Issuu

AARHUS FILM WORKSHOP VIBORG OPEN WORKSHOP ODENSE FILM WORKSHOP FILM WORKSHOP/COPENHAGEN FILMWERKSTATT KIEL KLIPPFISK GALWAY FILM CENTRE CICLIC FILMVEKSTHUSET TVIBIT MEDIEFABRIKKEN FILMBASEN/ FILM STOCKHOLM FILM I SKÅNE FILMCLOUD FILMILIORTARFIK CINESUD NEW NOARDIC WAVE

AARHUS, DENMARK VIBORG, DENMARK ODENSE, DENMARK COPENHAGEN, DENMARK KIEL/ HAMBURG, GERMANY TÓRSHAVN, FAROE ISLANDS GALWAY, IRELAND CHÂTEAU-RENAULT, FRANCE TROMSØ, NORWAY VIKEN, NORWAY STOCKHOLM, SWEDEN SKÅNE, SWEDEN VÄSTRA GÖTALAND, SWEDEN NUUK, GREENLAND LIMBURG, NETHERLANDS LEEUWARDEN, NETHERLANDS

METHODS FOR FILM TALENT DEVELOPMENT

T! U C

METHODS FOR FILM TALENT DEVELOPMENT

EDITORS: METTE BIHL - ANNE-MARIE SÖHRMAN FERMELIN - JADE MURPHY ANDERS FRISTAD RUDOLPH THANKS TO: PETER JAMES BARTLE - ALL THE PARTNERS - AISLING MCCABE - INGRID TOLSTAD - AINA LANDSVERK HAGEN LAYOUT: AMANDA BIRKHOLM KNUDSEN PRINT: HELMERTRYK APS, DENMARK, FEBRUARY 2021

CONTENTS

MAP OF THE PARTNERS

ABOUT SCREEN TALENT EUROPE

152

188

THE FUNDING

THE ARTICLE

THE PARTNERS

THE PROGRAMMES & METHODS

194 THE PHOTOGRAPHERS

.. 1... . 2 . . . 3 N! O I T AC

THE PARTNERS

9. 14.

6. 10. 13. 2.

7. 15. 8.

12.

16.

4. 5.

11.

AARHUS FILM WORKSHOP - AARHUS, DENMARK

2. VIBORG OPEN WORKSHOP - VIBORG, DENMARK 3. ODENSE FILM WORKSHOP - ODENSE, DENMARK 4. FILM WORKSHOP/COPENHAGEN - COPENHAGEN, DENMARK 5. FILMWERKSTATT KIEL - KIEL/HAMBURG, GERMANY 6. KLIPPFISK - TÓRSHAVN, FAROE ISLANDS 7. GALWAY FILM CENTRE - GALWAY, IRELAND 8. CICLIC - CHÂTEAU-RENAULT, FRANCE 9. FILMVEKSTHUSET TVIBIT - TROMSØ, NORWAY 10. MEDIEFABRIKKEN - VIKEN, NORWAY 11. FILMBASEN/ FILM STOCKHOLM - STOCKHOLM, SWEDEN 12. FILM I SKÅNE - SKÅNE, SWEDEN 13. FILMCLOUD - VÄSTRA GÖTALAND, SWEDEN 14. FILMILIORTARFIK - NUUK, GREENLAND 15. CINESUD - LIMBURG, NETHERLANDS 16. NEW NOARDIC WAVE - LEEUWARDEN, NETHERLANDS

ABOUT SCREEN TALENT EUROPE.................................................................13 SCREEN TALENT EUROPE ACTIVITIES........................................................ 16 SCREEN TALENT EUROPE DOCUMENTARY CAMPS............... 16 SCREEN TALENT EUROPE PITCHING FORUM...............................19 NORDIC LIGHT WORKSHOP, GOTHENBURG................................ 24 BERLIN MEET-UP................................................................................................. 28 ABOUT THE BOOK.....................................................................................................29

ABOUT

SCREEN TALENT EUROPE The vision of Screen Talent Europe (STE) is the exchange of knowledge, experiences and methods between the Partners through collaborations, network meetings and conferences. The aim of these collaborations is to develop non-formal training methods in European Film Workshops and create awareness and acknowledgement of the creative talent development agencies across Europe.

Netherlands, Norway and Sweden. PARTNER CRITERIA: – Provide non-formal education; – Provide talent programmes (seminars, workshops etc.); – Provide talent development through a “learning-by-doing” method providing equipment and/ or financing of film productions. The films are based on ideas submitted by young and emerging talents; – Support emerging filmmakers in their field, at their level of competence;

STE consists of 16 film workshops and talent development centres in Denmark, Faroe Islands, France, Germany, Greenland, Ireland,

Partner meeting in Berlin, 2020

– – –

Be non-profit; Aim for a target group of 18+; Not be a festival, a production company or a national institute;

We all work in the field of nonformal, production-based competence development of emerging filmmakers. We are based outside the formal educational system, and we have an growing need for knowledge exchange, learning, and inspiration within a network of similar talent developers.

a widespread international talent development environment, giving young filmmakers access to training, learning and work communities across borders. Partners can individually, or in partnerships, arrange talent camps, seminars, festival activities and pitching forums as well as provide international opportunities and networks for young talent.

We meet three times annually to share knowledge and develop new programmes. The network collaborates on international talent programmes to test and develop methods and learning tools. Our collaboration aims to create Partner meeting in Berlin, 2020

Partner meeting in Tromsø, 2018

SCREEN TALENT EUROPE ACTIVITIES SCREEN TALENT EUROPE DOCUMENTARY CAMPS for directors, producers and editors. The STE Documentary Camp is a creative getaway where Northern European filmmakers can create a documentary story in cooperation with locals, about unique places around Europe. At some camps there are specific themes that the participants must incorporate in their stories. At the camps, 4-6 directors, 4-8 producers and 3-4 editors from the Partners in STE are selected for an international collaboration.

Documentary Theory. The participants will study local history, culture, traditions, politics etc.

At each camp the goal is to create four to six documentaries that can be screened at film festivals, on social media, and at special screenings in the STE Partner countries.

APPLICATION REQUIREMENTS: – Applicants must be under the age of 35 – Directors must have made a minimum of 2 documentaries – Applications must be in English

The camps take place for 2 to 3 weeks during the summer. Previous camps have been held in Galway, Lofoten and Torshavn.

During the first week of the camp, the participants receive an educational programme which includes a workshop in Documentary Production and

To create groups of 3-4 people, organisers arrange speed-dating and pitching events. The participants will independently organise their group, subject and production. Each group will be responsible for producing a film during the camp. The directors and producers will usually participate in all three weeks of the camp, while the editors will partake in the final two weeks.

STE and their Partners usually cover the costs of transportation, food, and accommodation.

–

An account of the STE Documentary Camp in Lofoten from Jasmijn Kooijman by Filmbasen/ Film Stockholm, Sweden.

In 2018, I was one of the participants of the Lofoten Docs Workshop, organised by STE. I applied through Filmbasen and went to the north of Norway along with eleven other young filmmakers from different European countries. The experience was fantastic. Everything was taken care of - we were given a place to sleep, editing rooms, equipment, a car, food and tutors. We had the opportunity to get to know each other and understand our different ways of working. We made little groups and each group would try to make a documentary within the two-week time frame. Amina Avdiç (Gothenburg), Iben Søtang (Aarhus) and I started working together. What I really learned that week was to dare to film strangers. Usually I film people that I have a strong connection with, but in this case STE Documentary Camp in Lofoten, such a connection wasn’t possible since none of us had visited Lofoten before. Iben, Amina and I decided that our goal was to speak to as many people (living in or visiting Lofoten) as possible, as well as to explore our own connections as tourists to this place. Within three days, all of the groups had edited a short film. We organised a small screening and gave each other feedback. If we had more time, I would have liked to

film new material, where I would reflect more on my view of the countryside - being a city person. However, since there was not enough time for that, I took these thoughts home. Amina, Iben and I stayed in touch and would like to collaborate again in the future. I reused the raw material, filmed during Lofoten Docs, in a new short called “Coming Back is Not the Same as Staying”, that premiered at Gothenburg International Film Festival (GIFF) in 2020. In addition to all of the knowledge and new experiences that we gained from the workshop, the material we captured also keeps on living in its own way! –

An account of the STE Documentary Camp in Galway from Siri Nerbø from Mediefabrikken, Norway.

“Galway Stories was a turning point for me as a director. The opportunity to explore how I want to make documentaries gave me confidence in my ideas and personal approach to filmmaking. I feel that I found my artistic voice through the production camp, and have been building on this experience during my development in film”.

Participants at STE Documentary Camp in Galway, 2017

SCREEN TALENT EUROPE PITCHING FORUM Screen Talent Europe Pitching Forum is a collaboration between STE, The Norwegian Short Film Festival and Mediefabrikken. It has been arranged for four years in a row since 2016. Ten emerging producers, writers and directors from Europe are invited to pitch their short film projects during the festival in Grimstad, Norway.

In a five-minute pitch, each participant presents their project to an external jury in front of an audience of potential co-producers, financiers and filmmakers attending the festival. The jury has in previous years, consisted

of representatives from both SXSW, Interfilm Berlin, Uppsala Short Film Festival, Vimeo and various directors and producers from the professional industry. The winner walks away with a production grant of 4,000 EUR. The 2016 winner was Caroline Ingvarsson from Sweden with the project “We Were Three” and in 2017, Johan L. Heinstedt and Joachim Swensson won with the project “Bliss”. Best Pitch in 2018 was given to Alexi Carpentieri from Sweden with his project “Tjena Tjabo” and Brwa Vahabpour from Norway won with the project “Silence” in 2019.

Under very different circumstances due to COVID-19 Zamarin Wahdat from Filmwerkstatt Kiel won with her project ARI.

Boat trip, Pitching Forum, 2019

The Pitching Forum takes place during the Short Film Festival in June and lasts for three days. In addition to the pitch itself, the participants get to take part in a preparatory workshop, along with other networking activities and dinners. The most joyful experience during the forum would be the boat trip on the Norwegian fjords, which is arranged right after the pitch and where fresh shrimps and refreshing beverages are served. All expenses affiliated with the participation are covered by the STE organisation and their partners, as well as the Norwegian Short Film Festival. The forum is organized by Mediefabrikken.

THE WORKSHOP We spend a day training for the pitch and begin the day by getting to know each other through ice-breaking exercises and informal talks. We encourage the filmmakers to use the pitch to get to know their own stories better, and so that they can all help each other prepare their pitch in order to get feedback from each other, and not just feedback from the coaches.

We then start the training with a multistep exercise: 1. Two filmmakers are paired up and asked to talk about their project for roughly five minutes. They Boat trip, Pitching Forum, 2019

are not pitching a prepared pitch, but rather what they would say to a stranger on a bus, if a person showed interest in their project. The listener is asked to pay close attention. When the time is up, the listener will ask questions while the pitcher takes notes: what was not clear to me, what did I not need to know, what did I miss, etc.. They then reverse roles.

2. New pairs are asked to talk for a few minutes each about what they really love about their project. There is no need to explain the plot/character etc. It is about sharing what drives them to make the film.

3. All participants sit together, and the «listeners» are asked to pitch what they can remember from the project. The owner of the project takes notes and listens. The listener from «what do I love about this project» gets to supplement what they remember. The owner of the project usually gets a very clear idea about what information sticks clearly with the audience and what needs to be homed in on. Audiences can often have a way of summarising that can bring clarity to the owner of the project.

4. The participants spend an hour rewriting/writing their pitch.

5. Everyone pitches again in pairs. This time visual presentations can also be included, followed by questions and feedback from the listener. Finally, the coaches check in with participants to see who needs more writing time and who would like more coaching etc. Individual adjustments are made.

Before the end of the day, we spend time on a suggested structure for a good pitch and give some nerve-soothing pointers - they can be honest about not knowing everything yet about their project, the listener might feel more invited to participate in the project if it is not so much a “sales pitch”. We also prepare for questions they might get from the pitching jury and provide the filmmakers with tips such as using the question time to talk about issues that they find relevant, but may not have had time to discuss previously. We encourage the participants to make a WhatsApp group where they can notify everyone about social activities and the need for a listener during the remainder of the stay.

Between the technical run-through and the actual pitch, we gather participants for decentralizing exercises and encourage them to cheer each

other on and hope the pitch will be beneficial, not only for the project, but for connecting with other filmmakers. –

An account of the STE Pitching Forum in Grimstad by Signe Fejer from Odense Film Workshop, Denmark.

In June 2019, I participated in the Norwegian Short Film Festival in Grimstad. I was selected by Odense Filmworkshop (Denmark) to pitch in a competition with my short film “KHALID” and not only did I practice my pitching skills, I also got to meet fellow international filmmakers from the STE network. In the wonderful nature and small town, I had an immensely great experience. I have participated in similar international labs, forums, programmes and workshops, but I felt something new during this one; I felt developed, independent, more open-minded and on the right path in my filmmaking journey. Whether it was my fellow attendees, the pitchingworkshop and teachers, or just the fresh Norwegian air, I am not sure. And even though I did not get to take the prize-money back home, I learned a lot about my own project, short films and myself. Today, I work at Fridthjof Film A/S as a Junior Producer and I am still in contact with some of the filmmakers I met at the Pitching Forum and in talks of doing potential coproductions in the near future.

NORDIC LIGHT WORKSHOP, GOTHENBURG

–

An account of the STE Nordic Light Workshop by Moritz Mössinger from Filmwerkstatt Kiel, Germany.

Between the 12th-15th of June, Kultur i Väst (Sweden), STE and Film Cloud invited nine upcoming filmmakers and cinematographers to Gothenburg and Trollhättan to participate in a masterclass with renowned Gaffer Luisa Fanciullacci. The intent of the workshop was to take a thorough look at “Nordic Light”, to honour Ingmar Bergmans 100th Birthday and to explore what he and his longtime cinematographer, Sven Nykvist, were fascinated by throughout their careers. Filmmakers from Germany, Ireland, Denmark, Sweden and Norway immediately took off to Trollhättan after arriving in Gothenburg. The city earned its nickname “Trollywood” due to having one of Scandinavia’s largest film studios located near its centre. On the first evening, there was a short introduction by Pia-Maria Wehrling and Martin Hammer (Kultur i Väst). The introduction was followed by presentations from the attendees who screened short excerpts of their previous works in order to get to know each other. Day two led straight to practical work at the Studio. Luisa, who gaffered on feature films such as “Easy Money” and “Girls Lost”, had prepared a historic studio-built living room, that was used throughout the masterclass as a setting for different lighting approaches. The practical sessions were mixed with theory where the distinctive features of the “Nordic Light” and the peculiarity of Bergman’s search for the perfect light were discussed. To validate the results of the first day, the participants were asked to go out during sunset and find moments, suitable to display the characteristics of the Nordic Light, such as long, blue

Nordic Light Workshop, 2018

shadows, the orange/golden quality of the sunlight and the mirror like water surfaces that perfectly reflect the sky. During the second part of the masterclass, our newly discovered knowledge was put into practice and lighting situations were recreated in multiple variations - from late afternoon to a dark winter night. This gave a good insight into the effects the different “qualities” that light can have on a scene. Luisa also presented the characteristics of different types of lights and how they can be put to their best use. The scenes created were captured by a Red Dragon camera, so the image could be properly analysed. After a trip back to Gothenburg, the masterclass was rounded off by a round-up of the gathered knowledge. During dinner, an introduction to the funding possibilities by Film i Väst and a lecture in Film Theory by Film-Scholar Sanjin Pejkovic, who gave a brief insight into the importance of Scandinavian Cinema in the 20th Century. Luisa’s knowledge, alongside the experience of the attendees, allowed for an exceptional opportunity Nordic Light Workshop, 2018

to gain a new perspective on the possibilities of different, international lighting approaches and to get valuable new contacts throughout Europe. Not only did the workshop convey practical knowledge, it also gave young and upcoming filmmakers the opportunity to connect internationally and help each other on their own way.

BERLIN MEET-UP Every year in connection with the Berlinale Film Festival in Berlin, STE hosts an event in collaboration with The Nordic Embassies, on the compound of the embassies. This event provides a networking platform for young emerging filmmakers, film enthusiasts and professionals curious to meet upcoming talent.

The event starts with a screening in the auditorium of selected talent films from the Partners in STE. It is followed by a reception presenting the network, which includes a DJ, drinks and three hours of networking and mingling.

For young filmmakers it can be difficult to know what to do and where to go Berlin Meet-Up, 2020 when you attend a big film festival. This event can be a first step for meeting new filmmakers in a safe surrounding where we as Partners in STE can introduce and support the talent. Berlin Meet-Up, 2020

ABOUT

THIS BOOK Why have we created a methods book? A method is often defined as “a particular way of doing something”. At Screen Talent Europe our “something” is developing creative talent and the “particular way we do it” refers to our various funding schemes and programmes. Since the formation of STE, we have benefited greatly from sharing our methods with each other and we now want to pass these valuable learnings on to you.

In this book, we aim to explore the various methods we use to develop creative talent. We want to give room to the details, and all the flavours and

nuances our work consists of. As in any recipe, you - the reader - can change bits and pieces to make it your own.

The development of this book started off with a workshop during an STE network meeting at the Norwegian Short Film Festival in June 2019. The workshop was facilitated by Ingrid Tolstad and Aina Landsverk Hagen, researchers from the Work Research Institute at the Oslo Metropolitan University. The Institute is a Social Science Institute that performs multidisciplinary action-oriented research. Partner meeting in Grimstad, 2019

During the workshop, the partners were each asked to choose three picture cards that reflected their approach to talent development, and to write down three keywords for each picture. The choice of pictures and keywords were presented individually in a plenary session, and the partners were asked to group their chosen pictures and keywords by attaching them to different parts of a column in the room.

a brand new tool, “The Methodizer”. The tool was designed to address the need to gain insights into the different levels and aspects of the methods that the network partners use in their talent development work.

During the second part of the workshop, the researchers presented

The Methodizer Form has become a crucial framework in the development

After the workshop, the researchers regrouped the keywords into six pillars of talent development: Organising, Learning, Creating, Values, Imagining, Structure. Themes we are all inspired by our daily work as talent developers.

The organisations were divided into four groups of three. Each group was asked to pitch their favorite tool or exercise to the group, and then to choose one that they would map out in the methodizer form. After the group session, one of the mapped out methods was presented in plenary, followed by a discussion about how this could help in the future work of the methods book.

Slide from workshop, 2019

of this book, and has in a fruitful way, forced the partners to rethink what we are doing as talent developers, how we are doing it and for what reason.

All the partners are represented in the chapter The Partners but some of them are very new in the network and did not have the time to contribute to the chapters The Programme and The Funding.

The tool has enabled us to give a richer and more detailed description of our talent development work, and it has shown us that the things we have in common, also have nuances and differences.

