What Is It: Different aspects of Taylor Swift’s lifestyle, broken down into seven days of fun-filled, Swift-themed activities
Who Tried It: Maggie Malach, People Associate Editor, Digital Platforms
Level of Difficulty: 13/10 (because Taylor’s lucky number is 13, but also because I was very dedicated to my cause)
As a journalist, my job often requires I keep late nights, regard Goldfish crackers as a balanced meal and write about very sexy men. But no occupational hazard could have prepared me for the arduous (yet exhilarating) task of transforming myself into one of the biggest pop stars in the world: Taylor Swift.
Who Tried It: Maggie Malach, People Associate Editor, Digital Platforms
Level of Difficulty: 13/10 (because Taylor’s lucky number is 13, but also because I was very dedicated to my cause)
As a journalist, my job often requires I keep late nights, regard Goldfish crackers as a balanced meal and write about very sexy men. But no occupational hazard could have prepared me for the arduous (yet exhilarating) task of transforming myself into one of the biggest pop stars in the world: Taylor Swift.
- 12/13/2017
- by Maggie Malach
- PEOPLE.com
Harry Potter fans will definitely recognize two familiar faces who met the Queen this week. Actresses Julie Walters, who played Molly Weasley, and Helen McCrory (Narcissa Malfoy) both visited Buckingham Palace on Tuesday to take part in their investiture ceremony. Julie Walters was made a dame (leading us all to question why it took until 2017 for such a national treasure to get the honor) while McCrory was awarded an OBE for her services to drama. RelatedLittlefinger Isn't in Westeros Anymore - He's Making Waves on Peaky Blinders The Peaky Blinders star was accompanied by her husband, Damien Lewis, who looked very excited to be there to see his wife pick up such an honor. The pair posed outside the palace, and Helen also giggled with the newly appointed Dame Julie as they showed off their medals. In an interview at the event, Helen divulged what happened inside, explaining that she'd...
- 11/8/2017
- by Gemma Cartwright
- Popsugar.com
Parting is such sweet sorrow and none more so than to see the end of the 2017 London Indian Film Festival. After a rollercoaster week’s worth of films, we saw the closing of the London portion of the festival at the BFI Southbank with the English premiere of Sexy Durga.
The night began with a star-studded red carpet event. BollySpice was on hand to mix with the movers and shakers of the Festival. In particular, we caught up with executive and programming director Cary Rajinder Sawhney who had promised at the beginning of the run that this year would be the best ever. We asked him whether he stood by that comment. “In terms of the films? Yes, this has been the best ever. We had such a good selection of films, many from other festivals where they have won awards.”
There were many famous names from the Festival line-up who graced the red carpet.
The night began with a star-studded red carpet event. BollySpice was on hand to mix with the movers and shakers of the Festival. In particular, we caught up with executive and programming director Cary Rajinder Sawhney who had promised at the beginning of the run that this year would be the best ever. We asked him whether he stood by that comment. “In terms of the films? Yes, this has been the best ever. We had such a good selection of films, many from other festivals where they have won awards.”
There were many famous names from the Festival line-up who graced the red carpet.
- 7/2/2017
- by Jonathan Howell
- Bollyspice
Reddit is good for more than just cute cat videos — just ask its co-founder, Alexis Ohanian.
Ohanian, who is expecting his first child with fiancée Serena Williams, is using his own website to read up on some parenting tips and tricks.
“My favorite is to sleep with a blanket for like a month before the due date so you get your dad scent all over it,” he told Today Parents Monday. “And then wrap the baby in it once it shows up, so they’re not just immediately bonding with Mom, but also getting a bit of Dad.”
Want all...
Ohanian, who is expecting his first child with fiancée Serena Williams, is using his own website to read up on some parenting tips and tricks.
“My favorite is to sleep with a blanket for like a month before the due date so you get your dad scent all over it,” he told Today Parents Monday. “And then wrap the baby in it once it shows up, so they’re not just immediately bonding with Mom, but also getting a bit of Dad.”
Want all...
- 6/21/2017
- by Stephanie Petit
- PEOPLE.com
Serena Williams‘ baby is already racking up passport stamps!
On Saturday, the 35-year-old pregnant tennis legend shared a gorgeous new series of photos in which she’s posing on the steps of Château Eza in the French Riviera, cradling her baby bump amid a serene backdrop of calm water and lush green hills.
For the mini photo shoot, Williams wore a long black dress and blue silk kimono-style robe decorated with a multicolored flower print — the same one she sported while watching sister Venus Williams compete at the French Open earlier this month.
Want all the latest pregnancy and birth announcements,...
On Saturday, the 35-year-old pregnant tennis legend shared a gorgeous new series of photos in which she’s posing on the steps of Château Eza in the French Riviera, cradling her baby bump amid a serene backdrop of calm water and lush green hills.
For the mini photo shoot, Williams wore a long black dress and blue silk kimono-style robe decorated with a multicolored flower print — the same one she sported while watching sister Venus Williams compete at the French Open earlier this month.
Want all the latest pregnancy and birth announcements,...
- 6/17/2017
- by Jen Juneau
- PEOPLE.com
Serena Williams is showing off her baby bump — and her patriotism.
The 35-year-old tennis star used Snapchat Monday to share a video and mirror selfie, showing off her bump in a new swimsuit from Target. (The one-piece retails for $30, and is available online!)
“Went on a shopping spree at Target. It’s the only place I could find a bathing suit that would fit me,” says Williams in the clip, showing off her growing belly under the American-flag-patterned suit and matching cape.
Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and...
The 35-year-old tennis star used Snapchat Monday to share a video and mirror selfie, showing off her bump in a new swimsuit from Target. (The one-piece retails for $30, and is available online!)
“Went on a shopping spree at Target. It’s the only place I could find a bathing suit that would fit me,” says Williams in the clip, showing off her growing belly under the American-flag-patterned suit and matching cape.
Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and...
- 6/13/2017
- by Jen Juneau
- PEOPLE.com
Covert Media’s foreign language label Lexica Films announced on Thursday it had licenced multiple territories at Afm to disaster film Earthquake and fantasy thriller The Night Watchmen.
Earthquake (pictured) and The Night Watchmen have gone in: Japan (At Entertainment), South Korea (First Run), Taiwan (Movie Cloud), India (One World Movies), Indonesia (Moxienotion), Malaysia and Vietnam (Sahamongkol), and Peru, Ecuador, Bolivia, and Colombia (Cinestar).
Splendid has picked up The Night Watchmen for Germany, as well as Fox TV for pan-Asia. Senior vice-president of international Jim Harvey – in Buenos Aires for the Ventana Sur market – takes the lead on Lexica sales for president of international Liz Kim Schwan.
The 28th annual Palm Springs International Film Festival will present the cast of Hidden Figures with the Ensemble Performance Award on January 2 at the annual film awards gala. Stars Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner and Jim Parsons are expected to attend.Hailing a successful...
Earthquake (pictured) and The Night Watchmen have gone in: Japan (At Entertainment), South Korea (First Run), Taiwan (Movie Cloud), India (One World Movies), Indonesia (Moxienotion), Malaysia and Vietnam (Sahamongkol), and Peru, Ecuador, Bolivia, and Colombia (Cinestar).
Splendid has picked up The Night Watchmen for Germany, as well as Fox TV for pan-Asia. Senior vice-president of international Jim Harvey – in Buenos Aires for the Ventana Sur market – takes the lead on Lexica sales for president of international Liz Kim Schwan.
The 28th annual Palm Springs International Film Festival will present the cast of Hidden Figures with the Ensemble Performance Award on January 2 at the annual film awards gala. Stars Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner and Jim Parsons are expected to attend.Hailing a successful...
- 12/1/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Few parts of this world have contributed as much to the filmic language as Romania. As singular a national voice and aesthetic as they come, Romanian cinema has become a launching pad not only for some of modern cinema’s most entrancing filmmakers, but also some of the most exciting explorations of a culture that few have much genuine knowledge of. Be it the typically chilly photography or the even more isolating sense of dread many of their dramas have, or even the dry nature of their comedies, Romanian cinema is in a golden age, and has spent the last decade leading world cinema. And now one of this country’s great smaller scale film festivals marks a decade itself, as the 10th edition of Making Waves: New Romanian Cinema is set to get under way. Here are the five films you absolutely can’t afford to miss.
Festival...
Festival...
- 12/2/2015
- by Joshua Brunsting
- CriterionCast
Known for programming the New York Film Festival and many more specialized film series, the Film Society of Lincoln Center has announced its lineup for the 10th edition of their annual "Making Waves: New Romanian Cinema" festival, opening December 2. Read More: Cannes Review: Frank Capra Meets the Romanian New Wave in Corneliu Porumboiu's 'The Treasure' "Making Waves" will feature a slate of new films making their New York and North American premieres, including "The Treasure," "Aferim!," a series of shorts and a retrospective for the Cannes favorites "The Death of Mr. Lăzărescu" and "California Dreamin." Here is the full festival lineup. Features: "Aferim!," dir. Radu Jude "The Treasure," dir. Corneliu Porumboiu "Why Me?," dir. Tudor Giurgiu "One Floor Below," dir. Radu Muntean "București Nonstop," dir. Dan...
- 11/6/2015
- by Aubrey Page
- Indiewire
Ben Gibson, former director of the London Film School (Lfs), is set to become the first non-German director of Berlin’s German Film & Television Academy (dffb).
Gibson was selected by the appointments committee over rival applications by filmmakers Bela Tarr and Romuald Karmakar, producer Dagmar Jacobsen and Pavel Jech, currently Dean of Prague’s Famu, as the successor to the previous director Jan Schütte.
Gibson left the Lfs last year after 13 years as director to become director of degree programmes at the Australian Film, Television & Radio School (Aftrs) in Sydney.
Gibson is no stranger to the dffb having recruited the Berlin academy as one of the European partners in the Making Waves distribution and marketing workshop with Paris’ La Fémis, Barcelona’s Ecac, and Romania’s Unatc.
During his time at Lfs, Gibson collaborated with the dffb on the Serial Eyes postgraduate high-level TV series writing and producing programme, launched in January 2013.
Funded by the EU’s Creative...
Gibson was selected by the appointments committee over rival applications by filmmakers Bela Tarr and Romuald Karmakar, producer Dagmar Jacobsen and Pavel Jech, currently Dean of Prague’s Famu, as the successor to the previous director Jan Schütte.
Gibson left the Lfs last year after 13 years as director to become director of degree programmes at the Australian Film, Television & Radio School (Aftrs) in Sydney.
Gibson is no stranger to the dffb having recruited the Berlin academy as one of the European partners in the Making Waves distribution and marketing workshop with Paris’ La Fémis, Barcelona’s Ecac, and Romania’s Unatc.
During his time at Lfs, Gibson collaborated with the dffb on the Serial Eyes postgraduate high-level TV series writing and producing programme, launched in January 2013.
Funded by the EU’s Creative...
- 10/19/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Exclusive: UK sales outfit boards Marco Niemeijer’s documentary.
UK sales outfit Starline Entertainment has boarded rights to Marco Niemeijer’s Holocaust themed documentary, Little Angels.
Produced by Annemiek van der Hell for Windmill Film, the documentary charts the troubled relationship between a 97-year-old Auschwitz survivor and her one remaining daughter born just after the emancipation of the camps.
Premiering at Netherlands Film Festival on Saturday (Sept 26) and nominated for Prix Europe 2015, the film is set for transmission in May 2016 on Joodse Omroep (Jewish Broadcaster) in the Netherlands.
Starline is hoping to pursue a similar release pattern on the film to the one it achieved with Gerry Fox’s documentary Marc Quinn: Making Waves, which earlier this year showed at Picturehouse cinemas, Dochouse and Home Manchester.
