eQuinoxe-Germany The éQuinoxe - Screenwriters' Workshops





	éQuinoxe Germany The independent association éQuinoxe Germany was founded in Berlin in spring 2001. éQuinoxe Germany, the second European office of the organization >éQuinoxe To Be Continued in Paris, understands itself as an ambassador and supporter of German-speaking filmmakers on an international level. In 2004 the organization became responsible for the pre-selection of projects from Czech Republic, Poland and Slovenia. The aims of éQuinoxe Germany are, • To enable more German-speaking and eastern European filmmakers to participate at the renowned international éQuinoxe Workshops • To create more public attention for the necessity of script development in Europe • To establish stronger links between German-speaking filmmakers and the international éQuinoxe network • To reinforce the internationalization of the European film industry • To present German-speaking and eastern European creative talent to an international forum The founding members of éQuinoxe Germany, e.V. • Noëlle Deschamps (vice president; artistic director of éQuinoxe/To Be Continued) • Dr. Martin Heller (lawyer, law office of Heller & Partner, Berlin) • Alfred Holighaus (International Berlin Film Festival) • Hülya Israel (commercial producer) • Susanne Schneider (screenwriter/director) • Susan Schulte (Director, Drama Department, German Federal Ministry, Culture and Media / BKM) • Ellen Winn Wendl (producer, chairman of éQuinoxe Germany) Through the independent and effective support of script development, éQuinoxe Germany strives to create artistic and economic effects for the European film industry. About Us • Objectives Activities 1. Pre-selection for the international éQuinoxe Screenwriters’ Workshops Since 2001, éQuinoxe Germany has been responsible for the pre-selection of film projects from the German-speaking countries for the éQuinoxe workshops. Since 2004, we also pre-select from Slovenia, Poland and the Czech Republic. > Workshop participants selected by éQuinoxe Germany since 2001 2. Organization of international Filmmakers’ Workshops The 1st éQuinoxe Screenwriters' Workshop in Germany From 27. October to 2. November 2004, the 22nd éQuinoxe Workshop, the first in Germany, was held in Essen-Kettwig in the region Northrhine-Westfalia. > Programme / participants and advisors of the workshop as PDF (Download) The workshop was organized, financed and hosted by éQuinoxe Germany. The workshop was financially supported by > MEDIA Programme of the European Union > Film Foundation Northrhine-Westfalia (Filmstiftung NRW) > German Minister of Culture and Media (BKM) > German Federal Film Board (FFA). The 1st éQuinoxe Screenwriters' Workshop in Austria In autumn 2005, the 25th international éQuinoxe Workshop, the first in Austria, will be hosted in Vienna. The workshop is supported by > MEDIA Programme of the European Union > Austrian Film Institute (ÖFI) > Vienna Film Fonds 3. The éQuinoxe Germany Salons 2-3 times a year, éQuinoxe Germany organizes the éQuinoxe Germany Salons, screenplay forums at German film festivals. The Salons are informal events and open to the public – either a discussion, a reading or a film screening – and are hosted in different German film regions. The receptions after the events make the Salons also a meeting point for film professionals. It is the aim of the éQuinoxe Germany Salons to reinforce the effect of the éQuinoxe programme for the participants and to establish a deeper conscience for the necessity of script development in the film industry. éQuinoxe Germany Salons were organized within the framework of the following film festivals: > Berlinale 2002 (Podium Discussion about Script Development in Europe) > Filmfest München 2002 (Screening: Was tun, wenn’s brennt? and Sur mes lèvres) > Hamburger Filmfest 2002 (Reading – Erbsen auf halb sechs) > Berlinale 2003 (Podium Discussion about The creative process in filmmaking) > CineEuropa Festival Stuttgart 2003 (Reading – Who is Anna Walentynowicz?) History In 2001, éQuinoxe Germany was founded by initiator Ellen Winn Wendl as the correspondent office of the French Association éQuinoxe, with the intent to create a stronger link between the German film industry and the éQuinoxe programme. Meanwhile, éQuinoxe Germany has become a strong second office, pre-selecting projects for the workshops, organizing its own events and hosting the screenwriters´ workshops in Europe´s