To develop further as workshops, resource centres, partners and as a network, this book will be the first step for all of us to have a common language and a better understanding for what, how and why we do what we do. In the development of more STE camps etc., we now have a better knowledge of what each partner can contribute.

A task force was created and given the mandate to decide content and layout. Templates for organisation, programmes, funding and methods were decided and sent out to each partner. The task force selected different programmes and each partner has written their own chapters. It has been a very long process, but we feel we present a strong variety of programmes and funding.

Finally, we hope that this book will be an inspiration to other organisations working with talent development within the film industry. Slide from workshop, 2019

1. AARHUS FILM WORKSHOP ..........................................................................34 2. VIBORG FILM WORKSHOP ..........................................................................36 3. ODENSE FILM WORKSHOP ........................................................................39 4. FILM WORKSHOP/COPENHAGEN ........................................................43 5. FILMWERKSTATT KIEL .....................................................................................44 6. KLIPPFISK ..................................................................................................................46 7. GALWAY FILM CENTRE ...................................................................................48 8. CICLIC ............................................................................................................................50 9. FILMVEKSTHUSET TVIBIT ...............................................................................52 10. MEDIEFABRIKKEN ............................................................................................54 11. FILMBASEN/ FILM STOCKHOLM .............................................................57 12. FILM I SKÅNE .........................................................................................................60 13. FILMCLOUD ............................................................................................................62 14. FILMILIORTARFIK ...............................................................................................65 15. CINESUD ....................................................................................................................67 16. NEW NOARDIC WAVE .....................................................................................71

THE PARTNERS

PARTNER 01.

AARHUS FILM WORKSHOP

AARHUS, DENMARK

Aarhus Film Workshop is supported by Aarhus City Council and the Filmtalent Foundation, a partnership between the Film Workshop in Copenhagen, The Animation Workshop in Viborg, Aarhus Film Workshop and Odense Film Workshop.

Aarhus Film Workshop is an open film workshop, which supports noncommercial film production with the primary purpose of finding and developing new film talent in the West Danish region. The main role of Aarhus Film Workshop is to support new, mostly young film talent in their professional and artistic development, with the primary purpose to help them with education or employment within the film industry.

Aid may be granted by applying for film support which may include consultancy and production equipment. The Workshop supports up to 40 productions annually, with an emphasis on short fiction films. Aarhus Film Workshop has close relations with the surrounding production environment, as well as educational and cultural institutions. In addition, we house the alternative education Super8 film. Aarhus Film Workshop is now and has always been a springboard for many new filmmakers. Through the Workshop, it is possible to produce your first film without being in debt for the rest of your life – as well as moving on to film school or other relevant training. Our former trainees and volunteers, who have acquired

experience and knowledge through the Workshop, have gone on to have careers in the film industry.

We currently employ 8 dedicated staff members: a CEO/Manager, a Production Manager, two Project Managers, a Technical Manager, a Technical Coordinator and a Technical Assistant.

CONTACT: www.afv.dk

PARTNER 02.

VIRBORG OPEN WORKSHOP

VIBORG, DENMARK

Open Workshop (OW) is a talent and project development/production workshop for animation films, VFX, graphic narratives, games, interactive and immersive media.

Supported by Filmtalent, the Danish Film Institute and Viborg City Council, OW is a department within The Animation Workshop that provides the environment, facilities, materials/ equipment and some of the financial means necessary to develop and produce animation and animationrelated projects. OW can host up to 35 artists at one time and annually supports over 100 residents and projects, ranging from portfolios created by young aspiring animation talents to first professional animation film productions. OW functions as an artist residency

where both new and experienced talent, budding artists and young professionals can live for a time to work on their personal projects, both on their own and together. Additionally, resident artists are offered mentorship and consulting from skilled Danish and international professional artists.

Through workshops, masterclasses, general guidance, pitch and presentation training, along with the daily work on their projects, animation talents strengthen their artisanship as well as their understanding of the business aspects connected to the development and production of animation related projects. OW discovers original and skilled talent and guides them along their chosen career paths. Moreover, matchmaking and networking activities are designed to bring companies and artists closer together.

KEYWORDS FOR OUR ORGANISATION:

The main keywords that we use, which are far from exhaustive, are as follows:

STORYBOARD: a sequence of drawings, typically with some directions and dialogue, representing the shots planned for a film or television production.

LAYOUT: a 2D background layout is the line drawing of the background

for a scene. It is not the finished background painted in colour that you see on the screen. Layouts are drawn from storyboards which define the action and perspective in the scene. In 3D, layout artists are responsible for composing shots, positioning or animating the camera, loading any needed set pieces and characters into the shot and putting them into their positions. They start with storyboards but usually work in close consultation with the director to frame each shot.

ANIMATIC: a preliminary version of a film, produced by shooting successive sections of a storyboard and adding a soundtrack.

CONTACT:

www.animationworkshop.via.dk/

TALENT DEVELOPMENT FOR US IS

OW, in line with its Danish film workshop partners (the Film Workshops in Copenhagen, Odense and Aarhus) and with Denmark’s National Audiovisual Talent Development Institution, Filmtalent, defines its talent development activities as learning through simulated professional film (or game, etc.) production, together with and/or alongside a group of peers and mentors. Open workshop, Viborg

PARTNER 03.

ODENSE FILM WORKSHOP

. 3.

ODENSE, DENMARK

Odense Film Workshop is a talent programme with a focus on training creativity and craftsmanship whilst providing a space for self-education and learning-by-doing. We offer our talents coaching, feedback and financial support along with professional production facilities, to ensure the best possible outcome for their productions. The way to a production grant is pitching, development, application and support. Each year we create and provide many programmes, workshops and masterclasses aimed at recruiting, upskilling and enlightening talents and as they make their way into the industry. At Odense Film Workshop, we have a strategy called Talent First consisting of three elements: 1. Talent Development & Creative

Processes 2. Internationalisation & Partnerships 3. Technology & Platforms

We have an interest in developing our different methods - one is called Zooming and is based on a variety of coaching tools that we selected over many years of talent development experience and studies.

We have a strong local, national and international profile and we are open to the general public and curate offbeat and different cultural events in cooperation with our talent and partners. The Film Workshop was established in 1977 in Haderslev in the southern part of Denmark but in 2008, we moved to Odense and changed the name to Odense Film Workshop.

Currently, we consist of four dedicated employees in our staff: CEO/Manager, Film Consultant, Project manager, Technician and several promising interns.

KEYWORDS FOR OUR ORGANISATION: SIMPLY CREATIVE: This is an ice-breaking exercise that helps to

shake out nerves and social restrictions. We use creative games to open our imagination and jumpstart our creative process. Every time we work in groups, we use Simply Creative.

ZOOMING: Zooming is a creative way to focus on a certain element

of storytelling, e.g. character, storyline, etc. We “zoom” into tricky areas of the talent’s projects and/or career choices. It is developed from coaching, guidance and counselling.

CONTACT: www.ofilm.dk

TALENT DEVELOPMENT FOR US IS

Talent development requires a safe environment for the talent to grow as a film maker because the talent must have the courage to put themselves at stake, dare to fail on the way finding their own personal voice. We provide a creative environment where we can challenge, support, push and encourage by feedback and by an engaging, present and personal relationship and knowledge of the talent. Odense Film Workshop

QUOTE

FROM A TALENT

ANDRIAS HØGENNI director & scriptwriter, Odense Film Workshop.

I stumbled upon my first application to Odense Film Workshop the other day. It was exactly ten years ago, and I started to get nostalgic. I just wanted to say thank you, to you and everyone at Odense Film Workshop. I wouldn’t have made it to where I am today without you. Thank you from the bottom of my heart.

PARTNER 04.

FILM WORKSHOP/COPENHAGEN

COPENHAGEN, DENMARK

Copenhagen Film Workshop is a talent programme aimed at training young filmmakers to work in the moving pictures industries and to develop Danish film culture by supporting experimental filmmaking. This is done by putting the applicants and the film crews through the same processes as professionals, such as pitching and developing the project, submission of an application to a commissioning editor, supporting the production with professional workflows and finance for basic production costs and mentors. Throughout all these processes, the Film Workshop provides guidance and advice.

The Film Workshop works across three levels: recruiting, training and introduction to the professional market. The staff consists of a Manager, Producer, Head of the Technical Department, Technical Assistant, Event and Production Coordinator and Commissioning Editor. The Film Workshop was established in 1970 as a support system and was turned into a talent programme, focusing on talent development in 1997.

The Film Workshop also runs extensive seminars and course programmes in screenwriting, directing, producer skillset, cinematography, editing and visual effects etc.

CONTACT:

www.filmworkshop.dk

PARTNER 05.

FILMWERKSTATT KIEL

KIEL/HAMBURG, GERMANY

The Filmwerkstatt, as part of the Film Fund Hamburg Schleswig-Holstein, services Germany’s most northern federal States Hamburg and SchleswigHolstein. The fund supports fictional and documentary features, short films, innovative formats and series. It provides financial support for all phases of film projects. The Filmwerkstatt is the hands-on department of the fund with a strong focus on talent development. It offers consulting, workshops, equipment and networking events plus a strong presence at the important film festivals.

CONTACT: www.ffhsh.de

TALENT DEVELOPMENT FOR US IS

Talent development means, to give individual support, with regard to the personal level of experience of the individual, at any stage of the creative process. Within our talent-development we focus on two pillars. Pillar one refers to very young film talent who haven’t yet studied at a filmshool and are in need of very basic and general support. For Pillar One we provide support with hands-on-workshops, meet-ups at festivals and personal guidance. Pillar Two refers to film talent who are either about to produce their first, up to their third, film. We support them through masterclasses and close, personal guidance as well as having them participate in networking events.

Filmwerkstatt Kiel

PARTNER 06.

KLIPPFISK

6. .

TÓRSHAVN, FAROE ISLANDS

Klippfisk is a talent development workshop under the municipality of Tórshavn. We focus on providing youths with the opportunity to explore the possibilities of filmmaking, as well as introducing them to the traditions and conventions of creating and producing narrative drama. We work from idea straight through to script development, mise-en-scene, production design, directing actors and on to editing and sound design.

CONTACT:

www.klippfisk.fo

TALENT DEVELOPMENT FOR US IS

For us talent development means, to provide a playground, a sandpit if you will, where people are able to follow their own curiosity, play and create resulting in reflection on their work. Due to the complexity of filmmaking, filmmakers are often not completely content with the result and by reflecting, they are able to locate and define what they are satisfied with and dissatisfied with so they can improve on their next project. By having faith in the talent’s own sensibilities and abilities and encouraging them to follow their own voice you help them to maintain their passion to express themselves and explore the world around them, their craftsmanship will follow and grow during their journey. By exposing talent to the diverse ways of making films throughout the history of cinema you also liberate the talent from adhering the dominant traditions and conventions of filmmaking in the talent’s region and thereby setting him/her on a continuous exploration of the possible ways of making films. Klippfisk

PARTNER 07.

GALWAY FILM CENTRE

7. .

GALWAY, IRELAND

Founded in 1989, Galway Film Centre (GFC) is a non-profit organisation dedicated to the development of film, TV, Animation and Games as an artistic medium in the West of Ireland. To this end, we support creative talent, community and youth groups through mentoring, education, workshops, equipment provision and information.

In 2014 Galway was awarded the prestigious title of UNESCO City of Film as a result of a bid led by GFC in partnership with both local authorities and over 50 local companies involved in the audiovisual sector. Since gaining the designation Galway City Council, Galway County Council, Screen Ireland/Fís Eireann, Údarás na Gaeltacht and TG4 have all been involved in setting up a governance structure whereby the UNESCO City of Film offices are now housed within

GFC. In 2018, GFC and the Western Development Commission (WDC) in association with the local authorities of Clare, Donegal, Galway City, Galway County, Mayo, Roscommon, Sligo and Údarás na Gaeltachta, set up The Western Region Audiovisual Producer’s Fund (WRAP Fund). The WRAP Fund, administered through the GFC, is a Regional Fund committed to strategic investment on commercial terms that generates economic impact, supports local talent, creates sustainable employment, builds the audio-visual infrastructure and contributes to the culture and language of the West of Ireland. We are located in Galway City on the West coast of Ireland.

CONTACT:

www.galwayfilmcentre.ie

TALENT DEVELOPMENT FOR US IS

Talent development means working with and supporting creative talent to grow and progress within their chosen field. It is about allowing the creative talent the time and space to find their own authorship, voice and vision in a safe nurturing environment. Galway Film Centre

PARTNER 08.

CICLIC

CHÂTEAU-RENAULT, FRANCE

Ciclic, the Agence régionale du CentreVal de Loire pour le livre, l’image et la culture numérique, offers a cultural public service which results from the collaboration between the CentreVal de Loire Region and the French Government.

The missions it carries out and the actions it develops are based on cooperation, research, innovation, support for professionals and audiences, spatial planning and cultural economy. The experienced team of this public institution for cultural cooperation focuses on training, awareness, educational research, artistic creation, cultural programs as well as heritage preservation and diffusion. The team also encourages the emergence of demanding projects. Ciclic aims to provide access to cinematographic and literary works

in a rural regional territory. It carries out partnership projects in the film industry, in collaboration with distributors (Mois du film documentaire) and operators (Libres courts, Cour(t)s devant). It also encourages the presence of writers on the territory (residencies, partner authors). Finally, Ciclic offers a digital distribution to audiences who do not have easy access to culture. Ciclic is a service dedicated to artistic creation which supports artists, filmmakers and authors in their creative journeys. It also pays attention to the structure of regional sectors, be they artisanal or industrial, and assesses them regularly. Ciclic encourages the development of the cultural economy by supporting the actors of the territory (publishers, producers, booksellers), by encouraging local economic benefits (film shooting

assistance office) and by offering a diversified and targeted professional training according to the needs of the participants. By receiving artists in residence at Ciclic Animation, the agency hosts a talent incubator in the field of animated films.

CONTACT: www.ciclic.fr

PARTNER 09.

FILMVEKSTHUSET TVIBIT 9.

TROMSØ, NORWAY

Based in Tromsø, Norway, Tvibit Film Centre (TFC) is a knowledge and resource centre in Northern Norway. Working with a broad range of activities, and on different levels, TFC aims to recruit and develop film talents in the region. With a history reaching back to 2003, TFC have developed methods and practices that are continually being refined, all

the way from young, inexperienced filmmakers first meeting with the medium of film and film production, to specializing in specific fields in the art of filmmaking.

KEYWORD FOR OUR ORGANISATION: MEDVIRKNING: “Medvirkning” is a keyword at Tvibit. It defines how the staff at TFC work to ensure that the participants in a project choose the direction and outcome of that project, and should be active drivers in the execution of it, with support and guidance from professionals. This, ideally, leads to empowerment through project experience.

CONTACT: www.tvibit.net

TALENT DEVELOPMENT FOR US IS

Challenging and empowering young creatives to tell distinct stories that resonate with audiences, and help shape and further their careers. Filmveksthuset TVIBIT

PARTNER 10.

MEDIEFABRIKKEN

10. .

VIKEN, NORWAY

At Mediefabrikken you can get support for developing projects or yourself as a filmmaker. We offer script development and tutoring, production equipment, production grants and development programmes. Our task is to facilitate development, regardless of background and experience. We are a resource for all filmmakers from high school, right through to a professional level. For the last four years Mediefabrikken

have organised the Screen Talent Europe Pitching Forum in cooperation with the partners in Screen Talent Europe and The Norwegian Short Film Festival. Mediefabrikken are involved in activities and projects at a regional, national and international level. Mediefabrikken is a part of and funded by Viken County Council.

KEYWORD FOR OUR ORGANISATION: VEILEDNING: The word veiledning in Norwegian and handledning in

Swedish does not have a direct translation in English. The closest definition would be: leading someone along the path, helping someone to see their way forward or taking someone by hand and going along. In essence it is what we use to describe coaching.

CONTACT:

www.mediefabrikken.no

TALENT DEVELOPMENT FOR US IS

To facilitate development in a safe and inspiring environment. Mediefabrikken

QUOTE

FROM A TALENT

PETTER HOLMSEN director, Mediefabrikken.

Mediefabrikken is central to my network. I think It’s safe to say that 90% of the conversations I have at different industry events are somehow connected to my relationship to Mediefabrikken.

PARTNER 11.

FILMBASEN/ FILM STOCKHOLM

11. .

STOCKHOLM, SWEDEN

Filmbasen is part of Film Stockholm, which is a division of the Cultural Administration at Region Stockholm, and is co-funded by Botkyrka Municipality.

Since 2008 Filmbasen has been an incubator and a platform for young Swedish filmmakers from the region of Stockholm. Our focus is talent development and to support film projects in the region as short films, documentaries, new media, and development of feature films (through STHLM Debut). Filmbasen offers professional and semiprofessional courses and seminars to filmmakers. We often do this in collaboration with festivals, film schools and other organisations, (both local, regional, national and international).

We also run a regional short film festival called STOCKmotion once a year.

We want to encourage young filmmakers to establish their own networks through our website filmbasen.se, and by hosting social gatherings and events focused on film.

We always try to establish close contact and collaboration with filmmakers in the region, before, during, and after they attend film schools. Many filmmakers that have participated in one of our talent development programmes to make their first feature film, also made their first semiprofessional shorts a couple of years earlier with support from Filmbasen and/or shown their first shorts at our festival STOCKmotion.

The strategy of Filmbasen is to create advancement by stimulating broad perspectives. The very idea of the activity is to identify and develop film talent and to strengthen the artistic conscience among young filmmakers. We aim to increase their self-confidence, making them believe in their own vision of where to go in the future, and also making them the entrepreneurs of their own ideas.

KEYWORDS FOR OUR ORGANISATION: ERFARENHETSUTBYTE: Sharing experience and learning from one another

TRYGGA RUM: Safe room

ENTREPRENÖRIELLT: Entrepreneurial or a way to find a sustainable artistic career

CONTACT:

www.filmbasen.se www.filmstockholm.se

TALENT DEVELOPMENT FOR US IS

To follow individuals who want to develop as filmmakers, not only with one specific film, but throughout their film career. To facilitate, support, challenge, and to encourage whilst also providing a safe place for networking where they can develop as filmmakers.

Filmbasen/ Film Stockholm

PARTNER 12.

FILM I SKÅNE

12..

Film i Skåne, founded in 1995, is one of 19 regional resource centres for film and television in Sweden, with a mission to work for film and moving pictures connected to Skåne. We are also one of four production centres and have a remit to invest in film and television projects. Our work spans investment in feature film, major TV series and documentaries, as well as talent development and short film. We organize and work with film festivals, we conduct Ystad Studios and film commission activities. Film i Skåne also conducts Ystad studio Visitor Center since 2017.