Julie Delaney, partner and director of worldwide distribution at Starline, said: “We’re very excited to be enriching our carefully chosen collection of documentaries with Marco Niemeijer’s thoroughly moving...
UK sales outfit Starline Entertainment has boarded rights to Marco Niemeijer’s Holocaust themed documentary, Little Angels.
Produced by Annemiek van der Hell for Windmill Film, the documentary charts the troubled relationship between a 97-year-old Auschwitz survivor and her one remaining daughter born just after the emancipation of the camps.
Premiering at Netherlands Film Festival on Saturday (Sept 26) and nominated for Prix Europe 2015, the film is set for transmission in May 2016 on Joodse Omroep (Jewish Broadcaster) in the Netherlands.
Starline is hoping to pursue a similar release pattern on the film to the one it achieved with Gerry Fox’s documentary Marc Quinn: Making Waves, which earlier this year showed at Picturehouse cinemas, Dochouse and Home Manchester.
Julie Delaney, partner and director of worldwide distribution at Starline, said: “We’re very excited to be enriching our carefully chosen collection of documentaries with Marco Niemeijer’s thoroughly moving...
- 9/22/2015
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Read More: Toronto Review: 'The Keeping Room' is a Feminist Western With Bite Making waves at the Toronto International Film Festival last year, Daniel Barber's "The Keeping Room" received specific praise for having a more inspired and feminist take on the American Western. The film is written by Julia Hart, whose script was on the Black List, and stars Brit Marling ("Arbitrage," "The East") Sam Worthington and Hailee Steinfeld ("True Grit," "Pitch Perfect 2"). The official synopsis, courtesy of Drafthouse Films, reads: "In this radically reimagined American Western set towards the end of the Civil War, Southerner Augusta (Marling) encounters two renegade, drunken soldiers (Worthington) who are on a mission of pillage and violence. After escaping an attempted assault, Augusta races back to the isolated farmhouse that she shares with her sister Louise (Steinfeld) and their female slave Mad (newcomer Muna Otaru.)...
- 8/12/2015
- by Ethan Sapienza
- Indiewire
Read More: The Most Ambitious Movie At This Year's Cannes Film Festival is 'Arabian Nights' Art house distributor Kino Lorber has acquired U.S. distribution rights to Miguel Gomes' epic "Arabian Nights." Making waves at this year's Cannes Film Festival, the six-hour trilogy discusses Portugal's social and economic plight, using real journalistic accounts that were then fictionalized and occasionally set to the tune of fairy tales. The films recently won top honors at the Sydney Film Festival. Kino Lorber CEO Richard Lorber said, "Miguel's amazing 'Arabian Nights' is a shape shifting work of unprecedented originality and intelligence. It astounded us in Cannes and we as a company exist to bring this kind of visionary cinema to welcoming screens across North America. It's also a helluva lot of fun -- I can't wait to see it again with 'civilian' audiences." All three films ("The Restless One," "The Desolate One" and "The Enchanted.
- 7/30/2015
- by Ethan Sapienza
- Indiewire
Exclusive: UK sales and distribution outfit adds TV and digital sales executive.
UK sales outfit Starline Entertainment has appointed Anna Brunelli as sales and acquisitions executive.
Italian, French and English-speaker Brunelli, who previously worked as production and distribution assistant for Italian companies Gabriele Albanesi Productions and as acquisitions and sales assistant at A-Pictures in Rome, will handle TV and digital sales to Southern Europe and Latin America.
Brunelli, who was also a production assistant for Les Films du Requin in Paris, recently started at the company.
Also new to the London-based outfit is marketing executive Tanya Lopes who will handle the company’s arrangements for film and TV markets and all marketing materials.
The English and Portuguese speaker began her career as an apprentice at High Point films, moving on to sales and marketing support before working in marketing outside the film and TV Industry.
Partner and director of worldwide distribution Julie Delaney said of the staff...
UK sales outfit Starline Entertainment has appointed Anna Brunelli as sales and acquisitions executive.
Italian, French and English-speaker Brunelli, who previously worked as production and distribution assistant for Italian companies Gabriele Albanesi Productions and as acquisitions and sales assistant at A-Pictures in Rome, will handle TV and digital sales to Southern Europe and Latin America.
Brunelli, who was also a production assistant for Les Films du Requin in Paris, recently started at the company.
Also new to the London-based outfit is marketing executive Tanya Lopes who will handle the company’s arrangements for film and TV markets and all marketing materials.
The English and Portuguese speaker began her career as an apprentice at High Point films, moving on to sales and marketing support before working in marketing outside the film and TV Industry.
Partner and director of worldwide distribution Julie Delaney said of the staff...
- 7/20/2015
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Jan Miller is a connector – and she loves doing it! Supporting producers around the world is in her DNA. After she invited us to speak at the second Strategic Partners in Halifax, (which she created and directed for 15 years), we would then meet Jan regularly in Cuba, Berlin and Cannes where she is a regular moderator at the Producers’ Network Breakfasts. Cartegena was also on her regular beat. She is in demand everywhere as a trainer for directors, writers and producers of pitching and content development as well as an international consultant, from regular events like Poland’s ScriptEast, to Guangzhou, Manaus, Capetown, Glasgow, Yellowknife and most recently, Tehran to name just a few of the more exotic locales.
After bringing the stars in alignment to launch Canada’s first national film school, the National Screen Institute and its highly regarded Features First and Drama Prize programs almost three decades ago, Jan moved from Canada’s west to the east coast where she launched Strategic Partners, Canada’s premiere international co-production market.
In Sp’s 10th year, Jan was approached by Nadja Radojevic of the The Erich Pommer Institut – Epi to partner on a brand new training concept Trans Atlantic Partners (Tap) where Jan Miller serves as its Head of Studies. Together they have developed the program in to one-of-a-kind training that brings together experienced producers from Europe, Canada and the U.S. with a team of Experts, to develop projects for international co-production and co-venturing. Tap is co-presented by the Erich Pommer Institut and the Canadian Media Production Association – Cmpa. Industry partners are Telefilm Canada and Canada Media Fund.
Always responding to the industry, Tap began with only European and Canadian involvement but both Nadja and Jan realized bringing U.S. indie producers into the mix would take the program to a whole other level. Each year, three additional producers from beyond these three ‘regions’ are also selected to participate in this two-module program.
The Tap 2015 line-up includes producers from India, Australia and Mexico. And now in its 7th year, Tap, responding to the industry needs, has opened its program to independent producers with international television series projects in development as well.
This year’s expert line-up of award winning producers include Belladonna’s René Bastian of Belladonna Productions whose film “ Cold in July” is directed by Jim Mickie, and whose newest film “Live Cargo” was presented at Ifp’s No Borders and Us in Progress this past month, K5’s Oliver Simon, Dynamic Television’s Klaus Zimmermann (“100 Code”, “Borgia”, “Death In Paradise”, “The Transporter”), international television consultant Lorri Faughan (“Pillars Of The Earth”), and Buffalo Gal’s Phyllis Laing, (“Aloft”, “Keyhole”, Heaven is for Real”) of Buffalo Gal Pictures, Canada, who was herself a Tap’er in its very first year.
Jan says that they often draw on previous Tap producer talent to come back as resources as so many have remarkable track records.
The Erich Pommer Institut of Germany is a leading training provider in the European media industry dealing with cutting-edge legal and economic topics. Nadja Radojevic, has recently moved into the CEO and Director of Training.
Epi was founded in 1998. Erich Pommer himself was the producer of “Metropolis” and “The Blue Angel”. He left Germany in the war and his grandson, Erich Pommer is a Los Angeles entertainment attorney. The Institute’s core business is advanced professional training in film and media. Aside from Trans Atlantic Partners which is held in Berlin in June and in Halifax in September post Tiff, Epi hosts a European TV Drama Series Lab following the American model with top showrunners and Scandinavian trainers. Now in its fourth edition - former editions featured Showrunners James Manos (“Sopranos”), Carol Flint (“West Wing”, “Emergency Room”), Frank Spotnitz (“The X-Files”), Simon Mirren (“Criminal Minds”) and Glen Mazzara of “Walking Dead” – David Semel, Executive Producer “Madam Secretary”, Co-Executive Producer “House MD” and Director of “The Man in the High Castle”, “Hannibal”, Hemlock Grove”, “Homeland”, “Heroes”will be trainer amongst others.
Epi also hosts Essential Legal Framework, a program consisting of three independent workshops for European professionals on negotiating, European coproduction and digital strategies. A national section for German speakers only, runs four hours a day with 20-30 seminars per year. Its focus is on media law and deals with television, film production, labor and tax revisions which – one of their best-selling seminars as there have recently been quite a lot of changes in tax law in Germany. Classes in film financing and film funding are also popular.
There is also a Copyright Policy Congress, Writers Room Simulation and other conventions featuring various current topics relevant to the media industry. In fall Epi is pioneering with Epi e:training starting with a course on European Co-Production. Epi e:training is offering crucial knowledge and business insights by top-level experts online – at your own pace and wherever and whenever you want. “We developed the online training program according to the demands of today’s media industry. It offers more flexibility and adapts to individual preferences," comments Nadja Radojevic. Epi is located at the historic Babelsberg Studios and can be found at www.epi-medieninstitut.de
Trans Atlantic Partners (Tap) is designed for experienced film and television producers from Europe, Canada and the U.S. including 3 additional seats for International producers. The 24 Tap 2015 producers below were selected by the Erich Pommer Institut (Epi) (Germany) and the Canadian Media Production Association (Cmpa) (Canada).
