By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 12.
The city of Cannes is getting that “after the party’s over” feeling. The Marché is now closed, and the festival is winding up, but I like to stay until the end. One of my favorite events occurs on the second Saturday of the festival and is well worth the stay, so at 11 a.m., I go to the official screening of the courts métrages en Compétition.
During the festival you can see the short films in the main competition at any time in the Short Film Corner’s screening booths, but viewing the screening of these films together is a rewarding experience. There are nine films, all between 11 and 15 minutes in length: “Badpakje 46” directed by Wannes Destoop (Belgium); “Soy tan feliz” directed by Vladimir Durán (Colombia); “Bear” directed by Nash Edgerton (Australia); “Kjøttsår” directed by Lisa Marie Gamlem (Norway...
(from the 2011 Cannes Film Festival)
Day 12.
The city of Cannes is getting that “after the party’s over” feeling. The Marché is now closed, and the festival is winding up, but I like to stay until the end. One of my favorite events occurs on the second Saturday of the festival and is well worth the stay, so at 11 a.m., I go to the official screening of the courts métrages en Compétition.
During the festival you can see the short films in the main competition at any time in the Short Film Corner’s screening booths, but viewing the screening of these films together is a rewarding experience. There are nine films, all between 11 and 15 minutes in length: “Badpakje 46” directed by Wannes Destoop (Belgium); “Soy tan feliz” directed by Vladimir Durán (Colombia); “Bear” directed by Nash Edgerton (Australia); “Kjøttsår” directed by Lisa Marie Gamlem (Norway...
- 5/22/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 12.
The city of Cannes is getting that “after the party’s over” feeling. The Marché is now closed, and the festival is winding up, but I like to stay until the end. One of my favorite events occurs on the second Saturday of the festival and is well worth the stay, so at 11 a.m., I go to the official screening of the courts métrages en Compétition.
During the festival you can see the short films in the main competition at any time in the Short Film Corner’s screening booths, but viewing the screening of these films together is a rewarding experience. There are nine films, all between 11 and 15 minutes in length: “Badpakje 46” directed by Wannes Destoop (Belgium); “Soy tan feliz” directed by Vladimir Durán (Colombia); “Bear” directed by Nash Edgerton (Australia); “Kjøttsår” directed by Lisa Marie Gamlem (Norway...
(from the 2011 Cannes Film Festival)
Day 12.
The city of Cannes is getting that “after the party’s over” feeling. The Marché is now closed, and the festival is winding up, but I like to stay until the end. One of my favorite events occurs on the second Saturday of the festival and is well worth the stay, so at 11 a.m., I go to the official screening of the courts métrages en Compétition.
During the festival you can see the short films in the main competition at any time in the Short Film Corner’s screening booths, but viewing the screening of these films together is a rewarding experience. There are nine films, all between 11 and 15 minutes in length: “Badpakje 46” directed by Wannes Destoop (Belgium); “Soy tan feliz” directed by Vladimir Durán (Colombia); “Bear” directed by Nash Edgerton (Australia); “Kjøttsår” directed by Lisa Marie Gamlem (Norway...
- 5/22/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 11.
I rise sometime around 5 a.m. to get ready for the Short Film Corner (Sfc) Buyers Breakfast. I join a group of nervous-looking Sfc filmmakers on the terrace in the Palais. These breakfasts are invaluable. In 2008, this is how I found a distributor and sold my short “I Heard the Mermaids Singing.”
Today we meet with about 12 buyers from around the world — Canada, Germany, France, Australia, U.K., Hungary — who proceed to introduce themselves with the following information:
What they buy (fiction, animation, documentary, etc.) Maximum running time How many films they buy The percentage of national versus international films on their slate Rate per minute and terms of contract
Tables are set up, and we circulate and pitch to the buyers over coffee and croissants. I manage to pitch to eight of the 12 buyers despite periodic explosions of yelling outside the terrace.
(from the 2011 Cannes Film Festival)
Day 11.
I rise sometime around 5 a.m. to get ready for the Short Film Corner (Sfc) Buyers Breakfast. I join a group of nervous-looking Sfc filmmakers on the terrace in the Palais. These breakfasts are invaluable. In 2008, this is how I found a distributor and sold my short “I Heard the Mermaids Singing.”