Since 2006, Film i Skåne has been helping to highlight and invest in upcoming filmmakers, and in creatives coming into film from other areas of media and the arts. Talent development focuses not only on film projects, but

SKÅNE, SWEDEN

also on highlighting and developing the creatives behind those projects. This is done by providing knowledge, networks and tailor-made efforts to make it easier for the filmmaker to move on in his or her career. Film i Skåne runs specialized development programmes and workshops and there are joint facilities and funding that filmmakers can apply for. In association with FilmCentrum South, Film i Skåne has technical equipment available to borrow, and the organisations work together with academic film programmes and new filmmakers. In collaboration with BoostHbg, Film i Skåne also has a focus on engaging audiences and exploring new media and new ways of storytelling.

CONTACT:

www.filmiskane.se

TALENT DEVELOPMENT FOR US IS

Film i Skåne works thoroughly, intensively and long-term with talent development on several levels. The goal is to create favourable conditions for a sustainable industry, with the opportunity for an influx of new voices and new skills, where continuity and long-term collaboration are the focus. In talent development, Film i Skåne focuses on individuals as much as on film projects. Great emphasis is placed on tailoring solutions and offering support and efforts for in-depth development of creators and filmmakers. Film i Skåne provides individual guidance as well as talent development carried out in programme form. Participants are given the opportunity to simultaneously participate in a programme while also benefiting from each other in a co-learning model. Film i Skåne provides guidance, talent programmes and labs, networks and networking events. Film i Skåne

PARTNER 13.

FILMCLOUD

13.

FilmCloud, a part of Förvaltningen för kulturutveckling (The Cultural Development Administration), formerly Kultur i Väst, is a platform for filmmakers in Västra Götaland. On our website filmcloud.se, you can find support for producing your own film. You will also find information on courses, events, talent development programmes and equipment support to help you develop as a filmmaker. Our network of FilmCloud Partners bring together different organisations who all work to develop film as an art form in the region. Kultur i Väst is the cultural administration agency for Västra Götaland, Sweden.

VÄSTRA GÖTALAND, SWEDEN

Administration). It strives to strengthen and develop arts and culture in society. The aim is to give everyone in Västra Götaland the opportunity to experience, as well as create, art and culture. To achieve this, Förvaltningen för kulturutveckling collaborates with other stakeholders, both locally, regionally, nationally and internationally.

We support filmmakers with networking opportunities, workshops, talent programmes, advice and coaching, film festivals and funding. We provide them with the opportunity to connect with an audience.

In 2020 Kultur i Väst was renamed Förvaltningen för kulturutveckling. (The Cultural Development

KEYWORDS FOR OUR ORGANISATION: EMERGING: We would love to have a single Swedish word for

‘emerging’. The words we have to use in Swedish tend to be interpreted as euphemisms. The Swedish word “utveckling” can be about spotting potential and providing opportunities, but it is also used as a medical term.

ANGELÄGEN: In the English language we miss the word “angelägen”.

It has a broader meaning than “important” as we perceive it. We use it as a part of the evaluation process. You could say that it is a marriage between important, appropriate, timely and a twist of social awareness.

CONTACT:

www.filmcloud.se

TALENT DEVELOPMENT FOR US IS

When we look at talent development in our region, we try to see it from both the individual filmmakers perspective and from the perspective of the film ecology . We do this in order to help create an environment where both film can flourish and filmmakers can develop and succeed. This is achieved through collaboration with education providers, civil society and the industry. Identifying the gaps and filling them is a way for us to ensure growth. We see that our target audience is broad and diverse. Some come straight out of high school while others have left higher education and are aiming to make their first feature film. For the individual filmmaker, it is important to provide the opportunity to build networks and develop specific skills that lead to the ability to make groundbreaking, original and inspirational films. Developing, nurturing and sustaining a platform where this is possible, is our way to support talent. Filmcloud

PARTNER 14.

FILMILIORTARFIK

14.

NUUK, GREENLAND

Filmiliortarfik Nuuk is the first organisation of its kind in Greenland. We provide both workshops for talent development and equipment use for upcoming filmmakers based in Nuuk. We host approximately 10 workshops a year and three events - one during Nuuk International Film Festival, one open house during the culture night held in January and a Christmas event. As we are newly established (December 2018), we are unable to support our talents financially during the

production of the film. We can, on the other hand, provide assistance with everything from pre-production to post-production in regard to equipment. We support film talent from age 18 and upwards.

CONTACT:

aka@filmworkshop.gl

TALENT DEVELOPMENT FOR US IS

We need to give the talent inspiration as well as the opportunities to pursue their goals. This means that Filmiliortarfik must be a safe space where you can go and try out your first film ideas without the fear of failing. In the right place, with the right tools for talent development. Filmiliortarfik

PARTNER 15.

CINESUD

15. LIMBURG, NETHERLANDS

CineSud is the film hub for talent and industry professionals in the heart of the Netherlands, Belgium and Germany. Within the hub, new filmmakers and professionals meet, work together and organise activities to enhance their qualities and skills. CineSud organises industry events, film labs, festivals and more. The foundation also initiates between 5 to 10 short films a year. CineSud creates new possibilities: not only through all kinds of training and networking opportunities, but also by raising and initiating production funds for filmmakers. Since its establishment in 2011, CineSud has played a pioneering role in the field of talent development in the Netherlands and abroad. With a focus on new filmmakers and industry professionals, CineSud offers

new and established filmmakers unique opportunities to further develop and realise themselves and their projects. CineSud is the only region in the Netherlands that can offer filmmakers from all over the world a tailored package of activities in the field of networking, financing and training. CineSud ensures there is also a link with the audience, in addition to its own film festival CineSud organises, in cooperation with many partners, various opportunities for filmmakers to show their projects to a broad (international) audience. Every year, several interactive activities are organised where young and old can make their own films or learn more about film/filmmaking. In a short space of time, CineSud has provided a successful and leading

blueprint for regional film initiatives, with proven national and international significance. Some of the successes achieved for filmmakers include the installation of a Regional Film Fund and a Regional Film Commissioner, the launch of the first Shorts and Feature Film Labs and Skills Lab in the Netherlands and the artistic success of short productions from the CineSud Shorts Lab programme.

KEYWORDS FOR OUR ORGANISATION:

We use English references, such as new filmmakers and industry professionals/ experts.

CONTACT: www.cinesud.nl

TALENT DEVELOPMENT FOR US IS

Talent development means giving (new) filmmakers the chance to experiment, to make mistakes, stimulating innovative and/or other ways for filmmakers to find their inner voice, style and artistic value and facilitate their creative development. We want to create a safe environment (hub) where filmmakers can develop, create and grow, find their way in the professional field of work and expand their professional network. CineSud

QUOTE

FROM A TALENT

NICOLE JACHMANN screenwriter & director, CineSud.

If it weren’t for the talent development activities and network of CineSud, I would never have the opportunity to find my way in the film industry.

PARTNER 16.

NEW NOARDIC WAVE 16.

LEEUWARDEN, NETHERLANDS

Based in Leeuwarden, New Noardic Wave is the talent hub that serves film- and media talent in the north of the Netherlands. We are an agile community based organisation that offers advice and support to talents, festivals and entrepreneurs in film and media. Craftsmanship, storytelling, innovation and entrepreneurship are at the core of all our talent development programmes and events. THE MAIN STAGE In search of the best talent we organise masterclasses, academies, labs, workshops, pitching contests and networking events. During these events (inter)national experts and coaches help to train, engage and attract talent in all genres and film and media disciplines ranging from documentary, fiction and animation

to new and innovative platforms like podcasts. TALENT COMMUNITY We host a web platform where our talent can showcase their work and meet other talent. By empathising with our community ‘think tank’ on a regular basis we engage the talent to our ongoing process and empower them to come up with and own new ideas and initiatives. COACHING TALENT PROGRAM We also offer individual coaching and support. We encourage talent to use our regional, national and international network, showing them the way to funding and festival deadlines. Every year we select 6 talents with a viable project and 5 emerging talents to be in

the Northern spotlights. We help these 11 talents create a personal pathway to their epic end goal. LABS Experimenting and playgrounds are very important for makers to explore and learn by failing. We produce safe environments where makers can create prototypes or tests. Together with the makers, we evaluate the outcomes and develop next steps. We produced 10 short 1-minute films by 10 teams of interdisciplinary makers of which 3 prototypes were used to create 3 10-minute long documentaries. This ‘design thinking’ approach takes away pressure and puts makers in a ‘just do it’ mindset.

a business developer and two trainees. We also have a large group of freelancers supporting us and are financially supported by the Province of Friesland and We the North.

BACKSTAGE In order to let talent develop and thrive we are working on the perfect self-sustainable ecosystem. We bring educational partners, schools, colleges and film and media related universities, festivals and industry partners together to close the talent development chain and create a ‘talentboulevard’. On this boulevard we will be the supporting navigation tool to get them from start to finish. Currently we consist of a team of five: A CEO, a community manager,

CONTACT: www.nnw.frl

TALENT DEVELOPMENT FOR US IS For New Noardic Wave talent development means training talent in becoming professional film- and/or mediamakers, festival organizer or entrepreneur in film and media. We distinguish different stages of experience. We focus on students(18+), starters(0-5 years of experience), midcareer(5-15 years of experience) and seniors (15+ years of experience) We divide our training programs and talentsupport into three types of talent development. Entrepreneurial skills, artistic skills and practical skills. At the core of this is telling your own unique story. We use methods like Simon Sinek’s ‘the Golden Circle’ and ‘Vision Backcasting’ by Kaospilot to unravel and uncover the intrinsic motivation of each talent. Based on such methods we work on the different skillsets. Artistic Skills will help talent to tell the stories they want to tell and share their vision better on screen. It’s about finding your unique signature and need to tell your unique story. Entrepreneurial skills will help talent to sell themselves and their projects better by training pitching, presenting and networking. It will make them earn a living, negotiate fair pay and make them industry ready. And the practical training is all about craftsmanship. It’s about ethics and discipline on filmsets, it’s about creating the perfect camera and light setup for your film and or seeing the difference between a logline, a tagline and a line producer. To train all these skills, the talent needs stages to show their work, peers to review and reflect and projects to practice by doing.

New Noardic Wave

DEFINITION OF A TALENT

Ambition + Vision + Hard work + Joy = Talent. In our view a talent is a maker (of all ages, genders, ethnicities) with the intrinsic motivation, stamina and vision to develop her or his artistic skills and qualities and use them to tell meaningful and original stories. Talent should not take this lightly, it’s a long and adventurous road to the top. We encourage and support talent to go explore, celebrate the victories on the way and enjoy the ride. New Noardic Wave

QUOTE

FROM A TALENT

TRISTAN VISSER composer, sound designer & storyteller, New Nordic Wave.

The fact that there is an organization such as New Nordic Wave that makes the right connections for me has ensured that I am now where I am.

FRAME THE MUSIC ..................................................................................................78 ARTIST RESIDENCY ..................................................................................................82 TASKFORCE ...................................................................................................................89 SELF-ORGANISED PROFESSION GROUPS .........................................94 TALENT LINK NORTH .............................................................................................98 NÓLLYWOOD .............................................................................................................102 SCRIPT MENTORSHIP SCHEME ..................................................................107 SEEK ....................................................................................................................................114 DIRECTOR’S PROGRAM FOR YOUNG WOMEN ...............................119 STHLM DEBUT ............................................................................................................126 PRODUCING PEOPLE ..........................................................................................134 DIRECTORS GYM/ REGIGYM ...........................................................................142 SHORTS LAB ................................................................................................................147

THE PROGRAMMES & METHODS

PROGRAMME:

FRAME THE MUSIC Origin: Aarhus Film Workshop

“Frame the Music” is a music video project arranged and facilitated by Gellerup Filmworkshop. The project is for youths located in the social exposed housing area, Gellerup. The main aim of the project is to bring new voices and diversity into the film industry, which is why the project takes place in Gellerup. It is an area that is often negatively portrayed by the media, and therefore it has the connotation of being an area affected by crime. The area is populated with a range of ethnic backgrounds other than Danish. When Gellerup Filmworkshop (GF) was initiated - it was discovered that there is a music environment in the local community and for that reason it was considered as an obvious opportunity to start working with these young artists in Gellerup. The young artists produce their music in an afterschool class or club called “The Rap Academy” (in Danish: Rap Akademiet). GF has a close collaboration with them, and The Rap Academy refers their young artists to GF’s music video project. The Rap Academy also guaranteed that they own the rights

to their tracks. In “Frame the Music” the participants learn to make music videos from start to finish. From developing the idea to the finishing touches of colour grading. GF looks at the artists as potential screenwriters thus they have a real film function. Every time we run a music video project, we hire the renowned music video producer, Jonas Risvig, and he teaches, inspires and mentors the young participants. Risvig’s music videos visualise the emotion or feeling behind the music. This allows the participants to start shooting much faster than if they had to start figuring out a strict narrative. The participants include both beginners coming directly from the area and more experienced participants. Some of them are from the film schools in Aarhus like Potemkin and Station Next and others are just interested in film.

RECIPE: INGREDIENTS – – –

–

1 teacher with experience in making music videos If necessary 2 teachers – one to teach editing and one to teach colour grading 1 project coordinator with experience (the project coordinator is present all through the project period which is about 2 to 3 months) Production Equipment

1ST STEP Intro meetings with “The Rap Academy”

2ND STEP Selection of the artists (2-3)

3RD STEP Info meeting for

– – – – – – –

A flexible creative method 1 workshop with the teacher 1 planning session and pre-production meeting 2-3 days of production 1 week of post-production About 1 week to colour grade Finally premiere in a Cinema (Øst for Paradis).

and talk about the track that they are going to make the music video on. The project coordinator also decides which film functions the group members have in accordance to their wishes and competences.

people who could be interested in participation.

6TH STEP Meetings/lessons with

up for participation 15-30 young persons usually between the ages of 15-35.

books the equipment needed.

4TH STEP A group of people sign

their own group

7TH STEP The project coordinator

5TH STEP Workshop with the

teacher where the project coordinator is also present Before the workshop the project coordinator has put together the groups and the participants will be divided into these. They begin to brainstorm

THE SECRET INGREDIENT To create a positive creative community where the young people who participate feel that there is a safe space where they can trust the people running the project. Moreover, we hope that the participants will continue producing films.

THE METHOD: TOOLS / EXERCISE

The teacher inspires the participants by showing clips from his own video production. They show the participants how they got from A to B with the music videos, and he advises them that it does not have to be difficult to make music videos. He shows them how he, when producing music videos, uses different symbols to show moods, emotions, senses etc.

FORMAT

The format is ‘Music video’. This is a creative and easy way to introduce young inexperienced people to video production. They do not have to think about dialogue, the script, acting and so on. There are no actual rules, they are free to be creative.

Moreover, we announce and promote the project through our social media channels. We also contact previous participants and ask them if they want to participate again or if they know anyone who would be interested within their network.

VALUE / PHILOSOPHY

A positive community, where the philosophy is that it is fun and inspiring to make films.

RESOURCES

A project coordinator is alpha omega. The project coordinator makes the budget, books the equipment, makes a production plan, puts together the groups, coordinates the locations etc. It is useful to have an extra intern, volunteer or a film worker to help with all the practical elements.

APPROACH

We recruit the participants through our networks in Gellerup and in the film schools we collaborate with Aarhus C.

PROGRAMME:

ARTIST RESIDENCY Origin: Viborg Open Workshop

As animated films and related projects require considerable amounts of time spent drawing, in front of a computer, behind a stop-frame camera, etc., our main programme for animation talents is an artist residency. The time frame, activities and services provided (ranging from artistic mentoring to story and script consulting through to production/ financing guidance) to each artist residency are adapted individually to the talent and project.

RECIPE: INGREDIENTS –

– – – –

Local staff: undertake individual meetings with the artists as well as story/script and financing/production consulting by Open Workshop’s (OW) director; offering administrative and practical support and advice by OW’s administrative staff; A group of up to 35, each with their own project and each their own OWapproved residency schedule/plans; Shared workspace including 1 desk per artist, as well as a shared stop-motion/ VR/green screen studio; 1 individual workstation (PC, monitors, Wacom board, software park) per artist; Individual mentoring and consulting

BEFORE THE RESIDENCY

–

– –

sessions, professional guidance with/ by local and international professional artists; OW’s monthly “Big Project Meeting”, which all resident artists must attend, and where they each in turn present their projects and their latest work/ progress. Residents pitch their stories, show concept and/or production artwork, storyboards, animatics, etc. and receive feedback from their peers; Access to various training courses, workshops and seminars; Access to a wide range of afterwork activities (yoga, meditation, swimming, volleyball, dancing, etc.).

1ST STEP Open Workshop (OW)

staff as to which applicants should be offered residencies;

2ND STEP A talent applies with a

the OW staff plan, together with the successful applicant, the dates for the residency and the specific projectrelated needs/requirements they have.

has 4 deadlines per year (February, May, August and November) for artists to apply for residencies at/support from OW; CV, previous work and a project, along with a statement of intent;

3RD STEP OW’s external Film

Consultant reviews all applications and makes recommendations to the OW

4TH STEP Once a talent is selected,

THE RESIDENCY 5TH STEP The resident arrives

and is given a room to sleep in, in a building neighboring The Animation

Workshop, and a desk and workstation in OW;

6TH STEP The following day,

the talent and OW’s director and administrative staff meet to both run through practical details relating to the residency and agree on the talent’s residency plans and needs for mentorship/consulting/production advice, etc.

THE SECRET INGREDIENT Our primary secret ingredient is the talent development approach we share with our Danish partners: learning through semi-professional/ professional film (or game, etc.) production, together with and/or alongside a group of peers. First of all, we strongly believe in the efficiency, durability and sustainability of learning by doing or failing. It is therefore very important to OW that our talent are provided with the framework, materials, tools and resources necessary to fully focus on and develop and produce their own projects, thus testing/bettering their filmmaking skills and learning to create for an audience.

Secondly, and we will focus on this point in The Method, we fully trust in the power of peer-topeer learning and actually rely on the fact that at least 70% of what our talent and resident artists learn comes from their peers rather than from our staff, our teachers or our mentors/consultants. We therefore do everything possible for OW to be the best place for our talent to work side-by-side with each other in the best conditions possible.

One of the most important methods we use to facilitate peer-to-peer learning is what we call our Big Project Meetings, where all our talent present their projects and their latest work/progress. Residents pitch their stories, show concept and/or production artwork, storyboards, animatics, etc. and receive feedback from their peers.

THE METHOD: TOOLS / EXERCISE

Big Project Meetings All resident artists/talent in OW (up to 35 people) must attend OW’s monthly Big Project Meetings, where they each, in turn, present themselves and their previous work (if they are new), and talk about their current projects and show their latest visual work (concept art, character or environment designs, colour scripts, storyboards, animatics, 2D or 3D layouts, line animation, colouring, etc.).