European Producers
-Simon Amberger, Germany (Producer, "Eastalgia", Molodist Int. Ff 2012, Tallinn Int. Ff 2013 | Producer, Blockbustaz, 2014, Winner ZDFneo TV Lab 2014 | Producer, Ada, 2014)
-Sebastien Aubert, France ("Patardzlebi" (Brides), 2014, Berlinale 2014, 3rd Audience Award)
-Rudolf Biermann, Czech Republic (Producer, "Kawasaki's Rose," 2009, Berlinale 2010, Ecumenical Award Panorama Section, Czech Lion 2010 | Executive Producer, "I Served the King of England," 2006, Berlinale 2006, Fipresci Critics Award | Producer, "Garden," 1995, Karlovy Vary Iff 1995, Jury Award)
-Jacqueline de Goeij, Belgium (Producer, "Allez, Eddy!," 2012, Chemnitz Ff, Main Prize & Diamant Award For Most Convincing Acting Performance Of A Child, Palm Springs Best of the Fest Selection | Producer, "Zus & Zo," 2002, Academy Awards, Nominee Best Foreign Language Film, Dutch Ff, Golden Calf Best Actor)
-Sylvia Günthner, Germany (Producer, "Bela Kiss: Prologue," 2013, Twisted Celluloid Ff Ireland 2013, Audi Festival of German Films Australia 2014)
-Martin Heisler, Germany (Producer, "Houston," 2013, Sundance Ff 2013, Independent Ff Boston 2013, Special Prize of the Jury | Producer "Forget Me Not," 2012, Ff Locarno, Settima Della Critica 2012, Best film | Producer "David Wants to Fly," 2010, Berlinale 2010)
-Rachel Lysaght, Ireland (Producer, "Patrick's Day," 2015, Ifta 2014, Best Script, Best Actor in a Leading Role, Best Sound | Producer, "One Million Dubliners," 2014, TV Award Sandford Saint Martin Trust, UK, Irish Ff Boston 2015, Director's Choice, Galway Film Fleadh Ireland 2014, Best Feature Documentary)
-Christof Neracher, Switzerland (Producer, "War" (Chrieg), 2014, San Sebastian Ff 2014, Max Ophüls 2014, Max Ophüls Prize | Producer Vitus, 2006, Shortlist Academy Awards Best Foreign Language Film 2006, Berlinale 2006, AFI Fest 2006, Audience Award)
-Diarmid Scrimshaw, UK (Producer / Production Co., "Tyrannosaur," 2012, Sundance 2011, Best Director, Satellite Awards 2011, Best First Feature)
Canadian Producers
-Coral Aiken, Canada (Producer, Big Muddy, 2014, Toronto Iff 2014, Arizona Iff 2015 | Producer, "The People Garden")
-Patrick Banister, Canada (Executive Producer, "Bitten," 2014 | Executive Producer, "Whistler," 2006)
-John Barbisan, Canada (Executive Producer, "Bitten," 2014 | Executive Producer, "Whistler," 2006)
-Amy Belling, Canada (Producer / DoP / Cam Op / Post Supervisor, Songs She Wrote About People She Knows, 2014, Toronto Iff 2014, Santa Barbara Iff 2015 | Producer / DoP / Cam Op / Post Super, Stress Position, 2013, Sci Fi London 2013, Las Vegas Ff 2013, Best Cinematography / Best Supporting Actor)
-Isaac Clements, Canada (Senior Production Executive, "The Pinkertons," 2014-15 | Production Executive, "Sunnyside,"2014-15 | Associate Producer, "Silent Night," 2012)
-Jeff Kopas, Canada (Producer / Director / Writer, "An Insignificant Harvey," 2011, Busan Iff 2012, Audience Award)
-Linda Ludwick, Canada (Exec. Producer/Producer: "Mohawk Girls Season 2," 2014, Yorkton Ff 2015, Banff Media Festival 2015 | Exec. Producer/Producer, "Smoke Traders," 2012, Yorkton Ff 2013 | Exec. Producer/Producer, "Reel Injun," 2009, 3 Gemini awards 2010 | Exec. Producer/Producer, "Moose TV," 2006, "Cfpta" 2008)
-Robyn Wiener, Canada (Producer, "Numb," 2015 | Producer, "Black Fly," 2014, Viff 2014 , Marché du Film Telefilm Perspective Canada Cannes 2015| Co-Producer / Line Producer, "Lawrence & Holoman," 2013, "Viff" 2013, Best Director | Co-Producer / Line Producer, "American Mary," 2012, London Fright Ff 2012)
American Producers
-Mollye Asher, USA (Producer, "Fort Tilden," 2015, SXSW 2014 Grand Jury Prize | Producer, "She's Lost Control," Independent Spirit Award Nominee 2015, Berlinale 2014 | Producer, "Songs My Brother Taught Me," 2015, Sundance 2015, Cannes 2015)
-Diane Houslin, USA (Producer, "Yelling to the Sky," 2011)
-Tommy Oliver, USA (Producer, 1982, 2015, Toronto Ff 2013, Austin Ff 2013, Marquee Audience Award | Producer, "The Perfect Guy," 2015 | Producer, "Kinyarwanda," 2011, Sundance Ff 2011, World Audience Award, AFI Fest 2011, Audience Award)
-Riel Roch Decter, USA (Producer, "The Wait," 2014, South by Southwest 2013, Deauville 2013 | Producer, "Bottled Up," 2014, Tribeca Film Festival 2013 | Producer, "Life After Death from Above 1979," 2014.
International Producers
-Vivek Kajaria, India (Producer, "Fandry," 2014, Indian Ff of La 2014, Grand Jury Prize Best Film, Fipresci India 2014, Film Critic Award Best Indian Film 2013 | Presenter, "Anumati," 2013, National Film Award for Best Actor 2013, New York Indian Ff 2013, Best Film Award | Producer, "Siddhant," 2015, Mumbai 2014)
-Ozcar Ramirez Gonzalez, Mexico (Producer, "Ciclo," 2013, DocsDF 2012, Vancouver Latino Iff 2013, Audience Award | Producer, "The Compass is Carried by the Dead Man," 2013, Tokyo Iff 2011, La Iff 2012 | Producer, "Days of Grace," 2012, Cannes Iff 2011, Guadalajara Iff 2012, Best Director, Best Score, Press Award)
-Lisa Shaunessy, Australia (Executive Producer, "Killing Ground," 2016 | Co-Producer, "Black & White & Sex," 2012, Iff Rotterdam 2012, Sydney Ff 2011, Best Experimental Film | Producer, "Hipsters," Sbs Australia, 2015)
Who is Jan Miller and how did she arrange such an organization?
It’s in Jan’s nature to look for opportunities to support the individual filmmaker, her local industry and work internationally as well. Most recently Jan served as an international consultant for the Canadian Media Production Association helping to develop their international strategy and contributing to Cmpa led delegations to Berlin and Rio de Janeiro. In March she led a delegation of 18 production companies to the Hk Filmart for Creative BC and Cmpa BC.
Jan divides her time on Tap, on international contracts, on teaching and on Wift-at.
How do you see the place of women in the film industry?
Recognizing that there was a real need in Atlantic Canada for women to come together and support, celebrate and learn from each other in the industry, I started Women in Film and Television - Atlantic which I headed up as Founding Chair and architect for six years. During this time I was working with a remarkable team to launch Women Making Waves an annual Conference that brings in the best female talent to offer master classes, panels, conversations and networking opportunities to men and women in the industry. I continue as one of the organization’s primary resources and mentors. And most recently, strongly believing that women in the industry need to strengthen their entrepreneurial skills and business strategies, I worked with Mount Saint Vincent University’s Centre for Women in Business, to launch Wift-at’s first six month Advanced Management and Mentoring Program.
Can you explain your connection to the music business?
Close to a decade ago, I was approached by Canada’s vibrant east coast music industry to adapt my pitching workshop into a program that has become “export readiness for the music industry”... During this intensive workshop I work with artists, bands and managers to develop their communication and pitch skills to present their work to international music supervisors, festival programrs and tour managers in 1-2-1 meetings. It was a very steep learning curve, but I loved the challenge of redesigning her training to fit a new market.
Can you explain your connection to romance writers?
When the Music Export Readiness workshops took off, other disciplines began approaching me to ask if I could adapt her teaching for a workshop for Romance Writers wanting to pitch to potential film and TV producers and then theatre practitioners wanting to pitch their properties internationally. My un-designed career path came full circle!
How did you come into the film world?
I first came into the entertainment industry through my theatre troupe that performed clown and mask shows internationally for 10 years as one of Canada’s cultural calling cards. During this period I successfully auditioned for a short film and the seed was planted …
What do you do in Nova Scotia? (or What did you do?)
Amazingly I call home Nova Scotia. Living 40 feet from the ocean, I connect daily to the world and travel the world almost as often. I am an international resource for the local industry and mentor talent both for the short term and long term as the demand requires. My husband and I also breed standard poodles!
How would you sum up your “portfolio”?
I am an initiator, a passionate connector devoted to helping people do what they want to do well.
After bringing the stars in alignment to launch Canada’s first national film school, the National Screen Institute and its highly regarded Features First and Drama Prize programs almost three decades ago, Jan moved from Canada’s west to the east coast where she launched Strategic Partners, Canada’s premiere international co-production market.
In Sp’s 10th year, Jan was approached by Nadja Radojevic of the The Erich Pommer Institut – Epi to partner on a brand new training concept Trans Atlantic Partners (Tap) where Jan Miller serves as its Head of Studies. Together they have developed the program in to one-of-a-kind training that brings together experienced producers from Europe, Canada and the U.S. with a team of Experts, to develop projects for international co-production and co-venturing. Tap is co-presented by the Erich Pommer Institut and the Canadian Media Production Association – Cmpa. Industry partners are Telefilm Canada and Canada Media Fund.
Always responding to the industry, Tap began with only European and Canadian involvement but both Nadja and Jan realized bringing U.S. indie producers into the mix would take the program to a whole other level. Each year, three additional producers from beyond these three ‘regions’ are also selected to participate in this two-module program.
The Tap 2015 line-up includes producers from India, Australia and Mexico. And now in its 7th year, Tap, responding to the industry needs, has opened its program to independent producers with international television series projects in development as well.
This year’s expert line-up of award winning producers include Belladonna’s René Bastian of Belladonna Productions whose film “ Cold in July” is directed by Jim Mickie, and whose newest film “Live Cargo” was presented at Ifp’s No Borders and Us in Progress this past month, K5’s Oliver Simon, Dynamic Television’s Klaus Zimmermann (“100 Code”, “Borgia”, “Death In Paradise”, “The Transporter”), international television consultant Lorri Faughan (“Pillars Of The Earth”), and Buffalo Gal’s Phyllis Laing, (“Aloft”, “Keyhole”, Heaven is for Real”) of Buffalo Gal Pictures, Canada, who was herself a Tap’er in its very first year.
Jan says that they often draw on previous Tap producer talent to come back as resources as so many have remarkable track records.
The Erich Pommer Institut of Germany is a leading training provider in the European media industry dealing with cutting-edge legal and economic topics. Nadja Radojevic, has recently moved into the CEO and Director of Training.
Epi was founded in 1998. Erich Pommer himself was the producer of “Metropolis” and “The Blue Angel”. He left Germany in the war and his grandson, Erich Pommer is a Los Angeles entertainment attorney. The Institute’s core business is advanced professional training in film and media. Aside from Trans Atlantic Partners which is held in Berlin in June and in Halifax in September post Tiff, Epi hosts a European TV Drama Series Lab following the American model with top showrunners and Scandinavian trainers. Now in its fourth edition - former editions featured Showrunners James Manos (“Sopranos”), Carol Flint (“West Wing”, “Emergency Room”), Frank Spotnitz (“The X-Files”), Simon Mirren (“Criminal Minds”) and Glen Mazzara of “Walking Dead” – David Semel, Executive Producer “Madam Secretary”, Co-Executive Producer “House MD” and Director of “The Man in the High Castle”, “Hannibal”, Hemlock Grove”, “Homeland”, “Heroes”will be trainer amongst others.
Epi also hosts Essential Legal Framework, a program consisting of three independent workshops for European professionals on negotiating, European coproduction and digital strategies. A national section for German speakers only, runs four hours a day with 20-30 seminars per year. Its focus is on media law and deals with television, film production, labor and tax revisions which – one of their best-selling seminars as there have recently been quite a lot of changes in tax law in Germany. Classes in film financing and film funding are also popular.
There is also a Copyright Policy Congress, Writers Room Simulation and other conventions featuring various current topics relevant to the media industry. In fall Epi is pioneering with Epi e:training starting with a course on European Co-Production. Epi e:training is offering crucial knowledge and business insights by top-level experts online – at your own pace and wherever and whenever you want. “We developed the online training program according to the demands of today’s media industry. It offers more flexibility and adapts to individual preferences," comments Nadja Radojevic. Epi is located at the historic Babelsberg Studios and can be found at www.epi-medieninstitut.de
Trans Atlantic Partners (Tap) is designed for experienced film and television producers from Europe, Canada and the U.S. including 3 additional seats for International producers. The 24 Tap 2015 producers below were selected by the Erich Pommer Institut (Epi) (Germany) and the Canadian Media Production Association (Cmpa) (Canada).