Today we meet with about 12 buyers from around the world — Canada, Germany, France, Australia, U.K., Hungary — who proceed to introduce themselves with the following information:
What they buy (fiction, animation, documentary, etc.) Maximum running time How many films they buy The percentage of national versus international films on their slate Rate per minute and terms of contract
Tables are set up, and we circulate and pitch to the buyers over coffee and croissants. I manage to pitch to eight of the 12 buyers despite periodic explosions of yelling outside the terrace.
- 5/21/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 11.
I rise sometime around 5 a.m. to get ready for the Short Film Corner (Sfc) Buyers Breakfast. I join a group of nervous-looking Sfc filmmakers on the terrace in the Palais. These breakfasts are invaluable. In 2008, this is how I found a distributor and sold my short “I Heard the Mermaids Singing.”
Today we meet with about 12 buyers from around the world — Canada, Germany, France, Australia, U.K., Hungary — who proceed to introduce themselves with the following information:
What they buy (fiction, animation, documentary, etc.) Maximum running time How many films they buy The percentage of national versus international films on their slate Rate per minute and terms of contract
Tables are set up, and we circulate and pitch to the buyers over coffee and croissants. I manage to pitch to eight of the 12 buyers despite periodic explosions of yelling outside the terrace.
(from the 2011 Cannes Film Festival)
Day 11.
I rise sometime around 5 a.m. to get ready for the Short Film Corner (Sfc) Buyers Breakfast. I join a group of nervous-looking Sfc filmmakers on the terrace in the Palais. These breakfasts are invaluable. In 2008, this is how I found a distributor and sold my short “I Heard the Mermaids Singing.”
Today we meet with about 12 buyers from around the world — Canada, Germany, France, Australia, U.K., Hungary — who proceed to introduce themselves with the following information:
What they buy (fiction, animation, documentary, etc.) Maximum running time How many films they buy The percentage of national versus international films on their slate Rate per minute and terms of contract
Tables are set up, and we circulate and pitch to the buyers over coffee and croissants. I manage to pitch to eight of the 12 buyers despite periodic explosions of yelling outside the terrace.
- 5/21/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 10.
11 a.m.: I start my business day at a too-civilized hour.
The Short Film Corner workshop I have been invited to attend is titled “Coup de Pouce,” which iTranslate tells me means “boost” and covers distribution, film festival strategy, producing and other broad categories; I’ve been selected for the writing block.
Although I’d little knowledge of what this really meant, it turns out to be an invitation to participate in an all-expenses-paid 60-day artist retreat at the Moulin d’Andé, a cultural center in Normandy (and fantastically situated in an old mill, check it out). For this French equivalent of the coveted Sundance labs, I’ve been invited to submit a script for a short, feature or documentary in either the French or international program.
Hmm, now I really do have to rewrite that feature script that has...
(from the 2011 Cannes Film Festival)
Day 10.
11 a.m.: I start my business day at a too-civilized hour.
The Short Film Corner workshop I have been invited to attend is titled “Coup de Pouce,” which iTranslate tells me means “boost” and covers distribution, film festival strategy, producing and other broad categories; I’ve been selected for the writing block.
Although I’d little knowledge of what this really meant, it turns out to be an invitation to participate in an all-expenses-paid 60-day artist retreat at the Moulin d’Andé, a cultural center in Normandy (and fantastically situated in an old mill, check it out). For this French equivalent of the coveted Sundance labs, I’ve been invited to submit a script for a short, feature or documentary in either the French or international program.
Hmm, now I really do have to rewrite that feature script that has...
- 5/20/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day 10.
11 a.m.: I start my business day at a too-civilized hour.
The Short Film Corner workshop I have been invited to attend is titled “Coup de Pouce,” which iTranslate tells me means “boost” and covers distribution, film festival strategy, producing and other broad categories; I’ve been selected for the writing block.
Although I’d little knowledge of what this really meant, it turns out to be an invitation to participate in an all-expenses-paid 60-day artist retreat at the Moulin d’Andé, a cultural center in Normandy (and fantastically situated in an old mill, check it out). For this French equivalent of the coveted Sundance labs, I’ve been invited to submit a script for a short, feature or documentary in either the French or international program.
Hmm, now I really do have to rewrite that feature script that has...
(from the 2011 Cannes Film Festival)
Day 10.
11 a.m.: I start my business day at a too-civilized hour.
The Short Film Corner workshop I have been invited to attend is titled “Coup de Pouce,” which iTranslate tells me means “boost” and covers distribution, film festival strategy, producing and other broad categories; I’ve been selected for the writing block.
