-
ter, opera and television director, he is
a professor of World Arts and Culture
at UCLA. He has mixed his professio-
nal work with a strong sense of social
justice and has lectured widely on cul-
tural activism.
Shiva, Vandana (p.17, 29, 30) Phy-
sicist, ecologist, author, feminist and
activist, her work in the elds of bio-
diversity and agricultural policy have
lead to her becoming a prominent
gure in the international antiglo-
balization movement. Author of 13
books and over 300 articles. She won
the Alternative Nobel Prize in 1993.
Sider, Larry (p.30, 43, 47) As a sound
editor and designer, his work has
crossed between the genres of docu-
mentary, drama and animation. His
most recent projects include working
as sound supervisor on THE PIANO
TUNER OF EARTHQUAKES. He is cur-
rently the Head of Post-Production at
the School of Sound.
INDEX OF EXPERTS
BERLINALE TALENT CAMPUS #4 PAGE 65
Slesicka, Katarzyna (p.41) Executive
Director of the Andrzej Wajda School.
Worked there from its foundation in
2001 as Programme Manager coordi-
nating international lm programmes
such as REFLECTION and EKRAN.
Smith, Iain (p.30, 42) Producer of
more than a dozen feature length
lms, including SEVEN YEARS IN TIBET
and ALEXANDER. He is a member of
the board of the UK Film Council and
Scottish Screen, amongst others.
Speck, Wieland (p.45) Former actor,
director, professor of lm studies and
art-house cinema manager, he has
been the Head of the Berlinales Pan-
orama section since 1992.
Sternagel, Johannes (p.35) Produc-
tion designer who got his start with
HELP THE OLD and FLIRT, his most
recent lm is AUS DER TIEFE DES RAU-
MES.
Sttzle, Christiane (p.42) Associate
for the law rm, Hogan and Hartson
Raue. Her practice focuses on intel-
lectual property and media and com-
munications law, and she represents
broadcasting entities, newspapers,
and state media administrations.
Tno, Jean-Marie (p.41) Director of
documentary and feature lms, inclu-
ding CLANDO and VACANCES AU PAYS,
his lms ask to reect upon relation-
ships between Africa and Europe.
Terhechte, Christoph (p.35, 49) Free-
lance journalist, lm critic and culture
editor, he has been the Head of the
Berlinale Forum since 2001.
Thomas, Jeremy (p.29, 43) Producer
with a host of lms crossing many gen-
res to his name. He won an Academy
Award in 1988 for THE LAST EMPEROR.
His Film GLASTONBURY is running in
the 2006 Berlinale Special. He is cur-
rently working on three lms.
Thompson, David (p.37) Head of BBC
Films, the Corporations cinematic arm
that has been involved with promi-
nent British lms of recent years, inclu-
ding BILLY ELLIOT and DIRTY PRETTY
THINGS.
Traube, Rainer (p.41) Rainer Traube is
Head of Arts and Culture at Germanys
international broadcaster Deutsche
Welle-TV. He worked as senior editor
and correspondant at tv and radio for
20 years.
Trijbits, Paul (p.35) Head of the New
Cinema Fund at the UK Film Council,
supporting award-winning projects
such as TOUCHING THE VOID and
BLOODY SUNDAY.
Tsintzadze, Dito (p.41) Writer and
director who completed his rst full
length lm, GUESTS, in 1990. Since
that time he has written and directed
a number of lms of note, including
LOST KILLERS and GUN SHY. His most
recent project is DER MANN VON DER
BOTSCHAFT.
Tykwer, Tom (p.47) Director, compo-
ser of lmography, and producer, he
gained international recognition as
the director of RUN LOLA RUN.
Veiel, Andres (p.47) Writer and direc-
tor of documentaries including BLACK
BOX GERMANY, which won the Ger-
man Film Award for Best Documentary
in 2002. His most recent documentary
is titled ADDICTED TO ACTING.