European Producers
-Simon Amberger, Germany (Producer, "Eastalgia", Molodist Int. Ff 2012, Tallinn Int. Ff 2013 | Producer, Blockbustaz, 2014, Winner ZDFneo TV Lab 2014 | Producer, Ada, 2014)
-Sebastien Aubert, France ("Patardzlebi" (Brides), 2014, Berlinale 2014, 3rd Audience Award)
-Rudolf Biermann, Czech Republic (Producer, "Kawasaki's Rose," 2009, Berlinale 2010, Ecumenical Award Panorama Section, Czech Lion 2010 | Executive Producer, "I Served the King of England," 2006, Berlinale 2006, Fipresci Critics Award | Producer, "Garden," 1995, Karlovy Vary Iff 1995, Jury Award)
-Jacqueline de Goeij, Belgium (Producer, "Allez, Eddy!," 2012, Chemnitz Ff, Main Prize & Diamant Award For Most Convincing Acting Performance Of A Child, Palm Springs Best of the Fest Selection | Producer, "Zus & Zo," 2002, Academy Awards, Nominee Best Foreign Language Film, Dutch Ff, Golden Calf Best Actor)
-Sylvia Günthner, Germany (Producer, "Bela Kiss: Prologue," 2013, Twisted Celluloid Ff Ireland 2013, Audi Festival of German Films Australia 2014)
-Martin Heisler, Germany (Producer, "Houston," 2013, Sundance Ff 2013, Independent Ff Boston 2013, Special Prize of the Jury | Producer "Forget Me Not," 2012, Ff Locarno, Settima Della Critica 2012, Best film | Producer "David Wants to Fly," 2010, Berlinale 2010)
-Rachel Lysaght, Ireland (Producer, "Patrick's Day," 2015, Ifta 2014, Best Script, Best Actor in a Leading Role, Best Sound | Producer, "One Million Dubliners," 2014, TV Award Sandford Saint Martin Trust, UK, Irish Ff Boston 2015, Director's Choice, Galway Film Fleadh Ireland 2014, Best Feature Documentary)
-Christof Neracher, Switzerland (Producer, "War" (Chrieg), 2014, San Sebastian Ff 2014, Max Ophüls 2014, Max Ophüls Prize | Producer Vitus, 2006, Shortlist Academy Awards Best Foreign Language Film 2006, Berlinale 2006, AFI Fest 2006, Audience Award)
-Diarmid Scrimshaw, UK (Producer / Production Co., "Tyrannosaur," 2012, Sundance 2011, Best Director, Satellite Awards 2011, Best First Feature)
Canadian Producers
-Coral Aiken, Canada (Producer, Big Muddy, 2014, Toronto Iff 2014, Arizona Iff 2015 | Producer, "The People Garden")
-Patrick Banister, Canada (Executive Producer, "Bitten," 2014 | Executive Producer, "Whistler," 2006)
-John Barbisan, Canada (Executive Producer, "Bitten," 2014 | Executive Producer, "Whistler," 2006)
-Amy Belling, Canada (Producer / DoP / Cam Op / Post Supervisor, Songs She Wrote About People She Knows, 2014, Toronto Iff 2014, Santa Barbara Iff 2015 | Producer / DoP / Cam Op / Post Super, Stress Position, 2013, Sci Fi London 2013, Las Vegas Ff 2013, Best Cinematography / Best Supporting Actor)
-Isaac Clements, Canada (Senior Production Executive, "The Pinkertons," 2014-15 | Production Executive, "Sunnyside,"2014-15 | Associate Producer, "Silent Night," 2012)
-Jeff Kopas, Canada (Producer / Director / Writer, "An Insignificant Harvey," 2011, Busan Iff 2012, Audience Award)
-Linda Ludwick, Canada (Exec. Producer/Producer: "Mohawk Girls Season 2," 2014, Yorkton Ff 2015, Banff Media Festival 2015 | Exec. Producer/Producer, "Smoke Traders," 2012, Yorkton Ff 2013 | Exec. Producer/Producer, "Reel Injun," 2009, 3 Gemini awards 2010 | Exec. Producer/Producer, "Moose TV," 2006, "Cfpta" 2008)
-Robyn Wiener, Canada (Producer, "Numb," 2015 | Producer, "Black Fly," 2014, Viff 2014 , Marché du Film Telefilm Perspective Canada Cannes 2015| Co-Producer / Line Producer, "Lawrence & Holoman," 2013, "Viff" 2013, Best Director | Co-Producer / Line Producer, "American Mary," 2012, London Fright Ff 2012)
American Producers
-Mollye Asher, USA (Producer, "Fort Tilden," 2015, SXSW 2014 Grand Jury Prize | Producer, "She's Lost Control," Independent Spirit Award Nominee 2015, Berlinale 2014 | Producer, "Songs My Brother Taught Me," 2015, Sundance 2015, Cannes 2015)
-Diane Houslin, USA (Producer, "Yelling to the Sky," 2011)
-Tommy Oliver, USA (Producer, 1982, 2015, Toronto Ff 2013, Austin Ff 2013, Marquee Audience Award | Producer, "The Perfect Guy," 2015 | Producer, "Kinyarwanda," 2011, Sundance Ff 2011, World Audience Award, AFI Fest 2011, Audience Award)
-Riel Roch Decter, USA (Producer, "The Wait," 2014, South by Southwest 2013, Deauville 2013 | Producer, "Bottled Up," 2014, Tribeca Film Festival 2013 | Producer, "Life After Death from Above 1979," 2014.
International Producers
-Vivek Kajaria, India (Producer, "Fandry," 2014, Indian Ff of La 2014, Grand Jury Prize Best Film, Fipresci India 2014, Film Critic Award Best Indian Film 2013 | Presenter, "Anumati," 2013, National Film Award for Best Actor 2013, New York Indian Ff 2013, Best Film Award | Producer, "Siddhant," 2015, Mumbai 2014)
-Ozcar Ramirez Gonzalez, Mexico (Producer, "Ciclo," 2013, DocsDF 2012, Vancouver Latino Iff 2013, Audience Award | Producer, "The Compass is Carried by the Dead Man," 2013, Tokyo Iff 2011, La Iff 2012 | Producer, "Days of Grace," 2012, Cannes Iff 2011, Guadalajara Iff 2012, Best Director, Best Score, Press Award)
-Lisa Shaunessy, Australia (Executive Producer, "Killing Ground," 2016 | Co-Producer, "Black & White & Sex," 2012, Iff Rotterdam 2012, Sydney Ff 2011, Best Experimental Film | Producer, "Hipsters," Sbs Australia, 2015)
Who is Jan Miller and how did she arrange such an organization?
It’s in Jan’s nature to look for opportunities to support the individual filmmaker, her local industry and work internationally as well. Most recently Jan served as an international consultant for the Canadian Media Production Association helping to develop their international strategy and contributing to Cmpa led delegations to Berlin and Rio de Janeiro. In March she led a delegation of 18 production companies to the Hk Filmart for Creative BC and Cmpa BC.
Jan divides her time on Tap, on international contracts, on teaching and on Wift-at.
How do you see the place of women in the film industry?
Recognizing that there was a real need in Atlantic Canada for women to come together and support, celebrate and learn from each other in the industry, I started Women in Film and Television - Atlantic which I headed up as Founding Chair and architect for six years. During this time I was working with a remarkable team to launch Women Making Waves an annual Conference that brings in the best female talent to offer master classes, panels, conversations and networking opportunities to men and women in the industry. I continue as one of the organization’s primary resources and mentors. And most recently, strongly believing that women in the industry need to strengthen their entrepreneurial skills and business strategies, I worked with Mount Saint Vincent University’s Centre for Women in Business, to launch Wift-at’s first six month Advanced Management and Mentoring Program.
Can you explain your connection to the music business?
Close to a decade ago, I was approached by Canada’s vibrant east coast music industry to adapt my pitching workshop into a program that has become “export readiness for the music industry”... During this intensive workshop I work with artists, bands and managers to develop their communication and pitch skills to present their work to international music supervisors, festival programrs and tour managers in 1-2-1 meetings. It was a very steep learning curve, but I loved the challenge of redesigning her training to fit a new market.
Can you explain your connection to romance writers?
When the Music Export Readiness workshops took off, other disciplines began approaching me to ask if I could adapt her teaching for a workshop for Romance Writers wanting to pitch to potential film and TV producers and then theatre practitioners wanting to pitch their properties internationally. My un-designed career path came full circle!
How did you come into the film world?
I first came into the entertainment industry through my theatre troupe that performed clown and mask shows internationally for 10 years as one of Canada’s cultural calling cards. During this period I successfully auditioned for a short film and the seed was planted …
What do you do in Nova Scotia? (or What did you do?)
Amazingly I call home Nova Scotia. Living 40 feet from the ocean, I connect daily to the world and travel the world almost as often. I am an international resource for the local industry and mentor talent both for the short term and long term as the demand requires. My husband and I also breed standard poodles!
How would you sum up your “portfolio”?
I am an initiator, a passionate connector devoted to helping people do what they want to do well.
- 6/22/2015
- by Sydney Levine
- Sydney's Buzz
Echoes of Autumn: Jurgiu’s Understated Debut Tender, Unmemorable
Inevitably, it’s difficult to consider the merits of Romanian director Tudor Cristian Jurgiu’s directorial debut The Japanese Dog without first positioning it within the context of the current output of Jurgiu’s peers, many of whom belong and have flourished in the framework established by the New Romanian Wave. Simple, sort of tender, and not without a subtle blend of layered meaning, many will (and have) compared the film, mostly unfavorably, to the works of Yasujiro Ozu, wherein in delicate, incredibly fragile familial emotions interweave within the confines of simplistic narrative. Yet Jurgiu’s film feels much to sleight of hand and shirks from the responsibility of going beyond the superficiality of its sentiments.
Costache (Victor Rebengiuc) is a crusty curmudgeon, a man who mostly keeps to himself in his small village. Recently, it seems a major flood has...
Inevitably, it’s difficult to consider the merits of Romanian director Tudor Cristian Jurgiu’s directorial debut The Japanese Dog without first positioning it within the context of the current output of Jurgiu’s peers, many of whom belong and have flourished in the framework established by the New Romanian Wave. Simple, sort of tender, and not without a subtle blend of layered meaning, many will (and have) compared the film, mostly unfavorably, to the works of Yasujiro Ozu, wherein in delicate, incredibly fragile familial emotions interweave within the confines of simplistic narrative. Yet Jurgiu’s film feels much to sleight of hand and shirks from the responsibility of going beyond the superficiality of its sentiments.
Costache (Victor Rebengiuc) is a crusty curmudgeon, a man who mostly keeps to himself in his small village. Recently, it seems a major flood has...
- 5/23/2015
- by Nicholas Bell
- IONCINEMA.com
The competition is heating up! Round one is over, and the results are in in our annual Alpha Male Madness Tournament, which is out to find TV's ultimate leading man. After the first round of head to head battles, we're doing to 32 contenders, with just one remaining hopeful Once Upon a Time star (We started with three!) and all three Supernatural stars still in the mix. Making waves? Amm newbie Sam Heughan from Outlander! But it's time for a whole new round and no one (no matter how handsome he may be!) is safe. This round of voting closes on Sunday, April 19 at 5 p.m. Pt, with the Sweet 16 kicking off on Monday. So if you have plans, cancel them because you can vote as often and as many times as...
- 4/16/2015
- E! Online
Exclusive: Staff, slate segue to existing UK sales and production outfit.
UK sales and distribution outfit High Point Films & TV has merged with existing UK production and sales company Starline Entertainment in a bid to grow and bring fresh impetus to both companies.
Key staff to transition to Starline as part of the rebrand include High Point MD Carey Fitzgerald, Julie Delaney, who becomes director of worldwide distribution, and Piers Nightingale, who assumes the role director of acquisitions.
Industry veteran Fitzgerald will remain MD of High Point, whose catalogue will be managed by Starline, while Delaney and Nightingale will work closely with existing Starline MD Ronald de Neef, himself a non-executive chair of High Point. All four will be shareholders in Starline.
In its new guise Starline will continue to handle features for international sales but will also take on more alternative content such as transmedia and web series and will look to pursue more direct and event-based...