Although I’d little knowledge of what this really meant, it turns out to be an invitation to participate in an all-expenses-paid 60-day artist retreat at the Moulin d’Andé, a cultural center in Normandy (and fantastically situated in an old mill, check it out). For this French equivalent of the coveted Sundance labs, I’ve been invited to submit a script for a short, feature or documentary in either the French or international program.
Hmm, now I really do have to rewrite that feature script that has...
- 5/20/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day six of the festival.
I woke at 4 a.m., bright-eyed and bushy-tailed. I usually average four to six hours of sleep each night during festivals — some of my über-human fellow nomads can exist on less, buoyed with the energy of the occasion.
At Cannes, as is the case at all of the big festivals I have worked or attended, there’s a buzz from all that is happening, the air supercharged from the excitement of new releases, meetings with co-workers and/or potential partners, brushes with strangers, invitations to the incredible parties and the millions of dollars of deals still being made in and around the Marché.
If you are into stats, here they are for Cannes 2011: 4,200 titles, 15,000 screenings, 60 territories, 2,500 distributors and 450 sales agents, all revolving around 10 days of star-studded red carpet events.
At 10 a.m. on the terrace of the Grand Hotel,...
(from the 2011 Cannes Film Festival)
Day six of the festival.
I woke at 4 a.m., bright-eyed and bushy-tailed. I usually average four to six hours of sleep each night during festivals — some of my über-human fellow nomads can exist on less, buoyed with the energy of the occasion.
At Cannes, as is the case at all of the big festivals I have worked or attended, there’s a buzz from all that is happening, the air supercharged from the excitement of new releases, meetings with co-workers and/or potential partners, brushes with strangers, invitations to the incredible parties and the millions of dollars of deals still being made in and around the Marché.
If you are into stats, here they are for Cannes 2011: 4,200 titles, 15,000 screenings, 60 territories, 2,500 distributors and 450 sales agents, all revolving around 10 days of star-studded red carpet events.
At 10 a.m. on the terrace of the Grand Hotel,...
- 5/17/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day six of the festival.
I woke at 4 a.m., bright-eyed and bushy-tailed. I usually average four to six hours of sleep each night during festivals — some of my über-human fellow nomads can exist on less, buoyed with the energy of the occasion.
At Cannes, as is the case at all of the big festivals I have worked or attended, there’s a buzz from all that is happening, the air supercharged from the excitement of new releases, meetings with co-workers and/or potential partners, brushes with strangers, invitations to the incredible parties and the millions of dollars of deals still being made in and around the Marché.
If you are into stats, here they are for Cannes 2011: 4,200 titles, 15,000 screenings, 60 territories, 2,500 distributors and 450 sales agents, all revolving around 10 days of star-studded red carpet events.
At 10 a.m. on the terrace of the Grand Hotel,...
(from the 2011 Cannes Film Festival)
Day six of the festival.
I woke at 4 a.m., bright-eyed and bushy-tailed. I usually average four to six hours of sleep each night during festivals — some of my über-human fellow nomads can exist on less, buoyed with the energy of the occasion.
At Cannes, as is the case at all of the big festivals I have worked or attended, there’s a buzz from all that is happening, the air supercharged from the excitement of new releases, meetings with co-workers and/or potential partners, brushes with strangers, invitations to the incredible parties and the millions of dollars of deals still being made in and around the Marché.
If you are into stats, here they are for Cannes 2011: 4,200 titles, 15,000 screenings, 60 territories, 2,500 distributors and 450 sales agents, all revolving around 10 days of star-studded red carpet events.
At 10 a.m. on the terrace of the Grand Hotel,...
- 5/17/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
Today was day four of the 10-day festival, and the final day of our Producers Workshop. Not surprisingly (see my previous post), je suis en retard for my first session, “Financing & Packaging: Finding Your Partners” hosted by Joana Vicente of Ifp and Open City Films and Josh Mond from Borderline Films.
Coffee. Croissant. Coffee.
While the seminars have been extraordinarily open and informative thus far, this one fell short. Given the topic “Finding Your Partners,” we younger producers in the audience were hoping for at least some suggestion of the path best traveled. Instead, what was delivered was a filmmaker who seemed to lack any interest in the topic and served up valueless statements such as, “I like my little world. I found my partners at film school, and we have worked together ever since.”
I was reminded that mere admiration of a filmmaker’s work,...