Wajda, Andrzej (p.41) Director and
writer, considered by many to be one
of the nest Polish lmmakers. Films
to his credit include KANAL, CZLO-
WIEK Z ZELAZA and PANNA NIKT. His
awards include an honorary Oscar, a
European Film Awards lifetime achie-
vement award, a Silver Berlin Bear and
the Berlinale Ehrenbr 2006.
Warbeck, Stephen (p.21, 54) Film
composer and head of music for
the Royal Shakespeare Company, he
has written music for more than 70
projects. He was awarded an Oscar
for Best Music, Original Musical or
Comedy Score for SHAKESPEARE IN
LOVE in 1999.
Waters, Alice (p.14, 15, 19, 29, 36)
Chef and natural food advocate, her
Berkeley, California based restaurant
Chez Panisse changed the face of
American cuisine. She has been nomi-
nated one of the top ten chefs in the
world by Cuisine et Vins de France
magazine.
Wenders, Wim (p.47) Director of
WINGS OF DESIRE, THE END OF VIO-
LENCE, and PARIS TEXAS, all of which
won the Golden Palm at Cannes. His
most recent lm release is DONT
COME KNOCKING.
Wingate, David (p.37, 58) Starting out
as a writer and director of short and
feature lms, is specialized as a dra-
matic advisor and has worked throug-
hout Scandinavia on many aspects
of lmmaking and production. He is
currently a part time lecturer on lm
production, and a board member of
SOURCES 2.
Wootton, Adrian (p.42) Chief Execu-
tive of Film London, responsible for
their strategic planning and overall
managament.
banic, Jasmila (p.55) Bosnian direc-
tor and artist. Her lm GRBAVICA, in
competition in the Berlinale in 2006
is her rst feature lm. Director of one
episode of LOST AND FOUND, which
premiered at the Berlinale Forum in
2005.
INDEX OF EXPERTS
PAGE 66
Food for Thought: ORIGINS
1. WILL THINK FOR FOOD. Parvinder Kaur, India:
Desire, desperation, layers of an onion and taste for
variety...life, food, lm...its all a play of ideas...
2. HUNGER. Maia Burduli, Georgia.
3. MALENKAYA KATERINA. Ivan Golovnev, Russia: The
Nature feeds Culture... The Civilization with appetite
eats both
4. LA VIDA DULCE. Rouven Rech, Germany: Movies go
along like trains in the night.
5. CHILI SAUCE. Cyrus Khambata, India: Do not igno-
re how your lm smells! Cause, that is how you will
know what it is going to taste like!
6. EARL GREY? Kate Aidley, UK: Its about lifes little
pleasures.
7. I LOVE LIVER. Michael Petrowitz, Germany: Live(r)
Up To Life!
8. KOTZEN. Sarah Paar, Germany: To act the artist can
be a perfect possibility to get over annoyance.
9. GETTING LOST? Sergio Basso, Italy: Yesterday night
I prepared dinner for some friends. I put in the oven
three kilos of war, ve onces of religion and a spoonful
of mistrust. Dinner was awful. We all spat up. Maybe its
time to change recipe, isnt it?
10. CANTINE AND CO. Nordine Sajot, Italy: Me, myself
and food.
11. DUNNY. Phillip Van, USA: The weight of a man.
The competition of short lms on Hunger, Food and Taste is one of the central
elements of this year's Berlinale Talent Campus. Chosen by Tom Luddy, Florian von
Hennet and the Campus Selection Committe 32 Talents and their lms were invited
to join the Campus. Tom Luddy will present the lms daily from Sunday to Wednesday
at 18:00 in the Restaurant, divided into appetising portions. To enjoy the whole
lmic dish, you can use the terminals at the Campus Exhibition Hall. In addition
you will nd the list of all 32 lms including a statement from the directors.