UK sales and distribution outfit High Point Films & TV has merged with existing UK production and sales company Starline Entertainment in a bid to grow and bring fresh impetus to both companies.
Key staff to transition to Starline as part of the rebrand include High Point MD Carey Fitzgerald, Julie Delaney, who becomes director of worldwide distribution, and Piers Nightingale, who assumes the role director of acquisitions.
Industry veteran Fitzgerald will remain MD of High Point, whose catalogue will be managed by Starline, while Delaney and Nightingale will work closely with existing Starline MD Ronald de Neef, himself a non-executive chair of High Point. All four will be shareholders in Starline.
In its new guise Starline will continue to handle features for international sales but will also take on more alternative content such as transmedia and web series and will look to pursue more direct and event-based...
- 4/15/2015
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
A quick roundup of goings on in the States and Europe: David Denby on Robert Altman's The Player; highlights from Making Waves: New Romanian Cinema 2014 (featuring work by Corneliu Porumboiu, Andrei Gruzsnicki, Stere Gulea, Valentin Hotea, Maya Vitkova, Cristian Jurgiu and more); Louis C.K., Paul Thomas Anderson and Robert Downey Jr. presenting a Robert Downey Sr. retrospective; sci-fi in Austin; Maggie Smith and Audrey Hepburn in London; John Ford in Paris; Eric Baudelaire in Brussels; and more. » - David Hudson...
- 12/4/2014
- Keyframe
A quick roundup of goings on in the States and Europe: David Denby on Robert Altman's The Player; highlights from Making Waves: New Romanian Cinema 2014 (featuring work by Corneliu Porumboiu, Andrei Gruzsnicki, Stere Gulea, Valentin Hotea, Maya Vitkova, Cristian Jurgiu and more); Louis C.K., Paul Thomas Anderson and Robert Downey Jr. presenting a Robert Downey Sr. retrospective; sci-fi in Austin; Maggie Smith and Audrey Hepburn in London; John Ford in Paris; Eric Baudelaire in Brussels; and more. » - David Hudson...
- 12/4/2014
- Fandor: Keyframe
A little bit of Bucharest will soon rise at New York's Film Society of Lincoln Center where the Making Waves festival is going to hold its 9th edition. The latest crop of Romanian films kicks off December 4. U.S. audiences will have chance to catch the Romanian nomination for the Academy Award for Best Foreign-language Film, Tudor Cristian Jurgiu's contemplation upon family relationships, The Japanese Dog or Valentin Hotea´s Roxanne taking place twenty years after the Romanian revolution with central character Tavi Ionescu feeling a sudden bitterness over an old incident when somebody ratted on him to the Secret Police. The original catalyst comes in the form of a home inspection and interrogations for Tavi when an innocent letter to the radio Free Europe...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 11/29/2014
- Screen Anarchy
Above: a sultry new poster for Paul Thomas Anderson's Inherent Vice. Dumb and Dumber To has opened to unsurprisingly mixed reviews, but Farrelly brothers champion R. Emmet Sweeney makes a case for the long awaited sequel for Film Comment:
"Dumb and Dumber To is about a deep, abiding friendship that can survive any indignities. After Harry and Lloyd’s journey is over, they’ve tossed away fortunes and frittered away kidneys, but they need each other to survive. As each momentary acquaintance slinks, or runs, away, it’s up to Harry and Lloyd to forget and move on. Or as is the case for Lloyd, to think about ninjas and wake up licking the grill of a big rig. Either way they can’t live without each other. And though they could never admit it, or even form the words in their desiccated cortexes, what they have is something like love.
"Dumb and Dumber To is about a deep, abiding friendship that can survive any indignities. After Harry and Lloyd’s journey is over, they’ve tossed away fortunes and frittered away kidneys, but they need each other to survive. As each momentary acquaintance slinks, or runs, away, it’s up to Harry and Lloyd to forget and move on. Or as is the case for Lloyd, to think about ninjas and wake up licking the grill of a big rig. Either way they can’t live without each other. And though they could never admit it, or even form the words in their desiccated cortexes, what they have is something like love.
- 11/19/2014
- by Notebook
- MUBI
Browse all the sections of the 58th London Film Festival (Oct 8-18) including the galas, competition titles and individual sections.
Alphabetical list of titles by section including feature premiere status
Wp = Wp
Ep = European Premiere
IP = International Premiere
UK = UK Premiere
Opening Night
The Imitation Game (UK-us)
dir. Morten Tyldum
Closing Night
Fury (Us)
dir. David Ayer
GalasTitlePremFoxcatcher (Us)
dir. Bennett MillerUKWhiplash (Us)
dir. Damien ChazelleUKMen, Women And Children (Us)
dir. Jason ReitmanEPWild (Us)
dir. Jean-Marc ValleeEPTestament Of Youth (UK)
dir. James KentWPMr. Turner (UK)
dir. Mike LeighUKThe Battles Of Coronel And Falkland Islands (UK)
dir. Walter Summers Rosewater (Us)
dir. Jon StewartEPMommy (Can)
dir. Xavier DolanUKA Little Chaos (UK)
dir. Alan RickmanEPWild Tales (Arg)
dir. Damián SzifrónUKThe Salvation (Den)
dir. Kristian Levring The White Haired Witch Of Lunar Kingdom (Chi)
dir. Jacob CheungIPWinter Sleep (Tur)
dir. Nuri Bilge CeylanUKBjork: Biophilia Live (UK)
dir. Nick Fenton, Peter StricklandUKSong Of The Sea (Ire)
dir. Tomm MooreEPOfficial...
Alphabetical list of titles by section including feature premiere status
Wp = Wp
Ep = European Premiere
IP = International Premiere
UK = UK Premiere
Opening Night
The Imitation Game (UK-us)
dir. Morten Tyldum
Closing Night
Fury (Us)
dir. David Ayer
GalasTitlePremFoxcatcher (Us)
dir. Bennett MillerUKWhiplash (Us)
dir. Damien ChazelleUKMen, Women And Children (Us)
dir. Jason ReitmanEPWild (Us)
dir. Jean-Marc ValleeEPTestament Of Youth (UK)
dir. James KentWPMr. Turner (UK)
dir. Mike LeighUKThe Battles Of Coronel And Falkland Islands (UK)
dir. Walter Summers Rosewater (Us)
dir. Jon StewartEPMommy (Can)
dir. Xavier DolanUKA Little Chaos (UK)
dir. Alan RickmanEPWild Tales (Arg)
dir. Damián SzifrónUKThe Salvation (Den)
dir. Kristian Levring The White Haired Witch Of Lunar Kingdom (Chi)
dir. Jacob CheungIPWinter Sleep (Tur)
dir. Nuri Bilge CeylanUKBjork: Biophilia Live (UK)
dir. Nick Fenton, Peter StricklandUKSong Of The Sea (Ire)
dir. Tomm MooreEPOfficial...
- 9/3/2014
- ScreenDaily
After their Starbucks outing on Friday (March 7), Justin Bieber and Selena Gomez hung out together at a Texas dance studio.
Making waves in the gossip world, the on-again-off-again couple were in good spirits as they quickly headed out of Action Dance Studio in McAllen, Texas over the weekend.
Celebuzz reports that the studio’s owner says Justin and Selena “were very nice and cooperative.”
“They were dancing together and playing around,” the owner added.
Selena is back in her home state for her Stars Dance tour.
Making waves in the gossip world, the on-again-off-again couple were in good spirits as they quickly headed out of Action Dance Studio in McAllen, Texas over the weekend.
Celebuzz reports that the studio’s owner says Justin and Selena “were very nice and cooperative.”
“They were dancing together and playing around,” the owner added.
Selena is back in her home state for her Stars Dance tour.
- 3/10/2014
- GossipCenter
Though the market seemed slow on the surface, the usual sales got made: the larger companies selling almost out, the smaller ones busily speaking with others, selling here and there, worrying if this would get better, worse, or stay the same.
Meanwhile fascinating and energizing conversations were carried on with friends, newcomers, keepers of funds, representatives of countries and their needs to internationalize, to join forces with one another to create new models, internationalize, form cross cultural competent and cooperative ways of working together. We know the past model is failing to keep up with the technology and its fast spawning product. Some would say the old model is old and frail, sucking its old teeth as it pretends to carry on, but in reality, it is carrying its own corpse upon its shoulders. I would never go so far as to say this; the model will be changed, refined and redesigned, but it will survive because some people enjoy theatrical settings and that helps further other sales
FBI Casting Director Beatrice Kruger (now working on Fatih Akin¹s The Cut) spoke to us over dinner at Einsteins about her experience on Woody Allen¹s To Rome With Love, how he got involved in the real life politics of Italy as he attempted to cast real newscasters in the roles they play in real life. He didn't want the right wingers. He didn't like them, but he was told he had to hire them if he wanted to access the government monies, ...besides, how could he cast a left wing newscaster into the role off a right wing commentator? The experience of Italian politics did not make him happy.
Frank Cox, the founder of the Australian arthouse distributor Hopscotch which has been sold to eOne Entertainment, was in the Scandinavian Pavilion and told me he is still carrying on though on a smaller scale with his original company, New Vision Distribution. He recently acquired We¹re The Best by Lucas Moodyson, a darling film that showed in Cannes and Toronto and totally endeared me to its 13 year old girls as they searched for ways to get into trouble. (Magnolia has U.S.)
Robbie Little and Elie Mechoulam, Director of Sales and Marketing of The Little Film Company tallying up that $30,000,000 at the box office at $11 per ticket is only 3 million admissions, or 300,000 tickets sold...TV would be failure if it had such numbers. TV makes $46 million in ad sales on one episode of a great series...
Andrea Kaul, the EFM¹s new Co-Director who comes from Rtl TV and ad sales was not at that conversation, but when we spoke after the market was finished, such a topic as episodic content and online ad sales was also on her mind. The Berlinale screening of Netflix¹s second installment of Houses of Cards was a great success in the last days of the Berlinale, which was in itself food for thought. Even Dieter Kosslick, in his interview with Indiewire¹s Eric Kohn (Read Here) said, "We showed, for the first time in history, House of Cards. We have never done such a thing before. Heads were turning last night. Last year, we had [Jane Campion¹s TV series] Top of the Lake (in its entirety),so we are starting this new whole world."
Ted Hope of Fandor pointed out, "Research company Markets and Markets predicts global video-on-demand (VOD) revenue will grow from $21 billion last year to $45 billion in 2018. They define this as the combined revenues of all VOD outlets, worldwide ‹ essentially digital (online) VOD plus cable & satellite VOD. Huge numbers, but actually not a particularly high compound annual growth rate (16%) to get to the $45b number in years. Figure roughly half of this revenue flows to content owners and half to the VOD outlets."
To see the excitement of young people just beginning...everything to gain and little to lose, learning to like what they are doing to further their aims at telling stories their way. When I spoke with Wafa Tajdin, a founding partner and lead producer at Seven Thirty Films, an Africa based indie production company she runs with her sister, artist and film maker Amirah Tajdin. This Arab Indian pair of sisters is working to tell their stories of growing up in Kenya and living in Dubai...I asked which parent was what and was told that each parent was also half Arab, half Indian, the same sexes too...I should have told them about Peter, whose Italian Jewish parents also lived in such a ghetto of mixed marriages in east Harlem in the 1910s and 1920s. These are the stories which are forming in world cinema today. You can see her work Here
True cross-culture creation is taking place in the Talents section of the Efm. Eleven films of former Talent Campus participants are showing in the festival this year
One talent, Sompot Chidgasornpongse has formed a new international sales agency (and distribution company) called Mosquito. Thailand¹s leading independent filmmakers Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives), Pimpaka Towira (One Night Husband), Aditya Assarat (Hi-So), Soros Sukhum (Wonderful Town), Anocha Suwichakornpong (Mundane History), and Lee Chatametikool have joined hands to open Mosquito Films Distribution. The new company will handle international sales and festival distribution for the partners¹ films as well as upcoming titles from the new generation of Southeast Asian filmmakers. - See more Here
Ben Gibson of London Film School,Ira Deutchman of Colombia Film School, German film school dffb, Frances La Femis, Fescac the Romanian Film and Theater University are continuing their initiative Making Waves, bringing in students to work collaboratively to develop creative campaigns, edit trailers, design posters and plan roll-out packages for actual independent movies in the Efm.