These project meetings, as well as some smaller project meetings, are organised specifically around project(s) that need extra feedback. The meetings are central elements of our talent development activities as they simultaneously address several key skill sets that our talent must learn to face in the world as professional artists: – Concept and story development skills: our talents must learn, not only how to develop their projects and stories, but also how to create the stories of/in their pitches; – Pitching and presentation skills: although these are not official pitch sessions, each talent must prepare a form of pitch for their peers. This is not only highly motivating but also allows our talent to continuously hone their

– –

live storytelling, presentation and pitching skills, and they learn how to deal with questions and comments from an audience; The ability to receive, absorb and use constructive critiques; The ability to hear/read/see/analyse an idea/project/story and offer constructive criticism.

FORMAT

All resident artists and OW staff meet at 10am in our big classroom on a designated Friday, once a month. The meeting lasts 2 hours and is followed by a group lunch for further discussions/feedback. After a short introduction by OW’s leader, the project presentations begin. Junior resident artists working on their educational application portfolios are given 2 to 5 minutes each to show 5 to 10 of their latest drawings/works of art.

Young professional resident artists working on projects are given 5 to 7 minutes each to present their latest work/progress on their projects. Between each presentation, there is a little time for feedback and questions. Then during the lunch afterwards, there

is ample time for the talent to give each other more detailed feedback, discuss each other’s projects, challenge each other, find areas/ideas to collaborate around.

These are not only a great chance for our talent to share their work/ see and feel how an audience reacts, but also to possibly take on roles on some of the others’ projects, and vice-versa, thus sowing the seeds of future national and international collaborations/coproductions.

RESOURCES – – – –

Our talents, our staff and, in some cases, our artistic consultants A classroom that can fit up to 40 persons Computer, projector and whiteboard Group lunch for all talent, staff and artistic consultants

APPROACH

Our big project meetings are designed to reproduce the settings of a “weeklies” meeting in a professional animation studio, where directors, story artists, concept artists and the likes gather and each present their latest work to their colleagues, who in turn give feedback to those presenting.

building aspect of studio weeklies, since each OW artist presenting is working on her/his own project, we know that these meetings do effectively create and foster a team spirit between artists that work alongside each other, and that they open doors to co-creation as well.

Furthermore, these project meetings are highly motivating and deeply appreciated by our resident artists, as they: – Constitute intermediate deadlines for their work; – Train them to hone their pitching skills; – Give them the chance to test their work with an audience regularly during their residencies.

VALUE / PHILOSOPHY

We believe that the regular practice of public project presentations/pitches among peers is a key component in our approach to talent development. It teaches our young talent to better synthesise and package their ideas and stories, to grasp and nurture the essential aspects of their work, and to consider their audience frequently during their development process.

While our big project meetings, by essence, cannot reproduce the team

DEFINITION OF A TALENT

A person who is passionate about animation and film and/or games and other related fields, who has key basic abilities in that field(s) and, most importantly, who is disciplined and works very hard at enhancing those abilities and skills in order to develop as a visual storyteller. Furthermore, a talent must have the courage both to produce her/his project according to her/his vision, and to present them to an audience. Open workshop, Viborg

PROGRAMME:

TASKFORCE

Origin: Odense Film Workshop

Taskforce is a method aimed at beginners. It’s a course targeted at people who want to gain hands-on experience in film production, and who wish to get a feel of the production environment. The Taskforce method aims to provide the participants with technical qualifications, a creative network, practical experience and hands-on knowledge about film production. Taskforce teaches the participants in different fields of filmmaking such as DOP’s, producers, editors, screenwriters and sound designers.

industry so we decided to change the Taskforce course. We hired a director and split up the editing and sound designer role.

The reason for creating this programme is to educate newcomers in the different fields of filmmaking, so that we secure future filmmakers for the workshop and for Danish film. The programme has been changed over the years. We started with four groups: director, scriptwriter, cinematography/ light and editing/sound designer. The challenge we had in the first entity was that we had too many applications for the director role when we only needed one. During that period there was a need for a technical crew in the

RECIPE: INGREDIENTS – – – – –

4 experienced teachers 1 experienced director Production Equipment The Simply Creative Method (another method)

Teams of new producers, editors, screenwriters, sound designers and DOP’s

1ST STEP Before the programme

starts: We post a PR/info film on Facebook. We host an info meeting at Odense Film Workshop. After the application process is completed we place participants in groups. When the groups are created we then hire teachers consisting of emerging/ qualified talent. We provide meeting facilities and book equipment.

– – – – – – –

4 meetings/lessons with their own group 4 common masterclasses 1 pitch session 1 pre-production meeting 1 production day 1 post-production meeting 1 premiere

At the end of the training process a Pitch session is held to select a screenplay.

3RD STEP After the training

process: Pre-production meetings (planning) Film production (learning-by-doing) Post-production Screenings (feedback on first cut) Premiere Evaluation (what did we learn?)

2ND STEP The programme:

Simply Creative exercises for all participants - this is for team building purposes. Participants are divided into their teams (producers, screenwriters etc.) Work in groups for 2 hours Break for dinner 30 min. Masterclass for 2 hours

THE SECRET INGREDIENT Our secret ingredient is to use one of our experienced directors as a mentor. We find that using one of our emerging/qualified talent creates a peer-to-peer learning experience that our beginners appreciate.

THE METHOD: TOOLS / EXERCISE

Peer-to -peer learning: We use emerging or qualified filmmakers, who pass on their knowledge to the beginners. We select a director for the job based on their skills as filmmakers as well as their social and teaching abilities.

FORMAT

The director best suited for the job is hired and we discuss the programme and the role that they will take on as a mentor. The chosen director will be present during the whole programme including the process and it is his/her job to keep an eye on each group, and their development.

RESOURCES

Time spent on preparing the director is time well spent. It is essential for him/her to know the endgame of the programme to secure the best possible results. Directors with the right skills, knowledge and teaching abilities will not only provide the beginners with a good first experience, but also a film that they can be proud of and if necessary, use in their filmmaking career.

APPROACH

Odense Film Workshop produces lots of talented directors. These talented directors need to keep putting the craft into words to evolve and evaluate their own development. The teaching element of the job provides them with an opportunity to explain why and how they work. We’ve discovered that if there isn’t an experienced filmmaker involved, the beginners struggle to complete the project. This method develops talent at all levels.

VALUE / PHILOSOPHY

Taskforce is a possibility for everyone with an interest in filmmaking to get started and to create a competent network. And to fail or succeed with their first production. We learn from our mistakes. Odense Film Workshop has discovered that learning and making mistakes in a safe environment, improves the talent’s overall development.

DEFINITION OF A TALENT

The characteristics of a talent is courage, passion, creativity, stamina, and persistence. It is the ability to keep on developing new skills of film making through enthusiastic and motivated practice of the craft. It is hard work, and a talent must be brave enough to endure on a journey of self-discovery and put themselves at risk of failing again and again.

Odense Film Workshop

PROGRAMME:

SELF-ORGANISED PROFESSION GROUPS Origin: Film Workshop/ Copenhagen

RECIPE: INGREDIENTS

Currently we have three types of filmmakers at the Film Workshop: documentarists, screenwriters and fiction directors. The goal of the SelfOrganised Professional Groups is to have specific groups of filmmakers organise a monthly evening at the Film Workshop. The filmmakers set

a theme, invite a speaker or conduct a project development process and around 8-12 people on average attend the meetings each time.

1ST STEP To form the group the

3RD STEP The Filmworkshop

–

Film Workshop invites members of a particular profession to a meeting to see if they are interested in meeting regularly to discuss opportunities, challenges and progressions in their craft.

2ND STEP At the establishing

meeting, a list of speakers and themes are made. If there is an interest in forming a “profession group”, two members are appointed to take responsibility over arranging the next meeting. The Film Workshop has an inhouse Event Coordinator to assist the group.

ensures that the professional group’s mailing list is updated with potential newcomers to their profession.

4TH STEP Occasionally we promote the group on our network if, for instance, the frequency of the meetings go down.

THE SECRET INGREDIENT The programme engages the talent in their own development and makes them analyse what kind of needs, skills and talent they need to develop.

THE METHOD: TOOLS / EXERCISE

The programme allows the individual group to initiate and arrange meetings. They decide their learning process whether it is to listen to a speaker, engage in discussing challenges or being hands on in production workshops. The Self-Organised Professional Groups provides a very economic way to facilitate the learning process – and the level of personal engagement has proven to be stronger than traditional “teaching”.

the need for drive, dedication and a network within the film industry.

VALUE / PHILOSOPHY

To strengthen the learning process within your profession. – to share experience – to analyse your own learning process – to analyse your needs for inspiration and skills

FORMAT

Meetings and workshops Arranged by the participants themselves Economic and successful in its aim

RESOURCES – – – – –

A big meeting room with screening facilities A kitchen Website Mail lists Finance - to pay for coffee, tea and sandwiches, sometimes wine and a small fee for the speaker

The Film Workshop provides the groups with these resources as a part of our talent development effort. Providing these resources to the groups themselves to self-organise these meetings allows them to experience

DEFINITION OF A TALENT

Talent is the way in which you manage your innate and learned abilities. Copenhagen Film Workshop

PROGRAMME:

TALENT LINK NORTH Origin: Filmwerkstatt Kiel

6-8 International talent experience the Nordic Film Days Festival in Lübeck together.

RECIPE: INGREDIENTS – – – –

Nordic Film Days (biggest Nordic Film Festival outside of Scandinavia) Youth hostel/apartments 6-8 participants from 4 countries coming together for 4 days Invitations to parties, receptions, masterclasses

1ST STEP Each Partner (workshop

and institution) puts out a call for talent and decides individually on their participants;

2ND STEP Partners book their participants travel;

3RD STEP We book the youth hostel/apartment and the restaurants;

4TH STEP We ask for invitations

– – –

Festival passes to access all screenings Travel paid by Partners Person from the Workshop following and helping out, staying with the talent (volunteer from a one year volunteers in culture-programme)

5TH STEP We co-organise

a documentary masterclass that participants partake in;

6TH STEP We ask film professionals

to meet the participants during the festival;

7TH STEP We draw up a timetable for the participants

to receptions and parties during the festival;

THE SECRET INGREDIENT

Cake!

THE METHOD: TOOLS / EXERCISE

We gather the group together after they arrive and let them each show one of their own short films. By doing this we create a common ground for conversation to flow around their films and the events they are visiting together. The last event in the programme is “speed dating” with professionals from the film industry. Each group has 15 minutes with each professional. The speed dating concludes the opportunity for participants to meet and network with film professionals during their four days in Lübeck.

FORMAT

This is a great opportunity to get to know film talent from an international context and in our experience, the group bonds quickly. The group often expands over the course of the few days as the participants have opportunities to bring on board other talent attending the Festival.

APPROACH

Be open, let it flow and provide opportunity.

VALUE / PHILOSOPHY

We truly believe in an international approach from the very beginning of all talent development. We have had 17 year-olds participating who have produced some great films at home but had never attended a festival or were part of an international group of people. The friendships develop into working relationships. It provides us with an opportunity to get to know the talent (better) and keep up with them in the future. It is such a simple concept, yet always gets great feedback and has a lot of lasting results.

RESOURCES

Knowing the partner workshops and thrusting their knowledge of the talent is crucial. Travel and accommodation is easily set up, the festival helps by providing accreditations and invites. It is a low-key programme with a high impact.

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DEFINITION OF A TALENT

We have a definition of talent for applicants at the fund: 1. A talent film is from the first to the third feature length film from authors, directors or producers aimed for a theatrical, commercial or festival release; 2. A talent who applies must not be past the age of 39 by the application deadline; 3. If an established production company applies for a project, the status of the talent/ author, director or producer will be taken into consideration; 4. In an international co-production at least one talent/author, director or producer needs to be registered in Germany; 5. If the first programme long film is also a final film at film school and receives a commercial or festival distribution, it is to be counted as one of the three talent films; 6. A talent film, in relation to short films only, covers the first film that was applied for at the Film Fund HHSH or another funding institution either after finishing film school or as a career changer. 7. Has a filmmaker already completed several feature length documentaries and distributed them. Only the first feature length film applies as talent film. Filmwerkstatt Kiel

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PROGRAMME:

NÓLLYWOOD Origin: Klippfisk

Nóllywood is a ten-day film workshop, where participants collaborate on a short fiction film. During the workshop we provide tutoring and individual

mentoring in the participants respective fields of work - directing, cinematography, sound recording and design, editing, set-design etc.

RECIPE: INGREDIENTS – – – –

Venue: An isolated island with 200 inhabitants 6 mentors 12 participants (aged between 14-20) A school (to be used as the main

1ST STEP We put out a call for applicants;

2ND STEP We assess and select the applicants;

3RD STEP Successful applicants are

given a username for an online forum;

4TH STEP Applicants share ideas

for the narrative and come up with suggestions to storyline and specific scenes or dramatic situations. Mentors occasionally give advice as well.

– – –

headquarters) 6 development and pre-production days 2 shooting-days 2 post-production days

5TH STEP 1 month prior to

workshop-take-off, applicants are introduced in person and vote on which story to continue to develop and film. The participant who has written the story is responsible for completing the script. The other applicants are welcome to help out.

6TH STEP 1 week prior to

workshop take-off – Final draft deadline.

7TH STEP First day of workshop – Participants chose what crew-role

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they want. Usually runs quite smoothly, but if disagreements occur, we try to come to an arrangement where all participants are content.

8TH STEP Participants get a basic introduction to the fundamentals of their chosen field.

Director and cinematographer are introduced to a floor-plan, shooting list and storyboard. Set-designer is introduced to script-breakdown and creates a props list. Later they go to the National Theatre to pick clothes for the actors and look for props. Theatre clothes and props are often caricature in design, but it helps them articulate the character. They will go on to find more everyday clothes, which convey the same thing.

The sound designer is introduced to the basics of sound recording and operating the equipment. Later they are encouraged to do a script-breakdown of all the sounds that appear in the script and start imagining and creating a soundscape. They then go out to do some wild recordings. The editor is introduced to the fundamentals of editing in Adobe Premiere. He/she is given stock material eg. gunsmoke to edit, with the assignment to complete the sequence. The clapper/scripter is introduced to the concept of continuity and usually

helps out in the art-department. The producer is set to do an over-all production plan, a day-by-day schedule as well as call-sheets. The producer usually also functions as 1stAD on set so he/she is also introduced to the procedures on set – this is usually a common class for all. While this might sound overwhelming for a rookie, they are directed through the process by mentors that guide them along the way.

9TH STEP Day six and seven – shooting days. The participants run the show, with minimal interference from the mentors.

10TH STEP Day eight and nine

- post-production. The editor edits the film along with the director. The sound designer follows the process closely and applies the major sound design elements – important sound effects, music etc. After the final-cut the sound design is completed, often under a lot of time pressure. The sound design is often not completed until early morning on day 10. The other participants watch films and are otherwise free do to leisure-time activities.

11TH STEP Day ten – public screening of the finished short in the local village hall.

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THE SECRET INGREDIENT Trust in the participant’s sensibilities and capabilities. Encourage them to go for it – to trust their gut-instinct and to pursue their own ideas. By putting yourself on the line, you develop character and gain self-insight, which in itself is a great reward.

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THE METHOD: TOOLS / EXERCISE

Breakdown sheets, storyboards , dayout-of-days, call sheets, shooting schedule, floor-plan, mood-boards, colour palette schemes, 3-act structure narrative, actantial model.

FORMAT

Hands on lessons and group work as well as small individual exercises.

dream can be very rewarding, whether you succeed or not. To experience the spark and fire within themselves as well as in others is - in my opinion the most inspirational, and might be the strongest motivation for them to embark on the pursuit of a career in filmmaking.

RESOURCES

Semi-professional film equipment. Local actors and location for shooting.

APPROACH

Learning by doing. Providing the participants with the basic tools and education in filmmaking and then allowing them to employ these tools and knowledge by working independently on a short film. Experience tells us that over-protecting the participants by excessive tutoring and guidance may lead to quick results, but it has proven counter-beneficial in the long run.

VALUE / PHILOSOPHY

The idea was to have the youths experience the sense of community and passion that comes along with making a film together. Going through so much hardship for something as fleetly and fragile as an idea, notion or

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DEFINITION OF A TALENT

Talent is the potential to grow. Klippfisk

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PROGRAMME:

SCRIPT MENTORSHIP SCHEME Origin: Galway Film Centre

The Mentorship Scheme is aimed at writers who are from or reside in the WRAP* region of Clare, Donegal, Galway, Mayo, Roscommon and Sligo. This Scheme aims to nurture and support emerging writers connected to the region in idea generation and script development through mentorship and networking. Another aim of the scheme is to foster projects that can be produced in the West of Ireland/ originated from the West of Ireland to build capacity for the future. Writers are invited to submit their original ideas for a feature film or TV series (both live action and animation) in the Irish or English language. Three writers are selected and allotted contact time with an experienced script editor from Ireland or the UK over a period of six months, as well as receiving an award of €500 each to develop the idea further. Towards the end of the scheme, the writers participate in an industry round table discussion, which includes commissioning editors from the major funding organisations in Ireland, producers, development executives and other relevant stakeholders such as talent

agents. In addition to this collective talkshop and think tank to introduce the writers to the industry, the writers engage in one-on-one meetings with the professionals attending including commissioning editors, producers, development executives etc. to build their contact base and pitch their project in an informal manner. The scheme endorses 50:50 gender equality, as well as encouraging diversity of voices and ages. Writers’ track records as well as the originality and boldness of the ideas submitted and the potential for development are key criteria in the selection of the candidates. * The WRAP Fund (an initiative of the Western Development Commission and Galway Film Centre in association with the local authorities of Clare, Donegal, Galway City, Galway County, Mayo, Roscommon, Sligo and Údarás na Gaeltachta) is Ireland’s only regional fund providing strategic investment through production and development funding to the film, TV, animation and games industry in the West of Ireland.

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RECIPE: INGREDIENTS – –

– –

Writers Project Manager with an understanding of the development process to produce a clear set of guidelines for the scheme and oversee the process 2 x Independent Assessors to evaluate applications 3 x Script Editors who will be the mentors on the scheme. The scheme allows for both Film and TV ideas to be submitted therefore you must ensure that each Script Editors has strong industry experience in TV and/or film as well as experience in

1ST STEP Draft guidelines for applications;

2ND STEP Draft application

form for participants (GFC require completed application form, 1 page synopsis of idea, 15 pages of writing sample, creative CV and 1 page personal statement);

3RD STEP Issue call out for writers to apply through relevant channels;

4TH STEP Engage a panel of independent readers to assess the applications (the quantity of readers will depend on the amount of

– –

working with emerging talent. Venue with a board table and space to allow for break out one to one meetings (e.g. foyer etc) A range of industry stakeholders who can participate at the round table and take part in the one-toone meetings. These should include representatives from national funders and broadcasters including Commissioning Editors, Fund Managers and Development/Talent Executives, Experienced Producers and Development personnel of Film & TV companies, Talent Agents.

applications anticipated. GFC uses a 1:25 ratio). The independent readers will shortlist a number of applications each (up to 6);

5TH STEP The shortlisted applications will be double read by the panel of readers and rated;

6TH STEP The three highest scoring writers are selected and paired with their mentor. They are allocated 10 hours of one to one time with the mentor;

7TH STEP Project Manager agrees

a timeline and development plan with

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the writers and mentors. The Project Manager will supervise the schedule;

8TH STEP Writers will also take

part in Skype calls with the project Manager and the other shortlisted writers in a bid to continue peer to peer / communal learning; –

Project Manager to curate a strong selection of industry stakeholders from the relevant agencies to engage in the round table discussion with the writers. One person selected as chair of the round table and a range of discussion topics should be decided in advance and a brief provided to the attendees. One to one meetings to be scheduled.