TALENTS ON HUNGER, FOOD AND TASTE
INDEX OF SHORT FILMS ON HUNGER, FOOD AND TASTE
Food for Thought: KILL OR DIE
12. IM HOCHBETRIEB. Andreas Krein, Germany:
Remove the music from a lm, and you are taking
away 51 percent of the experience.
13. TO BEEF OR NOT TO BEEF. Kristina Pozenel, Serbia:
We are what we eat!
14. (TAVALLOD) THE BIRTH. Mostafa Emami, Iran.
Eating but not at any price.
15. THE DAY AFTER TOMATO. Oskar Gullstrand, Swe-
den: A tomatos amazing journey in the search for true
love.
16. SNAIL'S DESERT. Gustavo Arteaga, UK: From chop-
ping-board to dinner table, this lm portrays the prepa-
ration and consumption of a juicy snails dessert.
17. MEATBALL. Filippo Filliger, Switzerland: MEAT
BALL: bloody healthy!
18. BLACK CHERRY. Lucky Kuswandi, Indonesia: Hun-
ger, entitlement of one owns body.
19. MAMA LAGOS. Kenneth Gyang, Nigeria: The
potency of African food.
20. WE ARE WHAT WE LOST. WE ARE WHAT WE LOST WE ARE WHAT WE LOST Srdjan Mitrovic, Serbia: In
feature lms the director is God; in documentary lms
God is the director.
21. A LOVE SUPREME. Nilesh Patel, UK: My short lm
A LOVE SUPREME is a tribute to my mother, who has
Rheumatoid Arthritis in her knees and shoulders, and
was inspired by the boxing sequences from RAGING
BULL.
BERLINALE TALENT CAMPUS #4 PAGE 67
Food for Thought: LOST SUPPER
22. SLICED FOOD. Lenka Clayton, UK: A food and
human dissection.
23. EVIANNAIVE (EXCERPT). Verena Vargas, Germany:
I cook lms, I share lms and lms feed us.
24. STRAWBERRY EATING WOMAN. Marlon Vasquez
Silva, Colombia: The reality is the machine of the c-
tion.
25. MILLET. Malam Ibrahim Malam Mahaman Saguiro,
Niger: Life often presents us with situations in which
we have little choice, but to struggle, despite all odds
for better conditions for both ourselves and those
around us. This is a sense of responsability.
26. CHILDREN OF PARADISE. Zahirul Islam, Bangla-
desh: No comment.
27. WASTE NOT, WANT NOT. Ferdinand de Madura,
Philippines: Art has the power to change the world.
28. 5x1=5. Kamal Ragani, India: Hunger and Taste is
within you but Food is somewhat exterior.
INDEX OF SHORT FILMS ON HUNGER, FOOD AND TASTE
I try to be a nice man and still
make good lms. Its difcult.
Mikkel Sandemose, Norway
All Talent lms are available on the Campus website
29. DIVINE MEALS. Indika Udugampola, Sri Lanka: Divine
meals, oered unto thy hands, now lies, rotten and stale,
on temple altar.
30. CAKE IN THE FACE. Katarina Hellberg, Sweden: The
pie is the limit!"
31. CAFE 469. Atefeh Khademolreza, Iran: Nothing hap-
pened two times and never will. We couldnt live the same
summer or winter another time. We shouldnt let this daily
life drown us in itself. We have to feel every single moment
of our life.
32. TWO NATIONS, ONE BREAD. Yoav Cohen, Israel: Fee-
lings are my bread, I like to share it with all.
PAGE 68
NOTE OF THANKS
FOURTH COURSE
We are right in middle of it we have served starters, we have
served the previous courses and now we are up for an enjoy-
able fourth course to share with each other! Its wonderful
that we are again able to invite 520 up-and coming lmmak-
ers from around the globe to join us at the House of World
Cultures for the 2006 Berlinale Talent Campus.
