TICKETING

From 9:00am the Talent ticketing counter is open and Talents are invited to collect tickets for Campus events as well as Berlinale films. This is also where all queries related to Campus events and activities are answered. An overview of Campus projects, logistics and event information are provided.

RISE & SHINE BREAKFAST A LA FRANCAISE

Presented by the French Embassy.

Today’s breakfast is hosted by the French Embassy and offers you a tasty start to a promising new Campus day. Meet representatives of the French Embassy and catch up with fellow Talents over a hot coffee, savoury and sweet delights.

CAMPUS POST-PRODUCTION STUDIO

closed events for selected Talent only

ALL YOU SHOULD KNOW ABOUT: BERLINALE CO-PRODUCTION MARKET

In cooperation with Berlinale Co-Production Market.

The sixth Berlinale Co-Production Market takes place from Feb 8 – 10, 2009. Berlinale director Dieter Kosslick describes the Berlinale Co-Production Market as "a home for international producers and financiers attending the Berlinale".

A three-day event, this is where active players in the field of co-production find first-rate international projects, excellent business contacts and fresh opportunities for co-operations. Over 30 projects are presented at the annual Berlinale Co-Production Market, a number of these projects have been filmed and screened at international festivals and in movie theatres. Intensive one-to-one meetings that facilitate "made-to-order matches", accompany practical information and new contacts through the numerous networking opportunities available during the market. Current trends in co-production and financing opportunities will be highlighted through case studies on Berlinale films.

The possibility to exchange experiences with experts and colleagues on specific topics takes place during "Theme Talks”. "Country Tables”, where experts provide information about production conditions and co-production opportunities in a particular country, and speed matching sessions round out the programme. Head of the Co-Production Market, Sonja Heinen together with Kathi Bildhauer and Martina Bleis introduce the role and purpose of the market, explaining the application and selection process.

MASTER CLASS AT COSTUME HOUSE THEATERKUNST

In cooperation with Theaterkunst.

Theaterkunst is Germany’s largest costume house for film, television, advertising and theatre. Their assortment of more than 10 million items includes all periods, styles and trends, with a speciality collection of 200,000 uniforms. This is where the cast of legendary films such as Fritz Lang’s Metropolis, Caroline Link’s Nowhere in Africa, Roman Polanski’s The Pianist were fitted. This master class is exclusively for production and set designer Talents and comprises a tour through the costume house. Talents will visit the uniform department and participate in a case study on the recent, Oscar, Golden Globe and BAFTA nominated German film, The Baader-Meinhof Complex, which costumed its characters from Theaterkunst’s vast collection.

In the Limelight: Tom Tykwer

A celebrated international filmmaking professional with vast experience will talk about his entry into the world of filmmaking and the central moments in his rich and varied career in films. You will be sure to benefit from the experience of this well-known personality, so stay tuned for more information.

WORLD CINEMA FUND - HOW TO APPLY

In cooperation with World Cinema Fund.

Launched in 2004, the World Cinema Fund, an initiative of the Berlin International Film Festival in co-operation with the German Federal Cultural Foundation and the Goethe-Institut, established itself within a short span of time as one of the leading institutions in the field of international film funding of artistically ambitious films whilst also enjoying a broad acceptance amongst filmmakers. In fact, WCF funding has become a stamp of approval for a project. It supports projects in regions of the world in which film production is in a critical state or barely even exists.

At first, applications were "limited" to Latin America, Africa, the Middle East and Central Asia; two years ago it added the Caucasus and South East Asia as funding regions. The second focus of WCF‘s activities is also gaining popularity, namely support for the distribution of films from these regions in Germany. Sonja Heinen and Vincenzo Bugno, project managers of the World Cinema Fund, give background information on the Fund before going into the aspects crucial to the application process: the kind of projects funded, prerequisites for funding, fields for which support is offered, amount granted per project.

THE TALENT PRESS

Editorial Meeting.

LUNCH BREAK

MEET THE EXPERTS

SPEED MATCHING

General.

TALENT PROJECT MARKET

closed events for selected Talent only

Experiments in Facs and Fiction: The Work of Sharon Lockhart

In cooperation with Berlinale Forum expanded.

Over the last 15 years Sharon Lockhart has made films and photographs that frame the quiet moments of everyday life while exploring the subtle relationship between the two mediums. Much of her photographic work has involved staging scenes in a method reminiscent of filmmaking, while her films emphasise the photographic qualities of the moving image. While she sees herself as strongly influenced by the structuralist film tradition, her work blends rigorous aesthetic concerns with anthropological explorations.