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THE SECRET INGREDIENT The secret ingredient of the scheme is the peer-to-peer learning-by-doing and the level of engagement from the mentors.

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THE METHOD: TOOLS / EXERCISE

The writer applies with a project that they wish to develop. We use the process of developing the project as the tool for the writer to hone their overall writing skills and learn to engage in a professional working relationship with a script editor/mentor echoing the development process within the industry. During the scheme the writer and the mentor will work together to progress that individual project through discussion and notes leading to redrafts. They may work on areas such as story structure, character development, plotting, tone etc. While the project will develop further during the mentorship, the overall aim of the scheme is to progress the writer’s professional craft, skills, experience and network in a low stakes environment and open doors to further their career.

FORMAT

We introduce the mentor and the writer to each other and devise the plan/schedule for their engagement. The structure of the hours is individual to each writer and mentor so it suits their style of working, their life situation and their preferred method of communication. We allow this process to be open so that each pairing is comfortable with the situation and therefore we are able to maximise the

experience for both the writer and the mentor.

RESOURCES

Experienced script editors in both TV and feature film who are willing to nurture upcoming talent. We ensure that our mentors are experienced script editors or development executives within their field who are willing and capable of sharing their knowledge and expertise with the writers during the course of the scheme in a professional manner.

APPROACH

The approach of the scheme is a peerto-peer learning-by-doing method. Peer-to-peer learning is the sharing of skills and experience from one talent to another. This is a crucial part of this scheme. The quality of the mentors and ethos to which they approach the scheme is vital to the progression of the talent. The focus is on the development of the craft, not the project. While the project may progress during the mentorship, the scheme is built to progress the writer primarily in a learning-by-doing approach.

VALUE / PHILOSOPHY Practice makes perfect!

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QUOTE

FROM A TALENT

ORLA MURPHY writer & director, Galway Film Centre.

Doing the scheme has been a very positive experience. It was really useful to work with a script editor from concept through to treatment and draft, especially when writing a comedy and needing to get all plot points just so. The mentoring helped with other aspects of the project and my writing beyond the script and my mentor was a perfect, unobtrusive, guiding but never prescriptive presence. Both myself as a writer and my script are far better than we would have been without this early input.

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DEFINITION OF A TALENT

We define talent as “creative talent” as we feel it incorporates everyone involved in the industry. Creative talent refers to writers, directors and producers as well as art directors, production designers, modellers etc. A creative talent is an individual who has the vision, determination, acumen and passion to work in the creative industry of film, TV, animation or games. Galway Film Centre

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PROGRAMME:

SEEK

Origin: Filmveksthuset TVIBIT

SEEK is a program developed by Tvibit with emphasis on new media developments which take place under TIFF (Tromsø International Film Festival) and NUFF (Nordic Youth Film Festival). With TIFF, SEEK takes the form of a seminar with guest speakers from the industry, exhibition space of compelling VR works for festival attendees and workshops. With NUFF, SEEK takes a more handson role with a special workshop group of young filmmakers and interactive developers being mentored by professionals throughout the process. This group is challenged to produce a new media project under the same 6-day framework as the rest of the participants at NUFF and to quickly adapt to new techniques and screening platforms.

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RECIPE: INGREDIENTS – – – – – – – –

Film festivals Funding partners Content curation Guest speakers/mentors Hand-picked participants Exhibition space Work facilities Equipment (VR headsets, computers)

1ST STEP Plan out with film festivals

2ND STEP Conceptualise a project proposal for funding

3RD STEP Find the right mentor

4TH STEP Seek additional funding.

If there´s time, find and engage with commercial partners/sponsors

5TH STEP Put out a call (if workshops)

7TH STEP Prep equipment, develop a clear pipeline, software tools, platforms

8TH STEP Under pre-production – showcase case examples prior to concept development

9TH STEP Design thinking with concept development

10TH STEP Execute!

6TH STEP Handpick participants

to form a complimentary group, good blend of diversity, filmmakers and artists

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THE SECRET INGREDIENT SEEK is inspired by transmedia workshops, game jams, hackathons and film camps. The core principle is to have a good mix of talents from filmmaking with interactive development, a good mentor to oversee the process and a good framework to deliver the results of their collaborations.

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THE METHOD: TOOLS / EXERCISE – – – –

Design thinking and ideation Critical review of popular culture Deconstruct new media sources Agree on pipeline (data management) and process

FORMAT – – – –

VALUE / PHILOSOPHY – – – –

Eko Studio (easy to use web platform for interactive film) VeeR, Vimeo, Youtube, Facebook for (for 360 formats) Unity (platform for publishing interactive/VR productions) Unreal Engine (for virtual productions)

RESOURCES – – – –

Project manager (50% - 100%) Professional mentor (design/ production), media technician Participants with established skill sets VR equipment (cameras), midrange PCs , editing software plug-ins, central database, defined development platform

APPROACH – – –

Project should be relevant to current trends Films or social discussion relevant to a target audience Opportunity to learn and understand a new media process

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Media Experimentations Mastery of new process and technologies Presenting a prototype to an audience Merging of games/film into an interactive medium

DEFINITION OF A TALENT

We define a talent as a person with a specific drive to explore a creative field, and that works diligently to realize projects, while willing to push and challenge their own boundaries.

Filmveksthuset TVIBIT

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PROGRAMME:

DIRECTOR’S PROGRAM FOR YOUNG WOMEN Origin: Mediefabrikken

The Director’s Program for Young Women started out giving young female directors a customised arena to practice and learn by writing and directing their own short films. We wanted to facilitate a room where young women could define their role as directors. The program is a collaboration between Mediefabrikken and Viken Film Centre.

We wanted to create a “workout” arena. To get the idea materialised from the computer to a finished film is supposed to be short. By providing a safe environment and a focused framework for the workshops the participants themselves shape how they want to work as directors, without thinking about a particular result to be judged. Being in a program with others on the same level and with the same goal of practicing, creates networks and makes it easier to embrace future projects. It is also a goal for the participants to test out other functions in the other participant’s productions in order to get a broader picture of film production.

Earlier, Mediefabrikken contributed to a programme for young female directors and screenwriters in collaboration with Viken Filmsenter. Good screenplays were developed in safe, creative settings, but not many of the screenplays saw the light of day as finished films. We see that young filmmakers need to practice by making films so we changed the programme to include production. In addition, we had long wanted to facilitate a programme where directors produce for each other, both because young producers are difficult to find for short films and because directors can benefit from a stronger understanding of the producer’s task. So mixing these two roles formed The Director’s Programme for Young Women.

The Director’s Programme for Young Women spans over four sessions and one screening. They apply with an idea for a short and a motivational letter. They are assessed by their level, their motivation to practice directing skills and the feasibility of their idea. Six participants are selected. Some have not made films before, while others

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may have made one or two short films. Participants are often in their early twenties. It is also a requirement that all participants must participate in at least two other productions in addition to their own, in other functions. At the first gathering, we work on idea development and talk about production plans. In the second gathering, we work on the floor as actors and use improvisation and scene writing as a tool for script development. At the third meeting, we hold a script room and give feedback on each other’s projects in script form or synopsis. We also talk about the role of the director, what is expected and how they want to form the role. The first three gatherings are held by the Mediefabrikken’s supervisors and are conducted every two weeks. Then comes the shooting. Everyone gets 200 EUR in support of their production. The participants themselves assemble a team and receive support for a young, professional photographer (DOP) who also has a mentoring function on set. In this way, a certain quality of the finished product is ensured, and the directors can focus on what happens in the frame. Through post-production everyone can get guidance on editing and audio and when we meet at the last gathering where unfinished films are shown and everyone gives feedback to each other. Once all of the films are finished and if the participants

are interested, we help to organise a screening/premiere in a cinema in Oslo. Here, participants invite their team, friends and family, to see their films and thank everyone involved.

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RECIPE: INGREDIENTS – – – – – –

6 participants with short film ideas 4 sessions of short film development 6 shooting days (one day per production) 1 screening 1-2 script coaches Professional DOPs

1ST STEP We put out a call

2ND STEP We assess the applications and select 6 participants

3RD

STEP We meet at

Mediefabrikken and develop the ideas through three sessions over 1-2 months

4TH STEP They shoot their films in

a one-day shoot with equipment from Mediefabrikken and with a professional DOP

5TH STEP We meet in an editing

room and give each other feedback on unfinished films and we book a cinema for a screening of the finished films

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THE SECRET INGREDIENT The participants contribution in each others projects by giving feedback and suggestions in idea development in a writers room (Norwegian: Manusrom)

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THE METHOD: confused, surprised, what feels like a distraction, and so on

TOOLS / EXERCISE – –

All participants and the mentors read all six scripts before we meet During the meet, we discuss the six short film scripts and what we learned while reading them

FORMAT

We spend about 45 minutes on each project, depending on the need and length. It is important that every project is thoroughly analysed, but also important that we don’t “over talk” it.

RESOURCES

A delicious lunch halfway through the day.

APPROACH –

– – – –

We like to think that by doing this exercise, we contribute to a more constructive, creative and - for the filmmaker - a safer form of feedback We base the feedback on our experience from reading the scripts We think the language we use while talking about the projects is important We try to avoid comments like good, bad, like, dislike, not convinced by, do not believe in, etc. We prefer talking about expectations we get while reading, when we laugh, when we are

VALUE / PHILOSOPHY

You learn as much by following the development of other participant’s projects as by working on your own.

To mirror your project in other filmmakers instead of having someone tell you what is right or wrong with it is more beneficial to you. What emerges in the room, be it ideas, questions, solutions, “truths”, answers, insights or new understandings within the projects, is something none of the participants could have come up with on their own. That goes for the script mentors too. We do it together.

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QUOTE

FROM A TALENT

THEA HVISTENDAHL director, Mediefabrikken.

This place has given me self-confidence, support, practice and a large network of supportive filmmakers. It’s where I’ve learned to make films. Mediefabrikken has meant everything to me.

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DEFINITION OF A TALENT

We don’t label the filmmakers that we work with as talent. We are working with filmmakers with various needs and on various development levels. Mediefabrikken

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PROGRAMME:

STHLM DEBUT Origin: Filmbasen/ Film Stockholm

STHLM Debut is designed to assist directors, and their screenwriters and producers, who are debuting their feature films in the Stockholm region. During the programme, participants receive financial support to develop their projects and coaching during their creative processes. They also participate in tailor-made workshops (for example: sharing leadershipdirector-producer, pitching, screenplay sessions, media-training etc). They also have the chance to meet executives from the field and are introduced to their future audience during the work in progress-screenings. An important part of the programme is the interaction between the participants and their mutual exchange of artistic experiences. BACKGROUND TO WHY WE STARTED THE PROGRAMME: – We thought that there was a ’big gap’ between the time our filmmakers had successfully made their shorts or had finished film school, and the time when they were to make their first feature

–

– – –

film. We wanted to build new sustainable teams, and a network with a ’safe room’ for them to meet and share experiences, and to feel less lonely. We wanted to give the filmmakers more time and more confidence to develop their first feature film. We wanted to support new film talents to make edgy, personal and high-quality films. We also wanted to start some kind of STHLM Debut- community. (Once a year we offer a big STHLM Debut-dinner to everyone who has been involved in the programme at some time.)

The goal was also to have the three film organisations in Stockholm cooperate together and thus make it easier for the filmmaker to access us all. We’ve run the programme since 2012 and collaborated both with Film Capital Stockholm (the Filmfond in Stockholm) and with Stockholm International Filmfestival where, for example, the participants yearly have a work- in-progress- presentation during trade meetings. We have now had 8

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rounds, and 8 feature films have been released. This year 3 more will be in production and many more are on the way.

The programme is highly inspired by the Talent Programme of Filmbasen which we ran between 2008-2012. That programme had 3-4 directors who had proven themselves highly talented and were developing their first feature films. In the Talent programme they got a grant (€ 5,000), and they had meetings with a coach every two months to follow the development of the projects and their advancement as filmmakers.

In STHLM Debut we have invested more money, gained more collaborations, had more participants and have produced more content than in the previous project.

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RECIPE: INGREDIENTS –

– – –

3 regional organisations to collaborateThe talent centre (Filmbasen), the Film Fund (Film Capital Stockholm) & the film festival, (Stockholm International film festival) 2 project managers to work together throughout the programme and 1 coordinator of the programme 3-5 projects (with a team that includes the director, the producer

1ST STEP At the beginning of the

year we announced this programme on our website, in our newsletter and on Facebook. Around 50 projects apply each year in which 10 will come to an interview, and a maximum of 5 projects will be accepted. We then put out a release of the new participants and their projects.

2ND STEP We start with an

introductory meeting, where the participants introduce themselves and their projects to each other. We have a screening meeting where they show some shorts or earlier films they have made. The screening allows them to start sharing experiences of how they usually work. In these start-up meetings we talk about their expectations of the programme. At the meetings we think it is important to have time

– –

and the screenwriter) Each project is assigned €13,50020,000 as development support. The programme runs for 18 months and includes coaching, tailor-made workshops, individual coaching and group meetings, work in progresssessions, collaboration with other development programmes (national and international) etc.

for lunches and coffee breaks so that there will be time for small talk. We then have individual meetings with every team and the project managers for 1-1.5 hour where we discuss their development plans and needs for the project.

3RD STEP When we have had

these three meetings we start planning what kind of workshops we should design for each specific group. One workshop that we have organised for some years now is called Sharing Leadership – How Can We Make Each Other Better

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THE SECRET INGREDIENT The process meetings and tailor-made workshops where the participants share experience and give feedback to each other is the most important ‘secret’ ingredient. Sharing Leadership – How Can We Make Each Other Better is an example of that.

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THE METHOD: TOOLS / EXERCISE

This workshop is specialised for producers and directors. They will meet for one day and talk about what they expect of each other and how they want to work together. In our experience, this collaboration is the core of success for a feature film project. The importance of good communication between the director and the producer is fundamental. In order to avoid misunderstandings with each other, this workshop ensures that they build a relationship that is sustainable and long-term. This can be the difference between the success and failure of a feature film project or determine the progression of the student as a filmmaker.

FORMAT

One day, 6-8 hours. We have about 10 participants, both directors and producers, in each group. We also invite an external facilitator who works with leadership in different areas. (We have had previous meetings with these workshop leaders so that they know what we want to achieve and also to give them some information on the group.) Occasionally, instead of an external facilitator, we have invited producers and/or directors that have been a part of the programme before and now

have more experience of feature film production. We call this a Sharing Session and it has worked very well in the past. .

RESOURCES

We need space - a nice big room, with an area outside, where you could sit in small groups and talk. We also need the finances to pay an external facilitator, or an earlier member of the programme– who can give examples and tools, or share their experience with the programme participants.

APPROACH

It is important that we keep a safe environment and that everything we talk about stays in that room. It is also important that we really open up and dare to speak about our fears. We provide tools to help participants to communicate, negotiate and to collaborate on a plan for how they will work together.

VALUE / PHILOSOPHY

We want to create a better atmosphere and a more cooperative and sustainable community. We believe that if we could work with teams that want to make each other better we will have better films, stronger, braver and more creative filmmakers and a better world.

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STHLM Debut, 2019

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QUOTE

FROM A TALENT

SIRI HJORTON WAGNER producer, Filmbasen.

- about tailormade workshops about shared leadership and sharing experiences:

Awesome. Gave lots of good thoughts and added a new good basis for the collaboration between me and my director Lovisa. After this workshop, we have become much better at communicating with each other, clarifying what we expect of each other and our hopes for the project.

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DEFINITION OF A TALENT

A person who has a drive, a voice and a strong will to express themselves (through film). Some characteristics of “talent” are, that they are hard working, sustained, have artistic integrity, full of energy and have a lust for telling stories. Filmbasen/ Film Stockholm

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PROGRAMME:

PRODUCING PEOPLE Origin: Film i Skåne

BACKGROUND AND SUMMARY: There were a lack of producers succeeding in our region. The upcoming producers had difficulties navigating the system and creating a track record to become more visible in order to develop to larger scale project financing. They also lacked important networks and knowledge in certain areas. Very few production companies were being established and many producers felt they were trapped as junior producers. Producing People is a two-year support programme for a group of four upcoming producers. The programme is based on the needs and desires of the participating producers, who are responsible for creating the programme together with the Process Leader. The programme uses a co-learning model where the producers share knowledge, networks, challenges and experts with each other. The programme focuses on strengthening the individuals, with the goal of creating sustainable producers who strengthen the film industry.

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RECIPE: INGREDIENTS – –

–

The programme lasts two years and consists of four selected emerging producers. Every participating producer receives a yearly stipend (€5,000), and a resource fund (€2,000). To receive the financing the participating producer must present a plan for activities, their needs and goals for the year. With the resource money the participating producers can hire experts, either separately or in groups and they can take part in labs, forums and/or other upskilling/ networking activities. The group meets once every other month, to share experiences within the group or to workshop with invited experts. These group meetings are planned by the participants, in collaboration with the Process Leader. The group also takes part in networking events and trips to forums

The first round of ‘Producing People’ was inspired by methods we had used in earlier talent programmes. The second round was shaped from what we had learned from the first round of the programme with insights from the participants.

–

– –

and festivals. Between the group meetings the participating producers arrange workshops, seminars or coaching sessions, separately or together in groups. These sessions are based on the producers’ individual needs. Occasionally, experts are invited in and the producers coach and give seminars and masterclasses to each other. Twice a year, two mandatory workshops are given by the Process Leaders: Leadership and Audience Engagement/Business Development. Twice a year, the programme meets the alumni producers from previous rounds of the programme. The participating producers must spend 20 “pay back” hours to the region, sharing their collected knowledge and experiences with filmmakers and other relevant persons.

SELECTION PROCESS 1ST STEP For the first round, we

handpicked the participants. For the second round we had more knowledge on what we were looking for, so we put out a call offering the participants a safe space, time and opportunity for development, new knowledge and new networks.

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We looked for: – Producers who had made conscious choices about their professional role and had an awareness of their own needs, competences and challenges. – Producers who were willing to share their experiences, knowledge and challenges. – Producers who had experience in the film/TV industry, had produced at least two financed productions and whose aim were to progress to larger scale projects.

2ND STEP We used the interview

to find out the needs and opportunities for the programme. The interviews helped us to find the core focus of the programme. We spent a lot of time creating the interview questions and ensuring that we created a safe and creative environment for the occasion. We asked questions like: What kind of producer do you want to become? What are the qualities of a good producer? Where are you now? Where do you see yourself in the future?