This week will be dedicated to learning from the invited
experts, to learning from each other and to becoming part of
the ever expanding Campus network. Meanwhile, more than
2,000 alumni and nearly 400 experts have helped to build
up this vivid community. Some of them have even started
projects which brought them back: we are glad to welcome
this year 22 alumni at Berlinale. Two of this years Talents have
already lms in the o cial Berlinale programme!
In 2006 the Talents come from 101 countries, which make the
Campus a diverse mosaic of religious beliefs, cultural practices
and political backgrounds, all of which are brought together
by one thing a true passion for lmmaking. This brings us
together for the next week and this will go on as the spirit
which forms the very core of our Campus network.
APPLE Stephan Buchmann and Gerald Golisch especially for this years pod-casting. ARRI Franz Kraus, Thomas Popp, Walter Brus
and Fritz Sommer for bringing us enlightenment and the Early Bird Breakfast. ARTEVENT Robert Hoerer for supporting Films
on Hunger, Food and Taste. AVANTI MEDIA Edda Baumannvon Broen and Cordula Kablitz-Post for producing the Talent Movies
of the Week. AVID Michael Dalock-Schmidt especially for the technical support of Jim Clarks session. BAXPAX HOSTEL Martin and
Ante for giving our Talents a home. BBC FILMS David Thompson for being with us. BERLINER PILSNER Jochen Schmitt, Harro Fischer
and Hans Geltner. BAVARIA FILM INTERNATIONAL Thorsten Schaumann, Gabriele Neugebauer, Oliver Schndler and Boris Ausserer for
supporting us for Shoot Goals! Shoot Movies! and MOSTLY MARTHA. BOXFISH FILMS Karen and Christiane for their outstanding
support of the Berlin Today Award and Berlin Angels Day. CANON Andrew Boag, Jeroen Barsingerhorn and Bettina Steeger. CARPE
DIEM Alexandra Ebert-Wundi for the Early Bird Breakfast. CINE PLUS Frank Evers, Ralph Niebuhr, Christian Colmorgen and Esther
Reinicke for getting the Campus wired. DEUTSCHE BAHN Melanie Diehl and Markus Flsch for the train vouchers. DEUTSCHE WELLE
Rainer Traube for moderating and the Campus Diary, Andrea Horakh for moderating, Melanie Matthus, Bettina Kolb and Fred
Oelschlegel for the Campus Dailies. DOLBY Graham Edmonson and Hubert Henle for endowing the L.A.-Trip for the winner of DOLBY DOLBY
the VW Score Competition. EUROPEAN FILM ACADEMY Marion Dring, Bettina Schwarz and Pascal Edelmann for being our think tank EUROPEAN FILM ACADEMY EUROPEAN FILM ACADEMY
for strategic expert approach. EUROMED Jean Louis Ville, Sarah Rinaldi, Olivier Lequeux and Catherine Buresi for becoming our
new partner and the Early Bird Breakfast. EUROPEAN FILM MARKET thanks to Beki, Karen, Tilmann, Michael and Sidney for the excur-
sions. EUROPEAN FILM PROMOTION Renate and Karin for bringing in Beatrice Kruger and Rie Hedegaard. FEDERAL FOREIGN OFFICE Federal
Foreign Minister Frank-Walter Steinmeier, Andreas Grgen, Ludwig Linden, and Gisela Streubel for the ongoing backing of our
ideas. FIPRESCI Klaus Eder, Joseph Schnelle, Derek Malcom and Michel Ciment. Ulrich Gregor for joining the team of the Talent
Press for the rst time. FRENCH EMBASSY IN BERLIN AND BUREAU DU CINEMA SE Claude Martin Ambassadeur de France, Chantal Colleu-
Dumond, Anne Schesch, Eliane Herment: our French Connection for gaining experts and hosting Cuisines et cinma. GERMAN
P
h
o
t
o
:
K
a
t
h
r
i
n
S
t
e
t
t
e
r
The Campus would not be what it is today without the
ongoing support from our worldwide partners, the major-
ity having been with us from the very beginning.