(from the 2011 Cannes Film Festival)
Today was day four of the 10-day festival, and the final day of our Producers Workshop. Not surprisingly (see my previous post), je suis en retard for my first session, “Financing & Packaging: Finding Your Partners” hosted by Joana Vicente of Ifp and Open City Films and Josh Mond from Borderline Films.
Coffee. Croissant. Coffee.
While the seminars have been extraordinarily open and informative thus far, this one fell short. Given the topic “Finding Your Partners,” we younger producers in the audience were hoping for at least some suggestion of the path best traveled. Instead, what was delivered was a filmmaker who seemed to lack any interest in the topic and served up valueless statements such as, “I like my little world. I found my partners at film school, and we have worked together ever since.”
I was reminded that mere admiration of a filmmaker’s work,...
- 5/16/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Today was day four of the 10-day festival, and the final day of our Producers Workshop. Not surprisingly (see my previous post), je suis en retard for my first session, “Financing & Packaging: Finding Your Partners” hosted by Joana Vicente of Ifp and Open City Films and Josh Mond from Borderline Films.
Coffee. Croissant. Coffee.
While the seminars have been extraordinarily open and informative thus far, this one fell short. Given the topic “Finding Your Partners,” we younger producers in the audience were hoping for at least some suggestion of the path best traveled. Instead, what was delivered was a filmmaker who seemed to lack any interest in the topic and served up valueless statements such as, “I like my little world. I found my partners at film school, and we have worked together ever since.”
I was reminded that mere admiration of a filmmaker’s work,...
(from the 2011 Cannes Film Festival)
Today was day four of the 10-day festival, and the final day of our Producers Workshop. Not surprisingly (see my previous post), je suis en retard for my first session, “Financing & Packaging: Finding Your Partners” hosted by Joana Vicente of Ifp and Open City Films and Josh Mond from Borderline Films.
Coffee. Croissant. Coffee.
While the seminars have been extraordinarily open and informative thus far, this one fell short. Given the topic “Finding Your Partners,” we younger producers in the audience were hoping for at least some suggestion of the path best traveled. Instead, what was delivered was a filmmaker who seemed to lack any interest in the topic and served up valueless statements such as, “I like my little world. I found my partners at film school, and we have worked together ever since.”
I was reminded that mere admiration of a filmmaker’s work,...
- 5/16/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day three of the Producers Workshop started at 10 a.m. with a presentation titled “Mining Europe for Production Finance.” A dense and informational map of how to search for co-production partners presented by European Audiovisual Entrepreneurs financial consultant Linda Beath, the seminar demonstrated why lawyers are good at this.
Then, finally, enough time to catch a film! I headed to the Marché du Cannes screenings for the Australian thriller “Swerve,” directed by Craig Lahiff.
The Producers Workshop resumed with “International Independent Film Financing,” whose speakers included Pierre Spengler of Clubdeal and Katriel Schory of the Israel Film Fund. Schory had lost his voice, and with apologies, generously continued to chat to us for two hours on the day his country’s film, “Footnote,” premiered at the Grand Lumiere. (“Footnote” was later bought by Sony Pictures Classics.)
With my “business” day over, my...
(from the 2011 Cannes Film Festival)
Day three of the Producers Workshop started at 10 a.m. with a presentation titled “Mining Europe for Production Finance.” A dense and informational map of how to search for co-production partners presented by European Audiovisual Entrepreneurs financial consultant Linda Beath, the seminar demonstrated why lawyers are good at this.
Then, finally, enough time to catch a film! I headed to the Marché du Cannes screenings for the Australian thriller “Swerve,” directed by Craig Lahiff.
The Producers Workshop resumed with “International Independent Film Financing,” whose speakers included Pierre Spengler of Clubdeal and Katriel Schory of the Israel Film Fund. Schory had lost his voice, and with apologies, generously continued to chat to us for two hours on the day his country’s film, “Footnote,” premiered at the Grand Lumiere. (“Footnote” was later bought by Sony Pictures Classics.)
With my “business” day over, my...
- 5/15/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
Day three of the Producers Workshop started at 10 a.m. with a presentation titled “Mining Europe for Production Finance.” A dense and informational map of how to search for co-production partners presented by European Audiovisual Entrepreneurs financial consultant Linda Beath, the seminar demonstrated why lawyers are good at this.
Then, finally, enough time to catch a film! I headed to the Marché du Cannes screenings for the Australian thriller “Swerve,” directed by Craig Lahiff.