Also exciting was the search for new models, not only in the film world of funding by government organizations, but of society as discussed in such films as Göran Hugo Olsson¹s (Black Mix Tapes) Concerning Violence and Hubert Sauper¹s We Come as Friends , and of women in society. 50% of public funds should be made available for women who not only constitute 50% of the public as moviegoers and should represent 50% of the cinephiles (those working in the film business) but 50% of all societies and therefore should have 50% of the voice of public policy.
In its second year, the Dortmund Women's Film Festival drew even more women to hear and discuss the status of women in the film business and gender parity. Speakers such as Heike Meyer-Döring of the Creative Europe Desk of Film and Medienstiftung Nrw, Bosnian filmmaker and Golden Bear Winner in 2006 Jasmila Zbanic, So-in Hong of the Seoul International Womens Film Festival speaking on aims and projects of the Asian Women Film Network, Melissa Silverstein of the Athena Film Festival and blogger on Women and Hollywood updating on the status of women filmmakers in the U.S., Mariel Macia of Mica/ Cima, Spain speaking of the proposal for the EU Commission regarding gender equality on state aid for film - all these and more, like Claudia Landsberger head of Eye International, Film Institute Netherlands hosting a panel of Susana de la Sierra, General Director of Icaa, Spanish Film Institute noting that 7% of the leading roles were women and the 2007 Law for Gender Equality, Cornelia Hammelmann, Project Director of the German Federal Fund, Sanja Ravlic, President of the Gender Equality Study Group of Eurimages, Croatia -- all spoke of what seems as obvious as the noses on our faces, but which has made little impact on the reality of policies yet... We had so many more conversations, I wish I could put them all here.
With all the ideas circulating, one could hardly say that the Berlinale and the European Film Market were not busy.
Meanwhile fascinating and energizing conversations were carried on with friends, newcomers, keepers of funds, representatives of countries and their needs to internationalize, to join forces with one another to create new models, internationalize, form cross cultural competent and cooperative ways of working together. We know the past model is failing to keep up with the technology and its fast spawning product. Some would say the old model is old and frail, sucking its old teeth as it pretends to carry on, but in reality, it is carrying its own corpse upon its shoulders. I would never go so far as to say this; the model will be changed, refined and redesigned, but it will survive because some people enjoy theatrical settings and that helps further other sales
FBI Casting Director Beatrice Kruger (now working on Fatih Akin¹s The Cut) spoke to us over dinner at Einsteins about her experience on Woody Allen¹s To Rome With Love, how he got involved in the real life politics of Italy as he attempted to cast real newscasters in the roles they play in real life. He didn't want the right wingers. He didn't like them, but he was told he had to hire them if he wanted to access the government monies, ...besides, how could he cast a left wing newscaster into the role off a right wing commentator? The experience of Italian politics did not make him happy.
Frank Cox, the founder of the Australian arthouse distributor Hopscotch which has been sold to eOne Entertainment, was in the Scandinavian Pavilion and told me he is still carrying on though on a smaller scale with his original company, New Vision Distribution. He recently acquired We¹re The Best by Lucas Moodyson, a darling film that showed in Cannes and Toronto and totally endeared me to its 13 year old girls as they searched for ways to get into trouble. (Magnolia has U.S.)
Robbie Little and Elie Mechoulam, Director of Sales and Marketing of The Little Film Company tallying up that $30,000,000 at the box office at $11 per ticket is only 3 million admissions, or 300,000 tickets sold...TV would be failure if it had such numbers. TV makes $46 million in ad sales on one episode of a great series...
Andrea Kaul, the EFM¹s new Co-Director who comes from Rtl TV and ad sales was not at that conversation, but when we spoke after the market was finished, such a topic as episodic content and online ad sales was also on her mind. The Berlinale screening of Netflix¹s second installment of Houses of Cards was a great success in the last days of the Berlinale, which was in itself food for thought. Even Dieter Kosslick, in his interview with Indiewire¹s Eric Kohn (Read Here) said, "We showed, for the first time in history, House of Cards. We have never done such a thing before. Heads were turning last night. Last year, we had [Jane Campion¹s TV series] Top of the Lake (in its entirety),so we are starting this new whole world."
Ted Hope of Fandor pointed out, "Research company Markets and Markets predicts global video-on-demand (VOD) revenue will grow from $21 billion last year to $45 billion in 2018. They define this as the combined revenues of all VOD outlets, worldwide ‹ essentially digital (online) VOD plus cable & satellite VOD. Huge numbers, but actually not a particularly high compound annual growth rate (16%) to get to the $45b number in years. Figure roughly half of this revenue flows to content owners and half to the VOD outlets."
To see the excitement of young people just beginning...everything to gain and little to lose, learning to like what they are doing to further their aims at telling stories their way. When I spoke with Wafa Tajdin, a founding partner and lead producer at Seven Thirty Films, an Africa based indie production company she runs with her sister, artist and film maker Amirah Tajdin. This Arab Indian pair of sisters is working to tell their stories of growing up in Kenya and living in Dubai...I asked which parent was what and was told that each parent was also half Arab, half Indian, the same sexes too...I should have told them about Peter, whose Italian Jewish parents also lived in such a ghetto of mixed marriages in east Harlem in the 1910s and 1920s. These are the stories which are forming in world cinema today. You can see her work Here
True cross-culture creation is taking place in the Talents section of the Efm. Eleven films of former Talent Campus participants are showing in the festival this year
One talent, Sompot Chidgasornpongse has formed a new international sales agency (and distribution company) called Mosquito. Thailand¹s leading independent filmmakers Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives), Pimpaka Towira (One Night Husband), Aditya Assarat (Hi-So), Soros Sukhum (Wonderful Town), Anocha Suwichakornpong (Mundane History), and Lee Chatametikool have joined hands to open Mosquito Films Distribution. The new company will handle international sales and festival distribution for the partners¹ films as well as upcoming titles from the new generation of Southeast Asian filmmakers. - See more Here
Ben Gibson of London Film School,Ira Deutchman of Colombia Film School, German film school dffb, Frances La Femis, Fescac the Romanian Film and Theater University are continuing their initiative Making Waves, bringing in students to work collaboratively to develop creative campaigns, edit trailers, design posters and plan roll-out packages for actual independent movies in the Efm.
Also exciting was the search for new models, not only in the film world of funding by government organizations, but of society as discussed in such films as Göran Hugo Olsson¹s (Black Mix Tapes) Concerning Violence and Hubert Sauper¹s We Come as Friends , and of women in society. 50% of public funds should be made available for women who not only constitute 50% of the public as moviegoers and should represent 50% of the cinephiles (those working in the film business) but 50% of all societies and therefore should have 50% of the voice of public policy.
In its second year, the Dortmund Women's Film Festival drew even more women to hear and discuss the status of women in the film business and gender parity. Speakers such as Heike Meyer-Döring of the Creative Europe Desk of Film and Medienstiftung Nrw, Bosnian filmmaker and Golden Bear Winner in 2006 Jasmila Zbanic, So-in Hong of the Seoul International Womens Film Festival speaking on aims and projects of the Asian Women Film Network, Melissa Silverstein of the Athena Film Festival and blogger on Women and Hollywood updating on the status of women filmmakers in the U.S., Mariel Macia of Mica/ Cima, Spain speaking of the proposal for the EU Commission regarding gender equality on state aid for film - all these and more, like Claudia Landsberger head of Eye International, Film Institute Netherlands hosting a panel of Susana de la Sierra, General Director of Icaa, Spanish Film Institute noting that 7% of the leading roles were women and the 2007 Law for Gender Equality, Cornelia Hammelmann, Project Director of the German Federal Fund, Sanja Ravlic, President of the Gender Equality Study Group of Eurimages, Croatia -- all spoke of what seems as obvious as the noses on our faces, but which has made little impact on the reality of policies yet... We had so many more conversations, I wish I could put them all here.
With all the ideas circulating, one could hardly say that the Berlinale and the European Film Market were not busy.
- 2/27/2014
- by Sydney Levine
- Sydney's Buzz
During Afm I was privileged to interview Beki Probst, Director of the European Film Market, one of the three top international film markets in the world and Wieland Speck, Director of the Berlin Film Festival’s Panorama. Both are innovators of what have become the standard features of film markets and festivals. Beki and Wieland speak about their roles live-on-video filmed during Afm by doc filmmaker Robert Ball.
The Berlin International Film Festival began in 1951 at the height of the Cold War as a signal to East Germany that West Berlin was still in the Avant Garde. It is now one of the world’s leading film festivals selling something more than 300,000 tickets to the public.
When the festival moved from West Berlin to Potsdamer Platz in time for its 50th anniversary in 2000, its name was changed and trademarked as the Berlinale.
The European Film Market (Efm) was created by the Berlin International Film Festival somewhere in the mid 1980s because those whose films were screening in the Festival also needed a place where distributors around the world could meet to acquire the rights to license the burgeoning home video rights along with the theatrical and TV rights. Other festivals scouting films to program also began attending in greater numbers. Today about 20,000 industry visitors attend along with some 4,000 journalists from a total of 130 countries. Trade alone purchases some 175,000 additional tickets to screenings.
Beki thus took a leading role in how markets operate, although hers was originally a market strictly for festival art films. This is in contrast to the American Film Market which had no affiliation to a festival and offered genre films as well which were being licensed for home video. At that time in the 80s, there was also the Cannes Market which ran alongside the Cannes Film Festival but was pretty chaotic. There was also the now defunct Mifed, a market in Milan Italy for international films.
When Mifed went out of existence, the Efm expanded its role by popular demand and became an equal on “The Film Circuit “ as a Must-Attend Market for most of the world’s 400 + international sales agents. In spite of its growth, Beki has retained the jewel-like quality of the market.
When the Berlin Wall fell and the wasteland which had been Potsdamer Platz was reclaimed and rebuilt by the united Germany, “Her Market” (she is still very much the elegant grand dame of the international film business), retained its artful demeanor by relocating to the Martin Gropius Bau.
It remains the unique trait of Efm that the Berlin Market was developed by the festival programmers. The festival programmers are still influential for the market offerings. The market and the festival are symbiotic and are also symbolic of more than the former cold war challenge it threw down to the Eastern European Soviet block. It remains a beacon for discussion of art, culture, politics and international coproductions which reflect countries’ unique points of views.
While the larger international sales agents like Im Global, The Weinstein Company, FilmNation and others are located in the nearby Ritz-Carlton, Hyatt or Marriot Hotels, the originators of the market, the German entities, the Italians, French, Latino, Spanish, Scandinavian and other international sales companies, along with some U.S. companies, are housed in the Martin Gropius Bau, one of Berlin’s top museums except for the 10 days of the Efm in February.
The Martin Gropius Bau was built by Martin Gropius who was the father of Walter Gropius, one of the original architects who gave Los Angeles, California its modern look.
Parenthetically, as I write this from Havana, I must remark on how the Walter Gropius signature seems to appear on many of the houses and apartment buildings here as well. Bauhaus architects brought their ideas to Cuba as well as to L.A. In Havana, I visited the Swiss Embassy which is in a house by Richard Neutra, another of the German/ Austrian modernists.