We would like to thank our partners, event partners, spon-
sors and supporters as well as our international experts.
Lets celebrate lm and enjoy six days of unforgettable
encounters!
Cathy Rohnke
Programme Manager
of the Berlinale Talent Campus
BERLINALE TALENT CAMPUS #4 PAGE 69
NOTE OF THANKS
ACADEMIC EXCHANGE SERVICE Dorothea Fitterling and Andrea Khler. GERMAN FEDERAL FILM BOARD Peter Dinges and Katja Jochum for
their support of the Talent Movies of the Week and the Doc and Script Clinics. GOETHE FORUM Christoph Bertrams for supporting
The Talent Press. GOETHE-INSTITUT Prof. Dr. Jutta Limbach, Hans-Georg Knopp and Detlef Gericke-Schnhagen for showing Shoot
Goals! Shoot Movies around the world. GOROL&PARTNER Stephan Gorol & Anne Reckmann & Svenja Behrens & Ronald Schulze
for getting us on stage. HAMPTONS INTERNATIONAL FILM FESTIVAL Rajendra Roy for moderating the readings. HEINRICH BLL FOUNDATION
Simone Schmollack and Juliane Widmer for bringing in Vandana Shiva. HOGAN HARTSON RAUE BERLIN Peter Raue, Mareile Bscher
and Christiane Sttzle and for hosting two events and providing legal advice for Shoot Goals! Shoot Movies! HOUSE OF WORLD
CULTURES Bernd Scherer, Doris Hegner, Shaheen Merali, Becky Ann Gilbert and Hermann Volkery for the cool location and their
patience. HUGO BOSS Claudia Schmidt and Philipp Wol for the wonderful sweaters, which keep us warm. INTERFEL Daniel Soares
for providing fresh fruits. INTERNATIONALE FILMSCHULE KLN Miriam Edinger. KODAK Thierry Perronnet, Klaus-Georg Hafner for Sophie
Maintigneux and the Early Bird Breakfast. MANFRED DURNIOK PRODUKTION Michiko Teramoto, Ayano Teramoto and Hiroomi Fukuzawa
for the Durniok-Ticket and hosting of a lunch. MASTERCLASS/LUDWIGSBURG-PARIS Peter Sehr and Julie Halten for the Early Bird Break-
fast. MEDIA BUSINESS SCHOOL MADRID Hugo Lasarte and Frederic Parilla. MEDIA TRAINING Viviane Reding, Costas Daskalakis, Aviva Silver
and Arnaud Pasquali for their belief in us. MEDIENBOARD BERLIN-BRANDENBURG Petra Maria Mller, Kirsten Niehuus, Frank Stehling for
being our generous partner. NATIONAL FILM AND TELEVISION SCHOOL for sending Dick Fontaine and Larry Sider. NEUBACHER BERLIN Anto-
nia for designing the punk-onion for the application form. NIPKOW PROGRAMME Uta Ganschow. POLISH FILM INSTITUTE WARSAW Dorota
Pacarelli for the Kieslowski-Panel. REFLECTIONS Holger Borggreve and Katarzyna Slesicka. REVERSE ANGLE for LAND OF PLENTY.
ROBERT BOSCH STIFTUNG Frank Albers and Josef Krieg for their generous support and the Early Bird Breakfast. ROTES AUTO Julia Rahne.
SARAH WIENER Michael Lammert and Marek Erdmann for her delicious ideas and the breakfast for our press conference. Martin
Schar and the star-cook team for the Opening Curry. SCRIPT HOUSE BERLIN Dagmar Benke, Franz Rodenkirchen and Jrgen Seidler.