She carefully manipulates formal elements as she explores certain concepts with regularity: portraiture, the relationship between photography and film, and the combination of fictive or choreographed performances with unscripted, intimate moments. Moving with ease between the worlds of art and film, Sharon Lockhart is at the same time very aware of the differences between the cinema and the gallery, and will elaborate on how she chooses and knows exactly what to shows in which context. She discusses with Stefanie Schulte Strathaus her experiments with reality and fiction and how her work manages to offer us a way to look at the everyday, taking what we feel to be certainty and what we sense in our minds to be evermore inexplicable.

THE CRITICAL DILEMMA - DOES THE INTERNET IMPROVE FILM CRITICISM?

The mushrooming of internet bloggers appears to be hijacking the discussion on films. The Internet not only provides a dynamic platform for reviewers but also free access to film reviews, both from established media as well as an ever-increasing horde of bloggers.

With film criticism no longer under exclusive purview, where virtually anyone can write a review and post it online, what happens to the professional film critic? How does this apparent democratisation affect the style of writing and quality of reviews in terms of ideas they present? The proliferation of blogging is not alone responsible for the declining status of film criticism: The internet is today more proficient in attracting advertising; marketing and promotion strategically aim more and more at the internet for their campaigns. Film reviews are often manipulated by distributors; print editors afford less space to reviews, change ratings in compliance with advertising allegiances and often opt for the review of blockbusters. In contrast to print reviewers, bloggers have the advantage of free speech, owing no allegiance or responsibility to anyone. Society in general seems more to prefer "sponsored slogan to judicious assessment” as Nick James proclaims in his introduction to "Who needs Critics?" (Sight & Sound, October 2008).

Esteemed film critics will address the questions we are all asking: Is the internet today, as its proponents claim, a gold- mine for discovering new cinematic gems? Has the penetration of a more informal internet-like writing through the advent of blogs, social networking website such as Facebook, etc. seeped into print reviews? Do these changes enrich or impoverish film criticism? And finally, what is the fate of film critics as their destiny is bound to the dictates of their editors and the wishes of the public at large?

COLLABORATIVE FILMMAKING IN THE SPOTLIGHT

The Berlinale Talent Campus’hands-on Campus Studio has been in full swing at HAU 3 with Talents and experts working closely together on short and documentary rough cuts in the Rough Cut Editing section and concentrating on post-production in the Digital Workflows segment. Claudia Meglin will showcase the results of the Digital Workflows segment, and the editors Susan Korda and Job ter Burg will present the polished rough cuts, discussing the processes of the editing room.

MEET THE EXPERTS

Things to take Home

Although the Campus comes to a close this evening, there’s a lot more in store. This session gives an overview of all that Talents can take home with them – the activities and opportunities that the Campus offers once you’re back in your countries and get busy with upcoming projects. Likewise, information on the Campus Abroad editions, the film co-ops, as well as navigating the Campus online database will be provided.

Beyond the Music, A Film Composer's Challenges

In cooperation with Volkswagen. Scoring for films requires playing musical chairs with dialogue and sound effects, while creating a convincing atmosphere of a time and place. Film scores imply the unspoken thoughts of a character or the unseen implications of a situation far better than dialogue can. The ability of music to make a psychological point in film is perhaps its most valuable contribution.

The challenge for the film composer lies in creating compositions that mirror the film’s narrative, yet retain their own unique flavour, lingering in the memory long after the film. All this is achieved under strict time constraints and unyielding external demands that come with scoring a film. Led by film composer Martin Todsharow, the discussion will focus on the scores created for the Volkswagen Score Competition the experiences and challenges the three finalists faced in the process of composing their film scores. The finalists’ scores will be presented during the event.

Closing and Award Ceremony of the Volkswagen Score Competition

Supported by Volkswagen.

After six intense days of seminars, workshops, panel discussions, screenings and excursions, the 7th edition of the Berlinale Talent Campus reaches its conclusion with a farewell from the Campus team and the announcement of the winner of the Volkswagen Score Competition. The winning contestant will be presented his prize: a trip to the best sound studios in Los Angeles sponsored by Dolby Laboratories.

And with the night still young, the celebrations will continue but in a more informal setting at the Closing Party to the music of the Volkswagen Sound Foundation band "The Cheeks" at Adagio – Berlin’s after-hours hot spot. There will be plenty of time to unwind in the next days; stay with us until this night is all done.

Closing Party

at Adagio (basement Berlinale Palast). Supported by Volkswagen.