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THE SECRET INGREDIENT Co-learning, sharing of knowledge, networks and experiences, has become the biggest focus of the programme. The participants share knowledge and experiences with each other during the group sessions, they give masterclasses and workshops to each other (within their area of expertise) and they recommend and plan workshops and seminars with experts individually and within the group.

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THE METHOD: TOOLS / EXERCISE

At the first group session we spent a whole day together. Most of the participants didn’t know each other beforehand. Below are samples of the first meeting: We, the Process Leaders presented our intentions for the Programme by stating: ”You are the experts. We want to offer a safe space. We are not Commissioning Editors in this room. We want to highlight you and invest in you. We have no requirements for performance but we want you to take advantage of the opportunities provided”.

During the day the participating producers meet the alumni-producers, who share their experience of the programme and how they took advantage of the opportunities. The alumni also share the events, workshops and activities that they had created within the programme. During the day we give the producers an exercise where they are asked to build (with paper, fabric, pearls or other material) a ”super-producer” based on what characteristics, qualities and qualifications they feel makes a good producer. Then they are asked

to state where - in relation to the super-producer they have built - they are now as producers. What do they think they are lacking and what are their good qualities? What are their challenges and opportunities?

FORMAT

At the group meetings, the participants submit their plans for the year and together we create an overall schedule for the first year, with a focus on our group sessions. Then the participants start to share their plans, knowledge and goals and start to find experts and activities that they were interested in. They also plan how to share knowledge with each other.

During the two years, the participants take part in individual activities or shared activities (in smaller groups or the whole group). We, the Process Leaders, arrange seminars and workshops with regional, national and international network meetings based on the needs and wants of the participating producers.

RESOURCES

During our group sessions (6-8 hours/ occasion) the participating producers and we, the Process Leaders, decide beforehand on which topic to focus on. We moderate the meetings and provide

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a venue/food. We do this to ensure the participating producers get to dive into topics and discussions without having to worry about the logistics. We also leave plenty of space for the participants to update each other on their processes and challenges.

We provide venues, financing, guidance and we share our networks and knowledge. We know it’s important to give credibility and visibility to the participating producers, so we include them in our external activities. We make sure that they meet key industry professionals, for example the Swedish Filminstitutet and TV channels.

The participating producers are responsible for using their dedicated resource financing each year and they have to present their plan to us, both the content and the economic aspects. They book and plan their own trips and workshops with experts. They create a Dropbox, where they present and share their goals, activities, trips and recommendations.

APPROACH

During the application process we give the applicants an exercise where we ask them to grade themselves in different areas, for example; leadership skills, collaboration skills, creativity, networking, economy. We do this exercise to find out more

about their self-awareness, maturity and dedication and to know more about if and how they needed the programme.

This method has been developed from earlier talent programmes that we have hosted. For many years we have been working to provide tailor-made support and solutions for filmmakers. With ‘Producing People’, we have taken this several steps further by adapting the programme specifically for producers. Producers need to be leaders, entrepreneurs and to some extent - therapists. They need to be able to communicate with the different creatives and partners and plan and finance the project. They all have different ways of looking at producer properties and characteristics.

We could see that it wasn’t possible to tailor make one solution for the group. Instead, the participating producers were more interested in sharing each other’s expertise and experiences rather than partaking in a set schedule. We could see that adapting a co-learning method, where the participating producers create the programme individually and within the group, meant that they could get closer to their goals and needs. Therefore it was very important in our selection process to select participants who were aware of their needs and goals, (as we didn’t

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want to tell the producers how to do things in “the right way”)

VALUE / PHILOSOPHY

For us as Process Leaders, the method of working is in some ways more difficult because we can’t always plan ahead. We need to have the courage to wait and listen to the needs of the participating producers and we must adapt to them. The method is also in other ways, easier for us to work with and demands less of our time than other programmes, since the producers are responsible for using the programme to meet their goals and to plan their activities.

the programme by the participating producers, have, to some extent, had this as an important focus. Therefore our approach and goal for the programme has become more focused on this topic.

We develop an important safe space. From the second year of the programme we started to meet at each other’s homes. This was at the request of the participating producers, with the goal of enhancing the co-learning process. The focus of the programme has changed from the first-round to the second-round. The first-round focused on sharing and enhancing knowledge of the industry. The focus of the second -round, created by the participants, has been more on the opportunities, responsibilities and challenges for the producer’s role with sustainability and long-lasting careers as a goal. The experts who have been brought into

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QUOTE

FROM A TALENT

KERSTIN ÜBELACKER producer, Film i Skåne.

Producing people provide an opportunity for self-analysis. You get a space, time and space, to take a break from the everyday workload and just reflect. Reflect around who you are and where you are going.

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PROGRAMME:

DIRECTORS GYM/ REGIGYM Origin: Filmcloud

RegiGym – translated to Directors Gym

How do you develop your skills as a soccer player? How do you evolve as a guitar player? Well, you practice. If you are in theatre, it’s a natural environment to practice your directing skills on rehearsals or in the theatre group you attend. In this work, we see that young film directors have a hard time meeting actors and often when they do, they are rehearsing the scenes they are going to use in their forthcoming short. So they have no practice in-between. Our RegiGym idea came from a young director with this experience. It was this young director that we hired as our “directing trainer”.

train body expressions, gaze, acting styles, intimacy on screen or any other problem that someone in the group wanted to explore.

RegiGym was a training ground for the skill of directing actors. The idea is that it should be as easy as going to the gym. A workshop leader and director acted as a gym trainer and showed the participants exercises mixed with theory. This opportunity was given every second week and participants could bring their ideas and questions about directing to the table. In these workshops, they could

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RECIPE: INGREDIENTS – – –

–

A venue with a camera and monitor. 1 workshop leader (director in the role as a personal trainer). 2 or more actors. (Or, you can do as we did, invite actors to be part of the group, as participants. This worked for us. We also decided that it would be good for directors to try out acting themselves). 8 – 10 participants (If you are prepared with a number of scenes you might be able to do exercises that only require two participants and with a great number of participants

1ST STEP Find the right workshop leader/trainer

2ND STEP Together with the

trainer, we find good scenes to work with that contain different kinds of directing problems and issues. Let participants explore body expressions, gaze, acting styles, intimacy on screen or any other problem you can think of. Focus on the training, not the result.

– –

you might be able to practice scenes that prepare you for directing scenes with a lot of actors or you might just divide the group into smaller groups) Fixed weekdays dates at specific times. Communication. Logotype and a sentence that easily makes it understandable. In some senses, the RegiGym programme was a bit hard to communicate. We decided on doing it as an open arena. This requires on-going communication that can be a bit time-consuming.

4TH STEP During the sessions,

have a plan, but be open to the will of the group. Follow through so you don’t miss out on the depth and challenges.

5TH STEP Be prepared for the

fact that the next group might be very different.

3RD STEP Put out a call focusing on the lack of exercise for filmmakers.

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THE SECRET INGREDIENT Directing is a muscle, the more you use it, the stronger it gets - Exercise is the chief source of improvement.

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THE METHOD: TOOLS / EXERCISE

Exercise your directing muscle, you will feel the benefit and be more confident when on set and faced with the challenge of directing a scene.

FORMAT

Facilitate the opportunity to get consistent training over a long- or short-term period.

RESOURCES

You need a location, a camera, a monitor, motivated participants and most importantly a skilful directing trainer with the ability to know when to encourage, motivate and challenge.

APPROACH

Exercise repeatedly and consistently is key. If you cannot do this, you can always do a directing course instead.

VALUE / PHILOSOPHY

“Knowledge is a treasure, but practice is the key to it” – Thomas Fuller

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DEFINITION OF A TALENT

Talent development is facilitating the opportunity for filmmakers to emerge and sustain their practice. We define talent as the ability to make ground-breaking, original and inspiring films regardless of your background. At FilmCloud we mainly work with filmmakers who are 18 - 30 years of age. However, since we are part of Kultur i Väst, we sometimes look beyond that target group in order to nurture potential. Filmcloud

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PROGRAMME:

SHORTS LAB Origin: CineSud

For this book we take the CineSud Shorts Lab as an example. Shorts Lab is a one-year round training programme where new filmmakers (with a maximum of two finished productions in either short fiction, animation or documentary) apply to receive coaching in six disciplines, with a mentor and a fixed budget with which a short film should be made. Total annual budget for production contributions: €45,000 (a minimum of €5.000 and maximum €12,000 per project; for approx. 4 projects a year).

RECIPE: INGREDIENTS

The training programme starts in January and ends in November every year. The Shorts Lab is aimed at filmmakers who want to make their first, second or third (professional) short film. Within the Shorts Lab, an average of 4 projects are selected each year. Successful applicants are offered a one-year training programme and a financial contribution to the production budget of the short film.

The training programme consists of workshops and coaching sessions based on the applicants own script in the areas of: – Script development – Directing (actors) – Teamwork – Editing – Sound post-production – Distribution These sessions are given by national and

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international industry experts and are connected to (international) film festivals in Limburg and its surroundings. Between January and June, participants are coached in three disciplines (script, directing and production aspect). Between June and September they produce their short film and from September to November they complete the postproduction. After the short film has been

NOVEMBER: We put out a call for applications

END OF DECEMBER: We

announce the selected projects, chosen by our decision makers.

JANUARY TO JUNE: Successful applicants receive coaching sessions in creative skills for development and production/shooting.

JUNE TO SEPTEMBER: The

completed, together with CineSud or an experienced sales agent/distributor, they begin the process of distribution and sales. In addition to coaching sessions from industry experts, the talent are mentored by the Talent Manager of CineSud.

DECEMBER TO JANUARY:

The short film premieres in Limburgian Film Theatres, and festival distribution begins.

MAY (THE YEAR AFTER THE LAD): A maximum of two

of the participants from the previous programme are invited to join CineSud for a training & networking programme at Festival de Cannes.

short film is produced.

SEPTEMBER TO NOVEMBER: Post-production on the short film is completed. During post-production we provide coaching on post-production skills.

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THE SECRET INGREDIENT The combination of specific coaching based on the project and the filmmakers needs, financial support and the introduction and collaboration of a regional, national and international network. Relevant networking is a key ingredient of all of our programmes.

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DEFINITION OF A TALENT

We define talent as a ‘new’ filmmaker in a specific area of filmmaking with his/her own original creative ideas or ways to (re)tell stories. For example, a new filmmaker in the area of short film making can join our Shorts Lab as long as he/she has not made more than two professional short films before. In the case where the same filmmaker has already made 10 professional shorts films but now wants to make a feature film, we regard him/her again as a new filmmaker in that area of filmmaking. Or a documentary maker who wants to make his/her first fiction, etc. Talent is not bound by age, but by (professional) experience. We refer to “talent” as new filmmakers. The level above “talent” we define as “industry professionals”, which refers to experienced filmmakers. Of course these filmmakers are also “talent”, but when we work with them, we would call it “professionalising”. CineSud

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DEFINITION OF A TALENT

Talent is the combination of natural skills and a pursued passion. Everybody has a talent, but nobody is good at everything. For this reason you must find out where your talent lies. Is your talent within production? Or is it in editing. The film workshop’s job is to help young people find out where their talents lie within filmmaking. FilmCloud

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1. AARHUS FILM WORKSHOP ........................................................................154 2. ODENSE FILM WORKSHOP .......................................................................156 3. FILM WORKSHOP/COPENHAGEN .......................................................160 4. FILMWERKSTATT KIEL ...................................................................................167 5. FILMVEKSTHUSET TVIBIT ..............................................................................171 6. MEDIEFABRIKKEN ............................................................................................173 7. FILMBASEN/ FILM STOCKHOLM ............................................................175 8. FILM I SKÅNE .........................................................................................................178 9. FILMCLOUD .............................................................................................................181 10. CINESUD .................................................................................................................184

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THE FUNDING

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FUNDING:

AARHUS FILM WORKSHOP Aarhus Film Workshop offers four support systems. – Screenplay Development Support – Production Support – Finalisation Support – Quick Support

The commissioning editor assesses the applications. When evaluating the applications we look at potential in the talent and their current development.

The following support systems are open for applications four times throughout the year:

It is important that we engage an external commissioning editor in the selection process in order to keep the permanent staff in a position where the talent can contact them without fearing that it will affect their chances of getting support.

We aim to support new, mostly young talent in their professional and artistic development, with the primary purpose of furthering their progress into education and/or employment within the film industry.

Screenplay Development Support Production Support Finalisation Support

An external commissioning editor is hired to evaluate the potential of the projects. A new commissioning editor is brought on-board for each application round.

The talent fills in an application form.

After the selection process the applicants receive a reasoned green light or refusal. The feedback in the commitment or the refusal is important in order for the talent to learn from their experience and understand why they received support or why they did not.

FACTS – Screenplay Development Support awards a maximum of €667 – Production Support awards a maximum of €2,667 – Finalisation Support awards a maximum of €13,333 – Quick Support provides equipment

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and post-production facilities only

Each year we distribute a total of €55,000 for Screenplay Development and Production Support along with a couple of awards of Finalisation Supports.

Our target group is primarily young film talents in the Vestdanish region. We support fiction and documentary films and occasionally experimental films. The Quick Support system works so that the talent can apply for equipment or post-production facilities with short notice (max 7 days prior), based on a philosophy that our equipment is more beneficial out in the field than it is on the shelf.

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FUNDING:

ODENSE FILM WORKSHOP We have several support schemes and as well as financial support, we provide access to equipment and editing facilities.

The Production Fund is open to applicants with experience in filmmaking who have achieved a basic level of experience that will enable them to deliver the project. You can apply four times a year for up to € 2,666. APPLICATION PROCESS: Applicants submit their application online before the deadline. Odense Film Workshop confirms that the application will be sent to an external consultant for assessment. Alternatively, applicants may receive a “technical rejection” if the application doesn’t meet the requirements of the fund. The consultant at Odense Film Workshop sends the applications to the external commissioning editor. The external commissioning editor will write a letter of commitment (LOC)

or a rejection letter to the applicants after a grant meeting. GRANT MEETING: The consultants of Odense Film Workshop meet with the commissioning editor in Odense to go through the applications, the notes from the external consultant as well as LOC’s and rejections. No later than 4 weeks after the application deadline, Odense Film Workshop sends out LOC’s and rejections to the applicants. An LOC can be either support for further development or production support.

Odense Film Workshop offers to meet with all applicants receiving a rejection letter. Applicants with an LOC receive a technical/economical assessment, where they must upload a production budget and a crew list within one week. The elaboration represents the foundation for the support given. Applicants with support for further development will meet with Odense

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Film Workshop to lay out a plan for the support to include details on the extent of the support. TECHNICAL/ECONOMICAL ASSESSMENT: Applicants with an LOC submit their technical/economical assessment, which decides the amount of support for the given project and helps determine how much of the workshop’s resources the project demands. It also clarifies if the crew, project, workflow, budget and production schedule fits. The processing of the elaboration takes 1 week, after which the applicant gets a meeting request through email. The meeting request is for an individual meeting where the grant agreement is signed. At the meeting we discuss the terms, the intention scheme, and workflow. Additional Support can be applied for on a continuous basis if the applicant seeks support from another workshop within the Filmtalent partnership.

VFX Support for making a breakdown for visual effects is available for experienced filmmakers who want to use visual effects in their production. Our Pitch Fund is a support system that works extremely well for small

projects, pilots, and for testing scenes and ideas quickly.

The fund is an efficient tool due to the short processing time of the application. The Pitch Fund is an opportunity to get a project the green light quickly to begin production. DETAILED DESCRIPTION OF FUNDING SYSTEM The main purpose of the Pitch Fund is to give our talents a quick and easy way to test scenes and ideas so they can develop their skills in the field. It allows them to provide more visual material if they would like to apply for our larger fund. The Pitch Fund is a great way for us as a workshop to get to know the talent as filmmakers and for them to train their pitching skills. APPLICATION PROCESS: – Applicants submit their application along with an appendix online – Odense Film Workshops consultants read the submitted material and contact the applicant with a time and a date for a pitch meeting. The assessment can take up to 5 working days. – At the pitch meeting: Applicants have 5 minutes to pitch their project – the consultants have 10 minutes afterwards to ask questions. – After the meeting the consultants

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decide on whether to green light or reject the project straight away.

When applying for the Pitch Fund, we suggest that the applicant include the following: Treatment, screenplay or project description – Mood board/visual style with a description of the story world – Budget (if they are applying for financial support) – Images/video of your case (for documentary projects)

THE MOST IMPORTANT PART The pitching aspect is the most important part of this fund. It is a great opportunity to really get to the core of the story in order to sell the idea to the workshop. Performing a good pitch takes practice and knowledge about the various elements of storytelling. It is a great exercise for new talent.

IMPORTANT CHANGES: From 2020, the application form will be downsized and more emphasis will be placed on the physical pitch along with visual material describing the project. In addition, the workshop will no longer read the applications in advance of the pitch meeting. FACTS Total size fund: – Min/max support: Always €270. – Target group: New talent – Formats: True shorts, pilots, scenetesting – Extras (equipment, coaching/ consulting, other): They receive equipment, consulting and funding as part of the award.

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THE METHOD: TOOLS / EXERCISE

No tools are needed except, of course, the talent to pitch and the consultants to listen,

on a pitch and visual material rather than the written word.

FORMAT

Five minutes for the pitch, followed by ten minutes of questions. We don’t provide any coffee or water before the pitch, making the pitch our sole focus. We do, of course, provide coffee and water after the pitch.

RESOURCES

A conference room with access to a screen so applicants can support their pitch with visual material. Two consultants from the workshop to discuss the pitch afterwards and decide whether to give a greenlight or not.

APPROACH

Everyone can apply to this fund. Since it is easy to apply, rejections aren’t taken too seriously, applicants can apply again the week after with a better pitch.

VALUE / PHILOSOPHY

The personal physical meeting is important. It is the only fund where we meet the applicants before we make a decision. We also value that the application process puts emphasis

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FUNDING:

FILM WORKSHOP/ COPENHAGEN STRENGTHEN YOUR APPLICATION WORKSHOP Film Workshop / Copenhagen is a talent programme aimed at training young filmmakers to work in the moving pictures industries and to develop Danish film culture by supporting experimental filmmaking. Every year the Film Workshop processes four rounds of applications for Development, Production or Completion Support. During the month prior to the deadline for submission, the Film Workshop arranges a workshop called “Strengthen Your Application”.

We encourage first time applicants to participate in the workshop. The aim of the workshop is: – to introduce how a film support system “thinks”; – to make the participants understand that, as opposed to a film funding system, a talent programme has the talent and skills development aspect of the whole film crew as a criterion; – to let the participants understand that the academic communication is of little importance when it

–

comes to evaluating a creative, visual project; the film business has developed formats like a pitch, mood boards, pilots, scripts and project descriptions to present what you will see and hear in order to make a project visually concrete; to make the creative team of director, producer and screenwriter, or any other combination of the core team, begin the process of focusing on drama, character, structure, visual style etc.