SCHOOL OF SOUND Larry Sider for developing and moderating the focus on Editing. SERVE-U Phillip Snderhauf for installing the
database. SKILLSET Judy Counihan, Gary Townsend, Rachel Duke, Emily Bullock, Vicky Title and Claire Dougherty and Sandy
Lieberson for being an outstanding supporter of our programme for the fourth year. SLOW FOOD Carlo Petrini and Ulrich Rosen-
baum for supporting Films on Hunger, Food and Taste.SOURCES2 Renate and Marion Gompper for supporting the script clinic
every year by bringing in Gaby Prekop and David Wingate. TELLURIDE FILMFESTVAL Tom Luddy for developing and moderating the
programme Films on Hunger, Food and Taste. TALENT PROJECT MARKET Sonja and Kathi for rocking this project with us! TOPIX Ivano
Canteri and Andrea Casagleno for streaming the Talent Movies. ROSENDAHL GRAFIKDESIGN Anja und Lars. TV 5 MONDE Jean-Jacques
Aillagon, Fabrice Grandhomme and Arnaud Genestine for bringing in Talents. THE UK FILM COUNCIL LONDON Paul Trijbits, Emily
Anderton and Jo Maurice for their support. VFF Johannes Kreile, Norbert Flechsig and Georg Feil for supporting the Talent
Highlight Pitch. VSLAUER Claudia Six and Anja Slomma for the energizing water from Austria. VOLKSWAGEN Dirk Groe-Leege and
Christiane Krebs-Hartmann for their generous support, the Volkswagen Score Competition and bringing in Tom Third & Ogn-
jan Milosevic. Steen Schier and Marion Weissner for the Campus Diary, organizing the premiere of the VW Orchestra musicians
at the Campus and the VW-Curry-Wurst. VOLKSWAGEN CAREER DEVELOPMENT Astrid Schnellhardt and Tina Block for their creative
games. VOLKSWAGEN SCORE COMPETITION Stephen Warbeck for his committed mentorship, Ulrich Weinberg and Corinna Marschall
for establishing the partnership with HFF Konrad Wolf, Martin Steyer for supervising, Martin Todsharow, Bernd Wefelmeyer,
Klaus-Peter Beyer for providing the Deutsche Filmorchester Babelsberg, Jean-Marie Gilles and Tom Korr for supervising the
editing, Andreas Homolka from Tremens-Film Tonstudio, Karl Baumgartner and Christoph Friedel from Pandora Film and San-
dra Nettelbeck for MOSTLY MARTHA thanks to all of you for this support. 20SEC.NET Jens Rietdorf and Robert Wagner for the
website and the programming. WORLD SOUNDTRACK ACADEMY Danielle Heynickx for getting us into the rhythm with Stephan Warbeck. WORLD SOUNDTRACK ACADEMY WORLD SOUNDTRACK ACADEMY
KULTURVERANSTALTUNGEN DES BUNDES IN BERLIN Thomas Kstlin, Johannes Emig and Marianne Bialek for their ongoing trust. INTERNA-
TIONAL FILM FESTIVAL Dieter Kosslick and his team Karin & Daniela, Johanna, Benny and Henny, especially the delegates for
spreading the word about us abroad, Dagmar & Jolanda, Kathrin & Alex for handling our industry sponsors, Johannes & Wolf-
gang for their trust, our colleagues from the IFF sections Thomas and Maryanne, Alfred and Linda, Wieland and Margaret,
Christoph, Karen and Dorothee for their cooperation, Frauke and Anne, Cordula & Sabine for going public, Vincenzo for being
our Italian ambassador and hosting a session, Virginie for her creative input to Hunger, Food and Taste, Winfried, Christina
Grn Szpry and Markus Hnle for their support, Nicki Nikitin for moderating Reections, Peter Cowie, Christine Dorn and
Florian von Hennet for their ongoing advice, Judith Johannes for her trust and friendship, Michael Khn for legal support,
Renate Knast for her talk with Vandana Shiva, and nally the international members of the CAMPUS TEAM Betti, Birgit, Britta,
Christine, Christina, Dagmar, Dawn, Debora, Elena, Lina, Lira, Jana, Maya, Marjorie, Andrew, Henning, Marcus, Oli, Tommy.