German-speaking territories. The concept of éQuinoxe, a nonprofit organization, is based on the model of Robert Redford’s Sundance Institute. éQuinoxe was founded in 1993 by Jeanne Moreau and Noëlle Deschamps with Robert Redford’s support. The organization’s headquarters are in Paris. Since 1993, more than 24 éQuinoxe Workshops have been hosted. Up until 2002 the workshops were organized by the headquarters in Paris, and they traditionally took place in the unique environment of Chateau Beychevelle, located in the Médoc region near Bordeaux. In 2003, the association was transformed into the international organization éQuinoxe/ To Be Continued. Since 2003, the screenwriters´ workshops are held in different countries of the corresponding offices. > More information about éQuinoxe / To Be Continued Workshop Dates & Application Deadlines Summer 2005 Workshop Paris, France 3. - 9. June, 2005 Selection completed Autumn 2005 Workshop Vienna, Austria Date to be confirmed Application Deadline: 6. May 2005 for projects from Austria, Czech Republic, Germany, Poland, Slovenia (please send application to éQuinoxe Germany) 15. June 2005 for projects from other countries (please send application to éQuinoxe/To Be Continued in Paris, France) addresses see > contact About the workshops The éQuinoxe Screenwriters’ Workshops – a unique experience for independent filmmakers An international jury selects 10 talented screenwriters to participate in the workshop. These ten screenwriters come to the one-week workshops and meet on the basis of one-to-one discussions with ten >“advisors” from all over the world – internationally known and experienced writers, directors and producers -, who without remuneration share their knowledge and experiences with the most promising talent the European and international film scene has to offer. The goals of the éQuinoxe Screenwriters’ Workshops are: • to get the best possible result out of strong stories with an inherent cultural identity • to enable talented screenwriters to learn from the best in the business • to support screenwriters and their producers • to support an international network of European film on a personal, artistic and economic level Facts & Figures “éQuinoxe Workshops” • Duration: 1 week • Location: different countries around the world • Participants: 10 selected screenwriters and their producers, 10 international advisors • Workshop language: English/French (translators available) • Producers: invited for last 2 days • Participation fees: none • Application: with a finished feature film script (cinema only) Inspiring encounters The éQuinoxe workshops are conducted in English, and they are distinguished by the uniquely creative atmosphere and the intense personal encounters between the screenwriters and the advisors. Participating in an éQuinoxe workshop is a unique chance for the screenwriters to come into direct contact with experienced filmmakers from different cultural and professional backgrounds. Additionally, it allows the screenwriters to exchange ideas about their own projects and creative works, thus giving them the chance to enhance their skills and artistic abilities. At the end of the workshop, the producers of the projects will be invited to take part in an extensive discussion about the script with three advisors and the screenwriter. Upcoming éQuinoxe Workshops 3. - 9. June 2005 in France (Paris) Autumn 2005 in Austria (Vienna) > information and application documents (PDF) Application > information and application documents (Download PDF) > Before application, please contact your local correspondent or the headquarters in Paris for advice. For application, you have to submit by mail AND E-Mail: • script in classic script form - 4x / 3 bound, 1 unbound (English or original language) • filled-in entry form (see application documents; digitally available at equinoxegermany@snafu.de) • synopsis in English (1 page) • log-line in English (ca. 5 sentences) • CVs of the screenwriter and the producer (if relevant) in English • letter of intent in English • notes about the production status in English (ca. 1/2 page) • tape or DVD of previous work Don’t hesitate to contact us, if you have any questions. FAQ: Can I apply with a treatment only? No, applicants have to submit a finished theatrical feature film script. It is recommended to apply with a revised draft (3rd or 4th draft). Do I need a producer to apply for the Workshop? Not necessarily, but it is of advantage to apply with a producer. Writers which are accepted have the benefit that their producers are invited for the last two days of the workshop (at their own expense). Can I submit my script in original language (German, Slovenian,...)