At the deadline Film Workshop / Copenhagen receive between 40 and 50 development and production applications and between 2 to 6 applications for the completion scheme.

The Commissioning Editor and the Manager have 10 days to go through the applications. 15-20 projects are taken into development. At a meeting, the successful applicants receive feedback from the Commissioning Editor regarding further development of the project. The rest of the applicants receive a written rejection or a followup meeting.

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After two weeks, where applicants have access to equipment, they deliver their rewritten screenplay/scene which was requested by the Commissioning Editor at their earlier meeting. Applicants in development are then asked for a production plan and a plan for the technical workflow that they intend to use. At the final meeting, the Commissioning Editor delivers a prioritised list of projects that he/she wants to award Development, Production or Completion Support to. Based on the technical report, the Film Workshop grants a Letter of Commitment (LOC) for between 8-12 projects. The Commissioning Editor writes up the final rejection reasons as well as the reasons why the applicants are granted an LOC. The application round takes from 6-7 weeks in total. The LOC is valid for 12 months from the date of the grant. The project must be in production within that period or the LOC expires.

In 2016, Film Workshop/Copenhagen introduced a new Commissioning Editor Scheme and we now hire one person to do the job for the four application rounds a year. As opposed to the former system, where

we hired two Commissioning Editors per application round. This was done in order to support the process of developing the talent programme over a period of time, as opposed to being a mere film fund/support programme. A project can be evaluated in a short time while a talent is better evaluated over a longer period.

The Film Workshop focuses on demographic and artistic diversity, meaning we look at the grant holders’ age and gender as well as, where possible, ethnic and social backgrounds. The list of criteria is extensive. For example, when evaluating a director, we look at their ability to: – be in development and production as opposed to “dream” of becoming a director; – scope their projects to fit their experience with the right amount of challenge; – create a network; – manage a crew and work with a main character – access – or actors - the social skills; – communicate a visual project. – develop the esthetic disciplines: framing, rhythm, color, sound and production design, directing in space and time, understanding dramatic structure and emotions etc.

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SUMMARY OF FACTS Projects with an LOC can apply for 1. Development Support: – maximum of €670 with limited access to equipment according to the development plan proposed by the Commissioning Editor 2. Production Support to cover basic production cost to a maximum of €2,680 3. Support for hiring an interpreter as part of the production. Maximum award of €1,340 4. Mentor Support up to €670 5. Support of up to €670 for developing a VFX breakdown and access to the VFX department 6. Support of up to €2,680 for producing visual effects and access to the VFX department – The Commissioning Editor is available for feedback throughout the whole production process. – Before final cut the grant holder must invite either the Commissioning Editor or the manager to give feedback on the rough cut. The director and preferably the editor and producer must be present for this rough cut screening. Film Workshop/Copenhagen also runs a Completion Scheme for projects of 50 minutes and above, who have acquired a distribution deal with either a cinema distributor or a national broadcaster.

The application is submitted in one of the four rounds yearly and is assessed by the Commissioning Editor. The application must consist of a rough cut, a budget, a production plan and the distribution deal. The applicant must be a film company. For the Completion Scheme, applicants can apply for €13,400 along with access to the workflows at the Film Workshop.

The target group is young people between 18 and 35. The Film Workshop supports short fiction, documentaries of all lengths, feature film, webisodes, video dance, documentary series, tv/streaming series and formats that experiment within the discourse of film as an art form as opposed to film used in the visual arts. The Film Workshop does not support animation and rarely supports music videos or other commercial formats. Film Workshop/Copenhagen’s main support system is: – access to professional workflows having a market value of around €1.6m each year – 2 fully-equipped RED Helium sets with fixed Zeiss lenses. Sound device for sound recording and light packages – 4 fully-equipped Canon C300 MK II sets with fixed lenses and zoom – Extra sound device for the Canons sets

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–

Extra small packages of light equipment

Post-Production: – 1 Inquest suite – 5 AVID / DaVinci Resolve editing suites. One of the suites is equipped with grading monitors and grading interface – 1 Premix editing suite based on ProTools workflow – 1 small Dolby sound mixing suite – 1 VFX department with two fullyequipped graphic computers and monitors THE MOST IMPORTANT PART To focus on the artist, the storyteller. Our ability to focus on the development of human beings – their talent and skills. To see and evaluate the people who come to our talent programme. The language we have developed in the transition from being a project support programme to a talent programme.

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THE METHOD: TOOLS / EXERCISE

Meetings, presentations and pitching. A big meeting room at the Film Workshops.

To be inspired by other applicants and to gain access to the information you get from actually speaking to a person.

FORMAT

Workshop Two evenings with all participants and one individual meeting with the core crew of the project First evening: The participants present themselves and the project they are intending to apply with. Next, the manager presents the idea behind the talent programme itself, goes through the application form, takes questions and goes through 24 years of experience on what Commissioning Editors look for when they are assessing an application.

At the individual meetings, the manager goes through the drafted application that the applicant sent in to participate in the workshop. They read it and evaluate its communication abilities - what does the application tell them about the crew behind it/the project, and what was missing. At the end of

the meeting, the manager proposes a structure for their pitch.

Second evening: The participating crews – director and producer – pitch their project and present themselves. During the process they realise how important communication is in order to understand a visual project. It becomes obvious, when they compare the presentation on the first day to the pitch, how much better they understand the idea of the project and the vision of the director and the creative team.

RESOURCES

A meeting room fit for 25 people with screening facilities, coffee, tea and the manager as workshop leader, marketing and a system for receiving online forms and registering the participants in a database.

It is important that the manager meets the applicants with respect, serving them tea and coffee and welcomes them in the centre of the workshop. Putting the manager in charge shows just how important the applicants are. The managers experience of working in talent development and with Commissioning Editors for 24 years is of great value to the applicants.

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VALUE / PHILOSOPHY

The value of the workshop is creative communication. We realised that we asked the applicants for something they had not learned. The academic communication they have learned through years of school education is of little value when it comes to communicating with a Commissioning Editor who is looking for artistic talent, visual drama and storytelling.

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QUOTE

FROM A TALENT

GRIT TIND MIKKELSEN director, Film Workshop Copenhagen.

I can highly recommend the workshop Strengthen your application. It is good to find the precise and important issues in your film.

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FUNDING:

FILMWERKSTATT KIEL The Regional Film Funding Institution of Germany’s most northern federal States, Hamburg and SchleswigHolstein, supports feature films (fictional or documentaries for theatrical release), short films, innovative formats and series productions of exceptional quality at any stage, length or genre. DETAILED DESCRIPTION OF FUNDING SYSTEM FFHSH pays particular attention to scouting and encouraging new talent. We provide support for feature films, documentaries, short films, animation, children’s films, international coproductions for theatrical release as well as series and innovative formats. Our aim is to initiate and sustain long-term partnerships both within the country and between German producers and their European partners.

We put a strong focus on environmentally-friendly film productions and the acknowledgement and transparent presentation of a diverse society. We established the Green Shooting Card in 2012 which in 2020, evolved into the Green Filmpass.

The aim of the Green Filmpass is to ensure sustainability is at the forefront throughout the whole process of filmmaking. In 2020 we introduced a diversity checklist in applications for positions behind and in front of the camera. Applications can be submitted for the following areas: – Treatment or Idea Funding – Script or Concept Funding – Project Development or Prototypes – Production Support – Sales and Distribution (including distributors, international distributors, and in individual cases producers in collaboration with a distribution agency) – Basic Advertising and Special Measures (e.g. festival presentations, subtitling) – Screening and Presentation Support for high quality film presentations and innovative marketing actions – German-Turkish Co-Development Fund – German-Danish Co-Production Development Initiative (currently under evaluation)

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Four Committees consisting of experienced industry experts decide on the allocation of the funding: The ‘High End’ Committee decides on films with production costs of more than €3,500,000 (fiction) or €1,500,000 (documentary).

The ‘Director’s Cut’ Committee decides on projects with budgets less than €3,500,000. The ‘Kurz & Innovativ’ Committee (short & innovative) decides on projects with innovative formats and short films. The ‘Nordbuster’ Committee decides on high budget and very regionally focused projects.

We started Treatment Funding in 2017. From the 1st of April 2020, we introduced major changes within FFHSH. We increased the number of committees from two to four, and the amount of application deadlines also increased - resulting in more decisions. We created new application formats for innovative projects such as idea-funding, concept-development, prototypes and production funding for innovative projects. We now have an increased budget of €2m for Series Funding. There is a more precise differentiation between the committees, e.g. a separate short and an innovative committee.

Deciding criteria for financial support includes the quality of content and an extensive reference to Hamburg or Schleswig-Holstein. The latter includes making use of the region as a shooting location as well as employing local film professionals and film technical businesses. SUMMARY OF FACTS The partners behind FFHSH are the Free and Hanseatic City of Hamburg and the Federal State of SchleswigHolstein. Filmförderung Hamburg SchleswigHolstein has €12.8m per year at its disposal (including administrative costs). In 2020 this sum is due to change, with the additional series funding and due to a cooperation of around €16m., It is most likely that we will end up at around €14m to €15m per year. – – – – – –

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Treatment-Funding/Idea-Funding: up to €10,000 Script-/Concept-Funding: up to €50,000 Series Formats: up to €100,000 Project Development (feature films or series): up to €150,000 Prototypes: up to €50,000 There is no funding limit for production applications, however every application must engage with a Funding Consultant who gives advice on the application amount.

Target group for people who are applying: Experienced film professionals, film school graduates or career changers with experience in the film industry. All formats are eligible.

Filmwerkstatt Kiel we offer a small range of equipment such as 4K-cameras (e.g. Sony PXW FS7), audio-multi-track-recorder and LEDlighting. The Film Commission offices in Hamburg and Kiel provide contacts and information concerning all matters of film shooting in Hamburg and Schleswig-Holstein for producers from Germany and abroad. To support the local film industry FFHSH hosts events and seminars on industry-specific topics and offers access to its broad international network. THE MOST IMPORTANT PART Treatment Funding is a strong development tool which provides fast and accessible support due to the fact that it is not decided within the committee, but instead by our managing director personally. It is not a classical talent tool, rather it is aimed at qualified/experienced filmmakers.

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THE METHOD: TOOLS / EXERCISE

Authors can be supported for the realisation of a treatment for featurelength fictional or documentary film with potential for a theatrical release. The application can be in German or in English. Within the support the characterisation of the main protagonists, the genre and the target group of the film should be developed. Besides the financial support, applicants also receive support from a dramaturg.

FORMAT

Treatment Funding can be applied for at any time.

Applicants eligible to apply for Treatment Funding are authors with a film school degree or authors who have realised at least one feature film. The film school from which applicants graduated must be part of CILECT. The applicant applies with a short exposé of 3-5 pages, a personal motivation document including statements about originality and a brief estimate regarding audience and target-group. The maximum amount you can apply for is €10,000. This sum includes the costs for the author and a dramaturg.

RESOURCES

To provide the additional support of a dramaturg, we work with several dramaturges that know about our specifications and expectations when supporting authors within the scheme of Treatment Funding.

APPROACH

To provide the additional support of a dramaturg, we work with several dramaturges that know about our specifications and expectations when supporting authors within the scheme of Treatment Funding.

VALUE/ PHILOSOPHY

Especially in development, time and money are missing and it is often hard, especially for talent producers, to finance the development at an early stage. This leads to under-developed ideas in script funding. To provide support early on (before applicants submit a project through the regular committee assessment), this tool is very helpful within a short amount of time, providing a fast proof of concept.

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FUNDING:

FILMVEKSTHUSET TVIBIT

TVIBIT TALENT FILMFOND The Talent Fund was started to meet the needs of young and emerging filmmakers to access small-scale funding for different film projects, and for the possibility to further their informal education through participation in workshops, hiring mentors, or realising their own film productions.

Applications are submitted online through our website. Applications under €50,000 are handled internally, while all applications above that are considered by the Funds Board. There are no application deadlines. Previously we had 6 application deadlines a year. We now handle all applications within a week of submission.

No minimum support, maximum support of €5,000 Applicants interested in film, photography and gaming who reside in Northern Norway between 15 and 30 yrs with active projects. All formats accepted.

We provide film, photography and gaming equipment, editing and rendering hardware/software and soundstage, mentoring and coaching THE MOST IMPORTANT PART We use the funding scheme to engage with talent. We give guidance and coaching: the input is finance, knowledge and networking, the output is project based talent development.

Applicants must reside in Northern Norway and be under the age of 31.

SUMMARY OF FACTS The total size of the fund is around €50,000 a year.

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THE METHOD: TOOLS / EXERCISE

What: Engaging in the work and development of creative individuals and their projects. How: Applicants who apply for funding have a mandatory session with Tvibit staff where we map out their needs and wants, and design strategic support for each individual and/or project.

Why: Learning through realising their own projects, the talent are empowered to take their careers and creative ambitions further.

FORMAT

What: Support through interaction and guidance.

How: One-on-one meetings and plenary sessions.

Why: By engaging talent in feedback sessions and the creative process, we encourage them to go further and find their own voice.

with Tvibit staff, who then map the needs and wishes of the individuals and their projects. We give advice and/or connect them with other filmmakers or industry professionals.

Why: By being in direct contact with skilled staff at Tvibit, talent can access and get information about a range of opportunities and other resources available to further their projects.

APPROACH

By learning through realising their own projects, talents are empowered to take their careers and creative ambitions further.

VALUE/ PHILOSOPHY Empowerment.

How: By teaching the talent the tools of the trade and creative techniques that challenge them in their work and careers. Why: We create storytellers

RESOURCES

What: Funding, equipment, workspace, knowledge and networking opportunities. How: Applications for funding, use of equipment and workspace is negotiated

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FUNDING:

MEDIEFABRIKKEN

The Viken Youth Fund is a Production Fund for young filmmakers between 16 and 30 years old. The Fund supports short films, music videos and pilots for web series. The Fund is administered by Mediefabrikken on behalf of the Regional Film Centre, Viken Film Centre. DETAILED DESCRIPTION OF FUNDING SYSTEM Give young filmmakers and talent an opportunity to develop and execute their ideas and film projects.

You apply through an online form. The application includes a project description with: – logline – synopsis (maximum of one A4 page) or script (no more than 15 pages) – Director’s notes where you describe why you want to make the film and what you want to practice or test out in the project – Producer’s note (where applicable) – Budget

– – –

Production Description of the applicant (CV) and a crew list Work samples

After we receive the application, every applicant is invited to a meeting to talk about their project and allow us to get to know them better as filmmakers. After the meeting, the application is assessed, and both the idea/project, budget and the filmmaker’s capacity for executing the project are considered. Meeting the filmmakers face to face before the final assessment has been crucial.

The projects receive guidance on screenwriting and directing and access to free production equipment from Mediefabrikken. The projects must be feasible within the financial limitations of the grant. SUMMARY OF FACTS Approx. €30,000 a year

Applicants under 20 years of age: under €1,000

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Applicants over 20 years of age: under €2,500 Filmmakers up to 30 years of age.

We accept a wide range of formats, but our priority is short formats. Live action short films, short documentaries, music videos, pilots and short series across platforms. We also have free production equipment tied to the grant, as well as script/directors consulting if needed.

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FUNDING:

FILMBASEN/FILM STOCKHOLM

Filmbasen/Film Stockholm supports both regional talent, emerging talent and professional filmmakers within the categories of short films and documentaries. We receive about 400 applications for short films and documentaries, and about 50 applications for development of debut feature films.

Each application (and applicant) is assessed on their own merits. We consider not only the application’s quality, originality and consistency, but also the applicant’s experience and forthcoming potential. Filmbasen can give funds to a wide range of projects and filmmakers. Each application is assessed by at least one commissioner. Before giving funds to a project we often meet the filmmaker to find out how we can support their project during its process. We can support the filmmakers with economic support of between €1,500 and €15,000 for shorts, new media and documentaries; with technical support and time with a mentor (coaches); and with development support for 3 to 5 firsttime feature films from €13,500 to

€20,000 (within the program STHLM Debut). DETAILED DESCRIPTION OF FUNDING SYSTEM The aim is to promote talent development through our support system, and also to promote the regional branch within the area of short films, new media and documentaries in our region. The application process; Applicants apply online, we have three deadlines a year for shorts and documentary and one for feature film development (STHLM Debut). Between the deadlines you can apply for Express-Support. For technical support, you will receive an answer from us within a week. We have one commissioner who reads every project and gives a shortlist to a panel of four people (the manager, the commissioner, the senior commissioner and the controller), who together discuss which projects will be accepted. The commissioner then often has meetings with some of the shortlisted projects. After the meetings

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the commissioner suggests what kind of support (financial, technical or coaching) should be given to each project. Every applicant receives an answer with a motivation. The process takes between 8 to10 weeks. Important changes: Before 2017 we only supported young talent/filmmakers up to 30 years old. In 2017 we got the assignment to also support professionals within shorts and documentaries. We received additional funding of €100,000 to allow for this assignment, however, the level of applications increased by almost 200 a year. Due to this increase, we employed an extra commissioner for three years and an additional controller/coordinator. This increase in staff allowed us to split the coaching and the commission parts of the work inhouse.

the high quality of the commissioner’s meetings with the applicants, the final meeting of the decision group when discussing which projects from the shortlist to support as well as the feedback from the commissioner to the applicants. Furthermore, based on our analysis of the accepted applications, we try to identify the filmmakers’ needs and desires as a ground for our planning of upcoming workshops and professional events during the year at Filmbasen.

Important criteria: You must work and live in the region of Stockholm to apply for a grant.

THE MOST IMPORTANT PART I think the specific asset in our funding system is the careful and dedicated effort that we are making during the whole application process. It consists of the meticulous attention paid by the commissioner in order to identify the right projects to support,

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Funding meeting, Filmbasen, 2019

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FUNDING:

FILM I SKÅNE

Film i Skåne is involved in funding film and television production. We invest and co-produce short films, documentaries, feature films and TV series, and have a focus on talent development. DETAILED DESCRIPTION OF FUNDING SYSTEM In order to improve and enhance the professional film infrastructure of the region, Film i Skåne provides funding for film and television production.

We have three application deadlines a year for the development of feature films, TV-series and documentary films. Deadlines for co-production funding for short films also run three times a year. We have three commissioning editors responsible for short, documentary and feature length film and TV series. The commissioning editor makes decisions on development and co-production funding. Coproductions are always dependent on financing from other financers. The commissioning editors make decisions, meet with interesting

projects, individuals and companies and follow up on the film process from development through to distribution.