The Efm maintains its jewel museum quality even with the larger sales agents selling out their slates. As you enter the Martin Gropius Bau, you are greeted during the first days by guards, dressed in quite beautiful red and gold uniforms wearing white gloves. I get great pleasure from the gorgeous red carpet awards ceremony where I can see the sort of films winning the top awards which then go on to win Oscars like the Golden Bear winning A Separation which later won the Academy Award for Best Foreign Language Film 2011, or Child’s Pose which should have been nominated for Best Foreign Language Academy Award. On the last two days after the Awards, going to Friedrichs Palast, another jewel of a theater in the old East Berlin to see the best of the films I missed, seeing filmmakers there doing the same is a rare treat, one that I count on having every year.
Beki and Wieland present themselves as active but also the “memory” of the festival. Knowledge of the past is important even while they are choosing the best of new films. It is important for the market that the public audience of more than 300,000 (plus another 175,000 professionals) also attend the festival, unlike in Cannes where the public is not included at all, or Afm where there is no festival or public participation. Likewise, the market is important as part of support for the big city audiences in on the five continents as the buyers are encouraged to take films which will play well in big cities. Professionals need to experience public reactions to films and the public enjoys its ability to view with a critical eye the films selected for the festival.
Festival audiences are not exactly like normal year round moviegoers, even though Berliners are spoiled by cultural events galore and therefore are a very critical audience. Berlin is also a very historical city with its own special memories with a politicizing effect.
Afm, Efm and Cannes are all very collegial and each one is quite different. Afm’s nature is different – ocean, sun, it is in a beautiful setting. Efm is cold, it forces the people to watch movies — both art and mainstream. Small films still have a place in the sun. They get attention at Efm which is very important. Press is not allowed unless the producers want to Ok their presence in their screenings.
The Place of Documentaries
Beki recently developed The Doc Corner, but docs have a long history in Berlin. The Forum was begun in 1971 as a sort of counter-program to the Berlinale and from day one docs had a strong role. In 1980 the Panorama began as a different sort of counter programming, including Glbt programming and docs. Out the 50 films shown, ⅓ are docs. In 1990 the docs changed because television had shortened the doc form and the audiences wanted something more substantive to chew on. Cinema took over the documentaries with in depth subject being covered. Panorama Dokumente showed premieres during the festival at 5pm. Earlier in the day were market films, later in the evening were the larger gala and competitive films.
Beki saw the market as including docs of course since there are lots of docs in the festival sections. A woman at the Jerusalem Film Festival said to Beki it would be good if Berlin had a place doc producers, buyers and sellers could meet up, and so Beki set up The Doc Corner. This year in partnership with the Leipzig Doc Festival and Visions du Reel from Nyon, there will be a strong place for documentaries to attract attention.
A Place for First Timers
Last year an introductory session, “Shortcuts for First Timers” to the market was held in the Mirror Restaurant for some 300 to 400 newcomers. This year it will continue, perhaps with some changes. If I might suggest some changes, I would recommend that the names of those explaining how to navigate within the market and all its sidebars and attractions have their names posted visibly on the screen behind them, where maps and other graphics could also be displayed. It would helpful to know the audience makeup - are they filmmakers? journalists? actors? It was a surprise to hear such a question as “How do I meet financiers for my film?” asked last year. I would also love to post a replay of the panel to help my students learn about what to expect at a film market.
The new Berlinale Residency Program for writer/ directors to stay four months in Berlin working on their fiction, doc or cross-media projects with professional mentors in September to December, followed by the February presentations at the Co-Produciton Market was introduced last year.
The Talent Campus which has now changed its name to Berlin Talents and the tours I give are also briefly explained at the First Times event. This program was one of Dieter Kosslick’s best ideas when he took over the festival from Moritz de Hadlin so many years ago.
And the use of Wi-Fi and the password written on our badges needs a bit of explanation along with the red-lighted paths which direct participants to screening venues are other innovations. Also there is a new educational innovation called Making Waves in which five film schools participate by making business plans for the sales and distribution of films in the market. Making Waves includes the London Film School under the leadership of Ben Gibson and Columbia University Film School under the leadership of Ira Deutchman, Le Femis from France, the dffb from Germany and l’Escac, the Romanian Film and Theatre University.
Structural Changes in 2014
This year will be remarkable in a shift back to West Berlin which will evoke memories of those who recall the old market. The festival returns to the newly restored 800 seat Zoo Palast where the festival was originally held. Panorama Specials and Generations will show there along with market films in the smaller theaters.
This is a shift back to the west of Berlin which will evoke memories of those who recall the old glamorous West. The Kempinski and Savoy Hotels are very hot there as well. So the Berlinale is regaining the past in some ways.
For more info on the European Film Market visit Here...
The Berlin International Film Festival began in 1951 at the height of the Cold War as a signal to East Germany that West Berlin was still in the Avant Garde. It is now one of the world’s leading film festivals selling something more than 300,000 tickets to the public.
When the festival moved from West Berlin to Potsdamer Platz in time for its 50th anniversary in 2000, its name was changed and trademarked as the Berlinale.
The European Film Market (Efm) was created by the Berlin International Film Festival somewhere in the mid 1980s because those whose films were screening in the Festival also needed a place where distributors around the world could meet to acquire the rights to license the burgeoning home video rights along with the theatrical and TV rights. Other festivals scouting films to program also began attending in greater numbers. Today about 20,000 industry visitors attend along with some 4,000 journalists from a total of 130 countries. Trade alone purchases some 175,000 additional tickets to screenings.
Beki thus took a leading role in how markets operate, although hers was originally a market strictly for festival art films. This is in contrast to the American Film Market which had no affiliation to a festival and offered genre films as well which were being licensed for home video. At that time in the 80s, there was also the Cannes Market which ran alongside the Cannes Film Festival but was pretty chaotic. There was also the now defunct Mifed, a market in Milan Italy for international films.
When Mifed went out of existence, the Efm expanded its role by popular demand and became an equal on “The Film Circuit “ as a Must-Attend Market for most of the world’s 400 + international sales agents. In spite of its growth, Beki has retained the jewel-like quality of the market.
When the Berlin Wall fell and the wasteland which had been Potsdamer Platz was reclaimed and rebuilt by the united Germany, “Her Market” (she is still very much the elegant grand dame of the international film business), retained its artful demeanor by relocating to the Martin Gropius Bau.
It remains the unique trait of Efm that the Berlin Market was developed by the festival programmers. The festival programmers are still influential for the market offerings. The market and the festival are symbiotic and are also symbolic of more than the former cold war challenge it threw down to the Eastern European Soviet block. It remains a beacon for discussion of art, culture, politics and international coproductions which reflect countries’ unique points of views.
While the larger international sales agents like Im Global, The Weinstein Company, FilmNation and others are located in the nearby Ritz-Carlton, Hyatt or Marriot Hotels, the originators of the market, the German entities, the Italians, French, Latino, Spanish, Scandinavian and other international sales companies, along with some U.S. companies, are housed in the Martin Gropius Bau, one of Berlin’s top museums except for the 10 days of the Efm in February.
The Martin Gropius Bau was built by Martin Gropius who was the father of Walter Gropius, one of the original architects who gave Los Angeles, California its modern look.
Parenthetically, as I write this from Havana, I must remark on how the Walter Gropius signature seems to appear on many of the houses and apartment buildings here as well. Bauhaus architects brought their ideas to Cuba as well as to L.A. In Havana, I visited the Swiss Embassy which is in a house by Richard Neutra, another of the German/ Austrian modernists.
The Efm maintains its jewel museum quality even with the larger sales agents selling out their slates. As you enter the Martin Gropius Bau, you are greeted during the first days by guards, dressed in quite beautiful red and gold uniforms wearing white gloves. I get great pleasure from the gorgeous red carpet awards ceremony where I can see the sort of films winning the top awards which then go on to win Oscars like the Golden Bear winning A Separation which later won the Academy Award for Best Foreign Language Film 2011, or Child’s Pose which should have been nominated for Best Foreign Language Academy Award. On the last two days after the Awards, going to Friedrichs Palast, another jewel of a theater in the old East Berlin to see the best of the films I missed, seeing filmmakers there doing the same is a rare treat, one that I count on having every year.
Beki and Wieland present themselves as active but also the “memory” of the festival. Knowledge of the past is important even while they are choosing the best of new films. It is important for the market that the public audience of more than 300,000 (plus another 175,000 professionals) also attend the festival, unlike in Cannes where the public is not included at all, or Afm where there is no festival or public participation. Likewise, the market is important as part of support for the big city audiences in on the five continents as the buyers are encouraged to take films which will play well in big cities. Professionals need to experience public reactions to films and the public enjoys its ability to view with a critical eye the films selected for the festival.
Festival audiences are not exactly like normal year round moviegoers, even though Berliners are spoiled by cultural events galore and therefore are a very critical audience. Berlin is also a very historical city with its own special memories with a politicizing effect.
Afm, Efm and Cannes are all very collegial and each one is quite different. Afm’s nature is different – ocean, sun, it is in a beautiful setting. Efm is cold, it forces the people to watch movies — both art and mainstream. Small films still have a place in the sun. They get attention at Efm which is very important. Press is not allowed unless the producers want to Ok their presence in their screenings.
The Place of Documentaries
Beki recently developed The Doc Corner, but docs have a long history in Berlin. The Forum was begun in 1971 as a sort of counter-program to the Berlinale and from day one docs had a strong role. In 1980 the Panorama began as a different sort of counter programming, including Glbt programming and docs. Out the 50 films shown, ⅓ are docs. In 1990 the docs changed because television had shortened the doc form and the audiences wanted something more substantive to chew on. Cinema took over the documentaries with in depth subject being covered. Panorama Dokumente showed premieres during the festival at 5pm. Earlier in the day were market films, later in the evening were the larger gala and competitive films.
Beki saw the market as including docs of course since there are lots of docs in the festival sections. A woman at the Jerusalem Film Festival said to Beki it would be good if Berlin had a place doc producers, buyers and sellers could meet up, and so Beki set up The Doc Corner. This year in partnership with the Leipzig Doc Festival and Visions du Reel from Nyon, there will be a strong place for documentaries to attract attention.
A Place for First Timers
Last year an introductory session, “Shortcuts for First Timers” to the market was held in the Mirror Restaurant for some 300 to 400 newcomers. This year it will continue, perhaps with some changes. If I might suggest some changes, I would recommend that the names of those explaining how to navigate within the market and all its sidebars and attractions have their names posted visibly on the screen behind them, where maps and other graphics could also be displayed. It would helpful to know the audience makeup - are they filmmakers? journalists? actors? It was a surprise to hear such a question as “How do I meet financiers for my film?” asked last year. I would also love to post a replay of the panel to help my students learn about what to expect at a film market.
The new Berlinale Residency Program for writer/ directors to stay four months in Berlin working on their fiction, doc or cross-media projects with professional mentors in September to December, followed by the February presentations at the Co-Produciton Market was introduced last year.
The Talent Campus which has now changed its name to Berlin Talents and the tours I give are also briefly explained at the First Times event. This program was one of Dieter Kosslick’s best ideas when he took over the festival from Moritz de Hadlin so many years ago.
And the use of Wi-Fi and the password written on our badges needs a bit of explanation along with the red-lighted paths which direct participants to screening venues are other innovations. Also there is a new educational innovation called Making Waves in which five film schools participate by making business plans for the sales and distribution of films in the market. Making Waves includes the London Film School under the leadership of Ben Gibson and Columbia University Film School under the leadership of Ira Deutchman, Le Femis from France, the dffb from Germany and l’Escac, the Romanian Film and Theatre University.