The Producers Workshop resumed with “International Independent Film Financing,” whose speakers included Pierre Spengler of Clubdeal and Katriel Schory of the Israel Film Fund. Schory had lost his voice, and with apologies, generously continued to chat to us for two hours on the day his country’s film, “Footnote,” premiered at the Grand Lumiere. (“Footnote” was later bought by Sony Pictures Classics.)
With my “business” day over, my...
(from the 2011 Cannes Film Festival)
Day three of the Producers Workshop started at 10 a.m. with a presentation titled “Mining Europe for Production Finance.” A dense and informational map of how to search for co-production partners presented by European Audiovisual Entrepreneurs financial consultant Linda Beath, the seminar demonstrated why lawyers are good at this.
Then, finally, enough time to catch a film! I headed to the Marché du Cannes screenings for the Australian thriller “Swerve,” directed by Craig Lahiff.
The Producers Workshop resumed with “International Independent Film Financing,” whose speakers included Pierre Spengler of Clubdeal and Katriel Schory of the Israel Film Fund. Schory had lost his voice, and with apologies, generously continued to chat to us for two hours on the day his country’s film, “Footnote,” premiered at the Grand Lumiere. (“Footnote” was later bought by Sony Pictures Classics.)
With my “business” day over, my...
- 5/15/2011
- by admin
- Moving Pictures Magazine
By Victoria Charters
(from the 2011 Cannes Film Festival)
“Be careful what you wish for. You might just get it.”
I came to Cannes this year with a documentary in production, looking for a producing partner. I found one — at my first meeting, in fact. When the ink is dry on that deal, I’ll tell you who it is.
Attending the Producers Workshop at the Marché du Film, I started my day with “How to Present Your Project,” a talk offered by Roshanak Behesht Nedjad of Flying Moon Productions. The thing about being tucked away in assembly rooms and screening rooms is that you miss a little bit of the dog-and-pony show that is the Cannes Film Festival. During the presentation, we heard screams and camera flashes, even the sound of a metal barricade collapsing. But while trying to tune in to advice from the accomplished, rushing to gawk out...
(from the 2011 Cannes Film Festival)
“Be careful what you wish for. You might just get it.”
I came to Cannes this year with a documentary in production, looking for a producing partner. I found one — at my first meeting, in fact. When the ink is dry on that deal, I’ll tell you who it is.
Attending the Producers Workshop at the Marché du Film, I started my day with “How to Present Your Project,” a talk offered by Roshanak Behesht Nedjad of Flying Moon Productions. The thing about being tucked away in assembly rooms and screening rooms is that you miss a little bit of the dog-and-pony show that is the Cannes Film Festival. During the presentation, we heard screams and camera flashes, even the sound of a metal barricade collapsing. But while trying to tune in to advice from the accomplished, rushing to gawk out...
- 5/14/2011
- by admin
- Moving Pictures Network
By Victoria Charters
(from the 2011 Cannes Film Festival)
“Be careful what you wish for. You might just get it.”
I came to Cannes this year with a documentary in production, looking for a producing partner. I found one — at my first meeting, in fact. When the ink is dry on that deal, I’ll tell you who it is.
Attending the Producers Workshop at the Marché du Film, I started my day with “How to Present Your Project,” a talk offered by Roshanak Behesht Nedjad of Flying Moon Productions. The thing about being tucked away in assembly rooms and screening rooms is that you miss a little bit of the dog-and-pony show that is the Cannes Film Festival. During the presentation, we heard screams and camera flashes, even the sound of a metal barricade collapsing. But while trying to tune in to advice from the accomplished, rushing to gawk out...
(from the 2011 Cannes Film Festival)
“Be careful what you wish for. You might just get it.”
I came to Cannes this year with a documentary in production, looking for a producing partner. I found one — at my first meeting, in fact. When the ink is dry on that deal, I’ll tell you who it is.
Attending the Producers Workshop at the Marché du Film, I started my day with “How to Present Your Project,” a talk offered by Roshanak Behesht Nedjad of Flying Moon Productions. The thing about being tucked away in assembly rooms and screening rooms is that you miss a little bit of the dog-and-pony show that is the Cannes Film Festival. During the presentation, we heard screams and camera flashes, even the sound of a metal barricade collapsing. But while trying to tune in to advice from the accomplished, rushing to gawk out...
- 5/14/2011
- by admin
- Moving Pictures Magazine
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