PAGE 70
Berlinale Talent Campus Team 2006
Programme Manager . . . . . . . . . . . . . . . . . . . . . . . . . Cathy Rohnke
Talent Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas Struck F&A Manager . . . . . . . . . . . . . . . . . . . . . . Christine Trstrum
Programme Assistant . . . . . . . . . . . . . . . . . . . . . . . . . Betti Pabst
Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dagmar Krull
Assistant F & A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christina Janitz
Assistant Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . Lina Dinkla
Assistant Working Campus . . . . . . . . . . . . . . . . . . . . Elena Silvani
Talent Administration . . . . . . . . . . . . . . . . . . . . . . . . . Lira Lousinha, Maya Dalinsky, Marjorie Bendeck
Selection Commitee . . . . . . . . . . . . . . . . . . . . . . . . . . Marjorie Bendeck, Julia Peukert, Andrew Amondson, Henning Adam
Talent Project Market . . . . . . . . . . . . . . . . . . . . . . . . . Sonja Heinen, Kathi Bildhauer, Martina Bleis
Guest Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jana Daedelow
Online Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marcus Forchner
Magazine Editor / The Talent Press . . . . . . . . . . . . Oliver Baumgarten, Dawn Paley
Press Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . Televisor Birgit Mangold, Britta von Gehlen
IT Project Management . . . . . . . . . . . . . . . . . . . . . . . 20sec.net Jens Rietdorf
IT Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . serve-u Phillip Snderhauf, Andreas Buchholz
Event Agency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gorol & Partner Stephan Gorol, Anne Reckmann
Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rosendahl Grakdesign Anja Rosendahl, Lars Borngrber
Cover Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rotes Auto, Julia Rahne
Consultants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Cowie, Christine Dorn, Florian von Hennet, Sandy Lieberson, Tom Luddy
The Berlin International Film Festival
Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dieter Kosslick
Festival Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Johannes Wachs
Head of Sponsorship . . . . . . . . . . . . . . . . . . . . . . . . . Dagmar Forelle
TEAM AND IMPRINT
Imprint
Circulation 5.000 Advertising Berlinale Talent Campus Dagmar Krull Editorial O ce Oliver Baumgarten, Dawn Paley, Cathy Rohnke, Thomas Struck Cartography
Runze & Casper, Berlin Photography Berlin International Film Festival, mai.foto Ute Langkafel, Filmarchiv Schnitt Verlag, Kln, and all co-operation partners,
distributors, lm productions Design Rosendahl Grakdesign Print O ce Druckhaus Berlin Mitte Publisher Berlinale Talent Campus, Potsdamer Strae 5, 10785 Berlin,
phone: +49 30 25 92 05 15, fax: +49 30 25 92 05 19, e-mail: info@berlinale-talentcampus.de, www.berlinale-talentcampus.de, an initiative of the Berlin International
Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH.
The Berlinale Talent Campus Team (from left to right):
Front row: Thomas Struck, Christine Troestrum, Cathy Rohnke,
Betti Pabst, Jana Daedelow. Second row: Birgit Mangold,
Marjorie Bendeck, Lira Lousinha, Britta von Gehlen, Christina Janitz,
Maya Dalinsky. Backrow: Marcus Forchner, Andrew Amondson,
Dawn Paley, Elena Silvani, Henning Adam, Lina Dinkla,
Dagmar Krull, Kathi Bildhauer.
In Cooperation with
We would like to thank artevent, Deutsche Arena and Interfel for their donations.
The Berlinale Talent Campus is an initiative of the Berlin International Film Festival, a business division of the Kulturveranstaltungen des Bundes in Berlin GmbH,
in cooperation with MEDIA Training, Medienboard Berlin-Brandenburg, Skillset and the UK Film Council and Volkswagen.
Co-Partner
Supporter
Manfred Durniok Produktion