Structural Changes in 2014
This year will be remarkable in a shift back to West Berlin which will evoke memories of those who recall the old market. The festival returns to the newly restored 800 seat Zoo Palast where the festival was originally held. Panorama Specials and Generations will show there along with market films in the smaller theaters.
This is a shift back to the west of Berlin which will evoke memories of those who recall the old glamorous West. The Kempinski and Savoy Hotels are very hot there as well. So the Berlinale is regaining the past in some ways.
For more info on the European Film Market visit Here...
- 1/2/2014
- by Sydney Levine
- Sydney's Buzz
Creature Discomfort: Sitaru Returns to Familial Unrest
For his third feature film, Domestic, Romanian director Adrian Sitaru returns to the blackly comedic potential of familial discord that made his successful sophomore feature, Best Intentions, unspool like a jocular slice of Cristi Puiu. While that film had autobiographical roots for Sitaru in its examination of one family’s grappling with matriarchal medical issues, here we get a triptych of nuclear families, all living in the same apartment complex and all suffering various ramifications brought upon by the consequences of interacting with domesticated animals, some of whom have rather murky roles as either an item of entertainment or consumption. What results is a sometimes droll tragicomedy that veers between the maudlin and mundane.
Beginning with a group of apartment complex residents complaining to the building administrator, Mr. Lazar (Adrian Titieni, also appearing in this year’s Child’s Pose) about the annoyances...
For his third feature film, Domestic, Romanian director Adrian Sitaru returns to the blackly comedic potential of familial discord that made his successful sophomore feature, Best Intentions, unspool like a jocular slice of Cristi Puiu. While that film had autobiographical roots for Sitaru in its examination of one family’s grappling with matriarchal medical issues, here we get a triptych of nuclear families, all living in the same apartment complex and all suffering various ramifications brought upon by the consequences of interacting with domesticated animals, some of whom have rather murky roles as either an item of entertainment or consumption. What results is a sometimes droll tragicomedy that veers between the maudlin and mundane.
Beginning with a group of apartment complex residents complaining to the building administrator, Mr. Lazar (Adrian Titieni, also appearing in this year’s Child’s Pose) about the annoyances...
- 12/4/2013
- by Nicholas Bell
- IONCINEMA.com
Faulty Blueprint: Rugina’s Debut Pleasures the Crowd, Numbs the Mind
A certifiable hit at the Romanian box office, Iulia Rugina’s directorial debut, Love Building has the formulaic, crowd pleasing prowess of similar Western counterparts where hokey endeavors are piled one on top of another until, instead of revealing its own realistic mess, we reach a staunchly uplifting and/or hopelessly trite finale. To her credit, Rugina doesn’t completely dissolve her narrative in saccharine fantasyland by ending on an open-ended sequence that doesn’t quite put the ribbon on the wrapped box, but neither is it operating as anything other than simplistic fluff. While it doesn’t neatly solve the many problems of its many characters, the film also fails to question its own complicity in these types of problems, namely that maybe our conditioned, heteronormative notions of love and successfully realistic relationships is the root of discord.
A certifiable hit at the Romanian box office, Iulia Rugina’s directorial debut, Love Building has the formulaic, crowd pleasing prowess of similar Western counterparts where hokey endeavors are piled one on top of another until, instead of revealing its own realistic mess, we reach a staunchly uplifting and/or hopelessly trite finale. To her credit, Rugina doesn’t completely dissolve her narrative in saccharine fantasyland by ending on an open-ended sequence that doesn’t quite put the ribbon on the wrapped box, but neither is it operating as anything other than simplistic fluff. While it doesn’t neatly solve the many problems of its many characters, the film also fails to question its own complicity in these types of problems, namely that maybe our conditioned, heteronormative notions of love and successfully realistic relationships is the root of discord.
- 12/4/2013
- by Nicholas Bell
- IONCINEMA.com
"12:08 East Of Bucharest" screened as part of The Film Society Lincoln Center's Making Waves: New Romanian Cinema series. It runs from November 29th through December 10th. A history teacher, a widower and TV host walk into a television studio...it sounds like the setup to a punchline and in many ways, it is. That's more or less the basic premise of Corneliu Porumboiu's breakout 2006 film, "12:08 East Of Bucharest." The Camera d'Or and Label Europa Cinemas winner at Cannes put the filmmaker on the international map where he has continued to gain notice, thanks to 2009's "Police, Adjective" and this year's "When Evening Falls On Bucharest Or Metabolism". But even seven years later, '12:08' still sustains as an exciting and carefully calibrated work, a film that led the charge of recent Romanian cinema. Running just a shade under ninety minutes, little goes to waste in Porumboiu's taut,...
- 12/2/2013
- by Kevin Jagernauth
- The Playlist
Indian cricket and Bollywood share several attributes in common. Both stir the emotions of their countless devout fans. Both are regarded as integral to South Asian culture. Both are the heart, pride and soul of South Asia.
Therefore, it is only fitting that with the retirement of legendary Indian Cricketer Sachin Tendulkar, a Bollywood song has been dedicated to him.
The special song doing the honours is ‘Dhoom Machale’ – the title track of Aditya Chopra’s forthcoming Dhoom 3 starring Katrina Kaif, Aamir Khan, Abhishek Bachchan and Uday Chopra in the lead roles.
Aamir Khan, a close friend of Tendulkar’s, explained the symbolism of dedicating ‘Dhoom Machale’ to the cricket legend. According to Ibn Live, Khan stated:
“Through his entire career he has created ‘Dhoom’ in every step, on every pitch, in every cricketing country, in every bowler’s nightmare, in our hearts, in every cricket field across the world,...
Therefore, it is only fitting that with the retirement of legendary Indian Cricketer Sachin Tendulkar, a Bollywood song has been dedicated to him.
The special song doing the honours is ‘Dhoom Machale’ – the title track of Aditya Chopra’s forthcoming Dhoom 3 starring Katrina Kaif, Aamir Khan, Abhishek Bachchan and Uday Chopra in the lead roles.
Aamir Khan, a close friend of Tendulkar’s, explained the symbolism of dedicating ‘Dhoom Machale’ to the cricket legend. According to Ibn Live, Khan stated:
“Through his entire career he has created ‘Dhoom’ in every step, on every pitch, in every cricketing country, in every bowler’s nightmare, in our hearts, in every cricket field across the world,...
- 11/16/2013
- by Aashi Gahlot
- Bollyspice
LILFs: Links I'd Like To... This week: We really need those Playboy Consent Party Commandments. 20 Horrible Responses For When She Says, "I Love You" The Guy Code Blog present things you should never, ever say in response to "I love you". Caveat, guys: in these cases, honest is always the best policy, really. Women in Porn: 8 Game Changers Making Waves In The Industry Our very own Nerve veteran, Kelly, takes you through the extraordinary women who are redefining contemporary pornography. Via Refinery29. Washington Newspaper Asks Readers About Anal In a great argument against proofreading, one Washington Newspaper tickles its readers with an impromptu anal sex poll. Via our friends as Death and Taxes. Playboy's Pro-Consent Party Commandments Turns Out To Be A Hoax The Frisky reveals that the amazing website we thought could have been a turning point for lad-mags is actually just [...]...
- 9/20/2013
- by Nerve
- Nerve
Even though ‘Control’ is really Big Sean’s track, he got totally overshadowed by guest star Kendrick, who called out some of the biggest names in rap in his controversial verse! Now Big Sean is going on the record to say that his verse was lyrically ‘harder’ than Kendrick’s. Uh oh! Could a new rap feud be forming between the two collaborators?
After Kendrick Lamar dissed rappers like Drake, Wale and A$AP Rocky on Big Sean‘s new track, “Control,” many artists have come forward to give Kendrick a piece of their minds. But this is the first we’ve heard from the rapper behind the song, Big Sean, who says Kendrick’s rude rhymes have got nothing on his. Read on to see what else he has to say!
Big Sean On Kendrick Lamar’s ‘Control’ Verse — My Rap Was ‘Harder’
G.O.O.D. Music emcee Big Sean,...
After Kendrick Lamar dissed rappers like Drake, Wale and A$AP Rocky on Big Sean‘s new track, “Control,” many artists have come forward to give Kendrick a piece of their minds. But this is the first we’ve heard from the rapper behind the song, Big Sean, who says Kendrick’s rude rhymes have got nothing on his. Read on to see what else he has to say!
Big Sean On Kendrick Lamar’s ‘Control’ Verse — My Rap Was ‘Harder’
G.O.O.D. Music emcee Big Sean,...
- 8/14/2013
- by tierneyhl
- HollywoodLife
After Kendrick dissed some of the biggest names in rap on Big Sean’s new song ‘Control,’ Joell is fighting back with some vicious verses of his own. Keep reading to see what he has to say!
Brooklyn rapper Joell Ortiz is not going to let California-born Kendrick Lamar get away with calling himself the “king of New York.” After Kendrick dubbed himself the reigning rapper of the Big Apple on Big Sean‘s just-released track, “Control,” Joell responded by unleashing a few hardcore verses of his own in the new remix of “Control.”
Joell Ortiz: Kendrick Lamar’s Verse On ‘Control’ Gets Response In Remix
Joell isn’t letting Kendrick’s words slide after the 26-year-old Compton native went on a rampage, calling out many of his rap peers on Big Sean’s seven-minute track.
Joell wastes no time in the remix, going straight for Kendrick’s head with some vicious lines!
Brooklyn rapper Joell Ortiz is not going to let California-born Kendrick Lamar get away with calling himself the “king of New York.” After Kendrick dubbed himself the reigning rapper of the Big Apple on Big Sean‘s just-released track, “Control,” Joell responded by unleashing a few hardcore verses of his own in the new remix of “Control.”
Joell Ortiz: Kendrick Lamar’s Verse On ‘Control’ Gets Response In Remix
Joell isn’t letting Kendrick’s words slide after the 26-year-old Compton native went on a rampage, calling out many of his rap peers on Big Sean’s seven-minute track.
Joell wastes no time in the remix, going straight for Kendrick’s head with some vicious lines!
- 8/14/2013
- by ericraymitchellhl
- HollywoodLife
Kendrick leveled the rap game with his verse on Big Sean’s new track. Find out how he put superstars like Drake, A$AP Rocky, and Pusha T on notice!
Big Sean blew up the internet by releasing his new song “Control’ via Twitter on August 12, but it was immediately clear that Kendrick Lamar‘s super-controversial verse would be the talk of the town. After the track dropped, rappers went crazy debating his boasts and rap fans went wild on Twitter. But are the lyrics really That good? Check them out below and tell us — do You think this is the best rap verse of the year, HollywoodLifers?
Big Sean ‘Control’ Lyrics — See The Kendrick Lamar Verse Making Waves
Miscellaneous minds are never explainin’ their minds
Devilish grin for my alias aliens to respond
Peddlin’ sin, thinkin’ maybe when you get old you realize
I’m not gonna fold or...
Big Sean blew up the internet by releasing his new song “Control’ via Twitter on August 12, but it was immediately clear that Kendrick Lamar‘s super-controversial verse would be the talk of the town. After the track dropped, rappers went crazy debating his boasts and rap fans went wild on Twitter. But are the lyrics really That good? Check them out below and tell us — do You think this is the best rap verse of the year, HollywoodLifers?
Big Sean ‘Control’ Lyrics — See The Kendrick Lamar Verse Making Waves
Miscellaneous minds are never explainin’ their minds
Devilish grin for my alias aliens to respond
Peddlin’ sin, thinkin’ maybe when you get old you realize
I’m not gonna fold or...
- 8/13/2013
- by William Earl
- HollywoodLife
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