We also provide a stipend for new filmmakers that we process together with our partner Filmcentrum Syd. We award 10 stipends a year. No other financing is necessary for the stipend. Since 2020 we have strengthened our production department. Previously we had three commissioning editors, one of which was in charge of talent development. We now have three Commissioning Editors and one Project and Talent Developer. We have collected our deadlines to be able to follow filmmakers more closely. To be eligible to apply for coproduction funding for short and documentary films, the applicant must be: based in the region; contain a production company; and present a feasible project and financial plan for the project. Film i Skåne can only invest 30% of the budget. Film students are not eligible to apply.

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The selection process is based on originality, craftsmanship and the potential/opportunity to develop the production company and the creatives involved, in order to strengthen the film industry and support the talent in the region. SUMMARY OF FACTS The total budget varies from year to year, it tends to be between €1m and €1.6m Our stipend is €443. Lowest to highest co-production investment is €3,000 to €440,000

Our target groups are productions companies, filmmakers and new filmmakers in the Skåne region.

THE MOST IMPORTANT PART The staff are probably our biggest asset (apart from financing projects). By providing our time, consulting and confiding in the filmmakers and productions companies, we ensure long-term sustainable relationships with them.

We have reinforced our recruitment strategies and since 2016 have a close collaboration with the film schools in the region. We meet them during the first year, then have an application workshop, a pitch workshop and a pitch. This is done to establish early relationships, build confidence and strong collaborations and networks.

We accept applications for short films, documentary films, feature films and TV series.

In addition to funding, we provide equipment (together with our partner Filmcentrum Syd), inhouse coaching and consulting, external coaching, talent development programmes, workshops and networks. Successful applicants can access two film studios.

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QUOTE

FROM A TALENT

OLOF SPAAK producer & director, Film i Skåne.

Producing People has not only given me the opportunity to develop as a producer and director, but also as a human being.

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FUNDING:

FILMCLOUD

In the Västra Götaland region, we have three major funding schemes aimed at emerging filmmakers.

“FilmCloud projektstöd” is one of these three. We see this fund as a staircase or bridge between two other funds, the Kultur Ungdom Fund and the Film i Vast Fund.

Our partner, Kultur Ungdom, manages a small start-up fund for young filmmakers who can apply for between €1,000 and €1,500. Almost all applications to this funding programme are approved. At Film i Väst, young filmmakers can apply for co-financing/ funding. Here they look for films that have the potential to attract broad audiences or could be shown at film festivals. Film i Väst looks for high artistic values and originality. With FilmCloud Projektstöd we manage a grant that we see as a stepping stone between the two other funding opportunities. Applicants can apply twice a year. In 2019, for example, ten filmmakers received €2,500 each for their projects.

DETAILED DESCRIPTION OF FUNDING SYSTEM In order to develop as filmmakers, filmmakers need to make films. That’s our main objective. In addition to this, we want our region to be recognised for its importance in filmmaking and we want it to be a place where all kinds of stories can be told. We also want young filmmakers to find their way to our website, filmcloud.se, where they can find other ways to develop their filmmaking skills.

We advertise FilmCloud Projektstöd twice a year. We promote the announcement using a broad range of methods and in different arenas with the aim of widening participation. Sometimes we have workshops or seminars on pitching ideas and writing applications. We tried to use a video portal as an alternative way to apply, but it was unsuccessful.

After the deadline, FilmCloud assesses the applications and selects approx. 15 projects. A jury, consisting of two other partners, assess these applications. The jury proposes six applications

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which are later approved by the Head of the Department at Kultur I Väst. During the selection process, the jury looks at craftsmanship, originality and importance for the audience, but also how it may help the filmmaker to emerge. We consider the regional spread, diversity and equality in the overall selection. The main criteria for applications are: – The applicant is a resident of Västra Götaland – The applicant is between 18 and 30 years old – For fiction projects the maximum duration is 15 minutes – For documentary projects the maximum duration is 60 minutes – For webisode promos the maximum duration is 15 minutes – You cannot apply with promotional or music videos – Film school students can not apply

THE MOST IMPORTANT PART We provide a platform and network for nurturing and sustaining young filmmakers who may find support with equipment, guidance from friends and other filmmakers, as well as essential funding. We see that filmmakers grow when they make films. This is not surprising; an artist thrives when he/she paints/makes work and has an opportunity to show that work. Funding on this level is a very economical and smart way to support filmmaking, film infrastructure and film as an artform. It is an effective way to use public money. Also, the application process for those who do not receive funding is meaningful. Although it can be hurtful to get turned down, it still promotes creativity and forces you to develop your practice.

SUMMARY OF FACTS In 2019 the fund totaled €23,500. The fund is aimed at filmmakers between 18 and 30 years old living in Västra Götaland Region. We provide funding for documentary and short film (webisode promos. In addition to funding we can provide a technical equipment kit for documentaries, consultation and guidance, talent programmes, film festivals and workshops.

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QUOTE

FROM A TALENT

ASTRID SÖDERBERG director & scriptwriter, FilmCloud.

We have invested in being able to experiment and have a long creation process. The support gave us room to do that which I believe has lifted the film several steps.

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FUNDING:

CINESUD

Shorts Lab Shorts Lab is a one-year round training programme where new filmmakers (with a maximum of two finished productions in either short fiction, animation or documentary) apply to receive coaching in six disciplines, a mentor and a fixed budget with which a short film should be made. The total annual budget for the production contribution is €30,000. (min. €5.000 max €10,000 per project; between 3-6 projects a year).

Pitch Forum Three times a year CineSud hosts a Pitch Forum where selected filmmakers (new and experienced and both regional and international) receive pitching training and can win grants up to €2,500 per project as well as project based coaching (which is catered to the needs of the individual project with a value of €750). The total annual budget for production contributions is €15,000. Feature Film Development: Once a year, in cooperation with

a regional cultural fund and a film organisation/producer, CineSud offers two feature projects by new regional filmmakers a grant of €10,000 each to develop a feature length screenplay for production (fiction, documentary, etc.). The grant is awarded to a regional filmmaker under the guidance of a professional producer. DETAILED DESCRIPTION OF FUNDING SYSTEM The main purpose/aim of all the aforementioned regulations is to develop regional talent, stimulate the production of films by new filmmakers and offer them training, a professional network and guidance. We also try to set up a development-line for filmmakers where they can go from ‘short’ to ‘feature’. We offer a Feature Lab for the development of screenplays for feature films and a Skills Lab for the development of specific disciplines in film. Filmmakers apply digitally with a pitch document (maximum of 8 pages excluding the enclosed screenplay/

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treatment). The Decision Makers (a committee of three industry experts) give advice on the incoming projects. The Director and Board of CineSud formally approve the applications. In the Pitching Forum, after the digital application, the selected pitches pitch live in front of an audience and professional jury.

The most important changes that we have made in the last three years are that we now work with external decision makers/juries and we have streamlined the application process by setting up guidelines on what to deliver and the maximum amount of pages for application. In the first year, applications of 20+ pages were not uncommon, which made it difficult to compare projects.

Important criteria are that, in case of the Shorts Lab and Feature Film Development, there must be a strong connection with our region (Limburg area of the Netherlands). This can be creative, but also in location/shooting of the project. In any case, filmmakers must describe how they collaborate with our region and regional talent. SUMMARY OF FACTS Shorts Lab Shorts Lab is a one-year round training programme where new filmmakers (with a maximum of two finished

productions in either short fiction, animation or documentary) apply to receive coaching in six disciplines, a mentor and a fixed budget with which a short film should be made. The total annual budget for the production contribution is €30,000. (min. €5,000 max €10,000 per project; between 3-6 projects a year).

Feature Film Development: Once a year, in cooperation with a regional cultural fund and a film organisation/producer, CineSud offers two feature projects by new regional filmmakers a grant of €10,000 each to develop a feature length screenplay for production (fiction, documentary, etc.). The grant is awarded to a regional filmmaker under the guidance of a professional producer.

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THE MOST IMPORTANT PART In all of our systems, funding is combined with coaching/guidance from industry experts and CineSud itself. In this way we don’t want to function as a ‘normal’ fund, but as a place where talent development is the biggest aim and where filmmakers can safely experiment to find their own voice, style, etc. Coaches are not traditional teachers, but dive into a project and search together with the filmmaker to stimulate their artistic and/or business voice/tone.

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THE METHOD: TOOLS / EXERCISE

Coaching/guidance is project-based. We start from the specific needs of the specific project and the specific filmmaker. In most cases the coaching is personal, but in some disciplines (like script development) we work with small groups, where the filmmakers are encouraged to analyse and give/receive feedback on each other’s screenplays/ film plans.

FORMAT

We mostly provide one-on-one sessions, or occasionally small groups with other selected filmmakers, based on the specific needs of the filmmakers. Important aims are to develop and stimulate the filmmaker to experiment and find his/her inner voice/tone.

VALUE/ PHILOSOPHY

In all cases, funding is combined with coaching/guidance from industry experts and CineSud itself. In this way we don’t want to function as a ‘normal’ fund, but as a place where talent development is the biggest aim and where filmmakers can safely experiment to find their own voice, style, etc. Coaches are not traditional teachers, but dive into a project and search together with the filmmaker to stimulate their artistic and/or business voice/tone. Coaches and decision makers are found in cooperation with branch organisations. In this way, we connect new (regional) filmmakers with a national and international network.

RESOURCES

Mainly industry professionals from the Netherlands. We cooperate with several branch organisations in the Netherlands (such as the Network of Screenwriters, Producers Guild, Directors Guild, Editors Guild, etc.) to find coaches. Based on the project, we try to find a coach that will fit the best (the editor coach for a genre film can be different from the one of a highly art-house short film).

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ARTICLE

AFTERWORD FOR SCREEN TALENT EUROPE’S “METHODS FOR FILM TALENT DEVELOPMENT” INGRID M. TOLSTAD, SENIOR RESEARCHER, WORK RESEARCH INSTITUTE, OSLO METROPOLITAN UNIVERSITY

“

I’m the one who serves the coffee”, said one of the workshop participants, as he presented the results from the group assignment for the rest of the group. Having mapped out a favorite talent development tool, he described and explained how and why ‘serving coffee’ is important to him and his colleagues’ approach to developing talent in film. The exercise was part of a workshop facilitated by my colleague Aina Landsverk Hagen and I, as a preparation for Screen Talent Europe’s (STE) work on the book you have just made your way through. We were invited into this book project to help the STE network reflect upon and map out a core question for developing a book of this kind – what do we actually talk about when we talk about methods? In order for the STE members to be able to describe and explain what they do when they develop talent, in ways that are intuitive and applicable for others, they would need a somewhat shared understanding of what it means to have a method for film talent development.

The relevance of this core question became increasingly obvious to us as we set out to prepare for the task at hand. While a major part of our everyday academic work revolves around the application, mediation and development of methods, we found ourselves struggling to put into words what a method actually is, and to come up with a productive methodological angle towards solving the task at hand. Much like for film talent developers, methods in research are to a large extent a matter of doing. Whether it is a question of how to go about solving a research question or to help

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The transfer of knowledge about methods for talent development is then likely to take place through practice and experience rather than explicit descriptions, much like how one of the criteria for membership in the STE network is having a non-formal education learning-by-doing approach to talent development. This is not unlike the training we were ourselves given as aspiring anthropologists heading out into our very first ethnographic fieldwork, where the simple message was that you could not really prepare in advance, you would just have to ‘go there’ and ‘experience it for yourself’. This not only provides limited insight into the practical nitty gritty of how to conduct a specific exercise or use a particular tool, but also offers sparse contextualisation of why the tool or exercise is applied, towards which means, and how it plays into a more overarching approach to talent development.

So what does ‘serving the coffee’ actually refer to? And what can it tell us about this particular method for developing talent? During his presentation, the talent developer elaborated on how, for him, brewing and serving the coffee to the talent who were attending a session was, a way of making them feel invited and respected. To show them that he would be taking them by the hand as they moved through the creative waters of the programme. The perspectives he shared reflect several aspects of what it means to be developing a talent. Firstly, being a talent developer implies not being the main character. Rather, your main role is that of facilitating the creative work of others. Of young and often inexperienced talent, who might be vulnerable and insecure in their position as those who have not fulfilled their potential yet, don’t know all the tricks of the trade, and perhaps carrying a certain doubt about whether they are actually good enough. As reflected in many of the talent programmes’ presentations of themselves in this book, a core task in their film talent development

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someone fulfill their creative potential, the knowledge of how to do it sits in our bodies, in the accumulated experience of having done it before, and of seeing what doing something in a particular way does and can do. This implies that we do not necessarily articulate and put what we do into words. We don’t have to, because we already know what we’re doing, how to do it, and why. It goes without saying.

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method is therefore to provide a safe space, a trusting environment, where their talent are allowed to explore and experiment with their creative abilities and – perhaps most importantly – where there is room to fail. Seeing how hands-on particulars are connected with an overall philosophy can be challenging as one is deeply entangled within the practice of it, a classic case of not seeing the forest for the trees. The same can be said to be the case for film talent who are wandering around in in their creative fields, and might struggle to see the whole picture of their own project, career, or artistic voice. One of the main tasks of the talent developer may then be precisely to guide them in how to find their path, and to gain perspective on who they are as a filmmaker. Allowing for an outsider’s observations might then help provide perspective.

As we were twisting and turning our heads to figure out how to facilitate this preparatory workshop, both in dialogue with each other and with the editorial team, we kept circling around how methods operate on several levels, and are made up of many different parts that are composited into a whole. A workshop, a creative writing exercise or a financing scheme does not in itself constitute a method,

as there are many ways of applying and executing them – as well as combining them. The combination of different kinds of methodological components for talent development are seldom random, but must be (and are probably most successful when) based on an underlying understanding of what it means to be a talent, and consequently of how one might best go about developing it. Building on a notion of nurturing natural giftedness into (and beyond) a certain technical and/or aesthetic standard necessarily implies the application of another set of tools, exercises and types of talent developer, than if one understands talent as emerging from a distinctive creative voice that needs assistance in exploring and finding a direction for that voice. So, how could we best facilitate the STE partners in their efforts to describe, explain and share their methods of talent development? For us, the solution became doing what we so often do – we took out a marker and a piece of paper and started drawing up and visually articulating the different aspects, levels and layers that were, in our experience, inherent to any methodological approach. The result of this ‘intellectual doodling’ was a form they could fill in that we called “The methodizer”. According to the dictionary, ‘to methodize’ means

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In my view, there are several reasons The Methodizer seems to be productive. On the one hand, it provides the talent developers with a tool to reflect upon their own methods and put them into words, and further to connect the method – the tool or exercise you use, with the methodology – the justification for using this specific method. Having mapped out their own methods this way, they provide the reader – who might want to test out their approach – with a map that allows them to make their way along the paths already taken, but also to identify what (new) terrains can be explored.

As the initial (self) descriptions of the STE partners clearly show, there are variations in how they are organised and operate. Still, if we look at their own definitions, the notions of ‘talent’ (in film) that they convey to us in this book (and that thus form the basis of their talent development efforts) seem to be pretty much on the same page. In addition to variations on understanding talent as (the ability to manage) a combination of ‘natural skills and pursued passions’ or ‘innate and learned abilities’, talent is to a large extent related to where you are in your career path. The initiatives presented seem to be mainly directed towards either the recruitment of young, inexperienced talent in terms of inspiring and enabling them to take up an education in film, or towards already educated young professionals trying to establish a sustainable career in the industry. The development approach taken is then related to the question of what the talent need at what point of their careers. Further, talent is repeatedly described as a combination of a handful of specific qualities. Talent as being ‘creative’ and/or ‘original’, of having ‘vision’, ‘voice’, ‘ideas’, ‘a lust for telling stories’ or ‘the ability to make groundbreaking, original, inspiring films’, implies that the exploration of an (innate) artistic expression is an essential aspect of being a film talent. ‘Passion’ repeatedly comes up as a

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to “organise according to a method, to systematize”. The methodizer can thus be considered a method (!) for mapping out a method. And a method that seems to work at that. The different partners have interpreted the form in slightly different ways, and portray an array of ways that the ingredients of talent development and the way they are mixed together can be presented. This is no surprise, given the fact that these partners approach and conduct talent development in a variety of ways. Simultaneously, it doesn’t really matter, because they all offer very coherent and applicable descriptions of what they do, how they do it – and not least why they do it.

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core quality, as well as ‘courage’ and ‘drive’ (to explore). The importance of ‘skill’ is immanent, particularly in combination with being ‘hard working’, having ‘stamina’, ‘persistence’ and ‘determination’. Talent must thus both have an (inherent) need to express something, and the capabilities of making their way towards developing, realising and sharing this expression.

This book presents two types of activities and/or measures the partners apply in work with talent development: programmes and funding. The methods presented under the programmes section seem to place themselves along a methodological axis that moves from the more artistic and creative to the more pragmatic and strategic. While these are necessarily overlapping, interwoven and entangled, some overarching categories can still be identified. The first of these has to do with creating a safe space for creative exploration, where it is both a question of helping film talent find their personal voices and ways of telling their stories, being independent, learning from one’s mistakes and facilitating for self-training/insight, but also through promoting co-creation and making each other better. A number of the methods presented focus on the value of networking, including both exposing and introducing talent to established representatives from the

industry, and facilitating for peer-topeer interaction and exchange. Some focus on the training of technical skills and abilities, including teaching and masterclasses, as well as coaching and mentoring. Such learning and guidance take place both as activities lead by experienced professionals or as more flexible and talent led peer-to-peer initiatives. In light of the network’s strong emphasis on ‘learning by doing’, it is not surprising that many offer production support, in the form of access to equipment and facilities, or as financial support. The network members’ methods for funding are described in a separate section. This in itself speaks to the necessity for (financial) resources in the (creative) development of film talent through a practical approach. The support provided ranges across several aspects of the film production, and thus talent development, process. From assistance in writing applications for funding, to support for development of idea or treatment, script writing, production (including equipment) and post production, to sales and distribution, marketing, pitching and screening. The scale of funding seems to be largely proportionate with the level of career or professionalism – the further you have come in your career, the higher the stakes and the larger the projects. Applications are usually

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Whether you are a fellow talent developer, an emerging talent, a policy maker, journalist or researcher, the collection of maps over the STE terrain of talent development presented in this book provides you with the opportunity to sweep across its landscape of methods from above, but also to dive down in between the trees to see what unfolds on the forest floor. Perhaps you even stopped for coffee on the way?

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evaluated both by an internal team and external evaluators, and several of the partners emphasize aiming for a short application process. The criteria of evaluation varies, but there is a consciousness around bringing forth a diversity in the range of visual storytellers that are chosen. Perhaps most importantly, many of the partners emphasize how project funding and the following up of that funding is in itself a way of engaging with the talent, which is often combined with some kind of coaching along the way.

THE PHOTOGRAPHERS

ANNE MIE BAK METTE BIHL ERIKJAN KOOPMANS SIRI EMILIE MELDGÅRD FREDERIKSEN MARTIN HAMMER MIKAEL STRÖM JUPITER MATHIAS BROE SEAN SIGFRIED

T! U C

METHODS FOR FILM TALENT DEVELOPMENT