? Yes. If your project is preselected, we then highly recommend to that an English translation be submitted as the script will be evaluated by an international jury. If the project is finally selected for the workshop, you’ll have to submit an English version anyway. Do I have to pay for participation? No. Participating in an éQuinoxe Workshop is free, including board & room, and travel. The éQuinoxe Advisors The success of éQuinoxe is due to the generosity and professional expertise of numerous internationally recognised authors, directors and producers, who again and again offer their services to the éQuinoxe Screenwriters' Workshops as advisors: Sacha Adabachian (RUS - Black Eyes,...), David Ambrose (GB - D.A.R.Y.L,...), Santiago Amigorena (ARG - Tokyo Eyes...), Giorgio Arlorio (I - Cento giorni a Palermo,...), Jacques Audiard (F - Un héros très discret,...), Fank Barhydt (USA - Short Cuts,...), Ron Bass (USA - Rain Man,...), Simon Beaufoy (GB - The Full Monty,...), Jean-Jacques Beineix (F – 37,2° le matin,...), Yamina Benguigui (F – Inch’ Allah Dimanche), Luc Beraud (F – Plein Sud, La petite Voleuse,...) Alain Berliner (B - Ma vie en rose/My Life in Pink,...), Walter Berstein (USA - The Molly Maguires,...), Andrew Birkin (GB – The Name of the Rose,...), Michael Blake (USA – Dancing with Wolves...), Shane Black (USA - Lethal Weapon,...), Sergueï Bodrov (RUS - The Prisoner of the Mountains,...), Yves Boisset (F - Dupont-Lajoie,...), Julian Bond (GB - The Shooting Party,…), Pascal Bonitzer (F - Rien sur Robert,...), Michaël Bortman (USA - Goodbye Saïgon,...), Férid Boughedir (TUN - Un été à la Goulette), Irena Brignull (GB - Shakespeare in Love (Script Ed.), Léon Capetanos (USA - Moscow on the Hudson,...), Emmanuel Carrère (F – The Anniversary,...), Kit Carson (USA - Paris, Texas...) Stan Chervin (USA - Haunted Holiday,...), Elie Chouraqui (F - Paroles et musiques,...), Brian Clark (GB - Nostradamus,...), Henry Cobbold (GB - Lake Consequence,...), Shane Connaughton (IRE - My Left Foot,...), Jean Cosmos (F - Capitaine Conan,...), Kerry Crabbe (GB - Steaming,...), Jonathan Darvon (GB - The Enemy Within,...), Richard Dembo (F - La Diagonale du fou,...), Yves Deschamps (editor, F – Mortal transfer...), Patrick Dewolf (F - Marche à l'ombre,...), Carolyn Drebin (GB - Falling Angels (Development Exec..), Martine Dugowson (F - Mina Tannenbaum,...), Bille Eltringham (GB – Kid in the corner,… ) Robert Enrico (F - Le Vieux Fusil,...), Delia Ephron (USA - You’ve Got Mail,...), Jacques Fansten (F - La Facture du myocarde,...), John Fasano (USA - The Peacemaker,...), Michel Fessler (F – Ridicule, ...), David Field (USA - Passion of Mind,...), Jacques Fieschi (F – Un coeur en hiver,...), Mike Figgis (GB - Leaving Las Vegas,...), Stephen Frears (GB - The Van,...), Lewis Furey (CAN - Rats and Rabbits,...), Bob Gale (USA - Back to the Future,...), Guy Gallo (USA - Under the Volcano,...), Louis Gardel (F - Fort Saganne,...), Bart Gavigan (GB - The Reluctant Prophet,...), Marina Gefter (I - producer, – The Godfather III,...), David Giler (USA - Alien,...), José Giovanni (F - Le Clan des Siciliens,...), Fançois Girard (CAN – The Red Violin,...), Alain Goddard (F – In the Name of the Rose, Enemy at the Gates...), Akiva Goldsman (USA - The Client, A Beautiful Mind...), Carl Gottlieb (USA - Jaws I-III, The Jerk,...), Jean-Fançois Goyet (F - Western,...), Larry Gross (USA - 48 Hours,...), Jim Hart (USA - Hook, Contact, Bram Stoker’s Dracula,...), John Lee Hancock (USA - A Perfect World,...), Laurent Heynemann (F - La Vieille qui marchait dans la mer,...), William Hjortsberg (USA - Legend,...), Agnieszka Holland (POL - Europa Europa,...), Joel Hopkins (USA – Jump tomorrow...), Coleman Hough (USA – Full Frontal,...) Jean-Loup Hubert (F - Le Grand Chemin, La Reine Blanche,...) Laurie Hutzler (USA – Lorraine Looses It,...) Agnès Jaoui (F - Un air de famille,...), Pierre Jolivet (F - Ma petite entreprise,...), Terry Jones (GB - Monty Python and The Holy Grail,...), Jerome Kass (USA - Ballroom,...), Callie Khouri (USA - Thelma & Louise,...), Larry Konner (USA - The Jewel of the Nile,...), Gérard Krawczyk (F - L'Eté en pente douce,...), Antoine Lacomblez (F - Les Menteurs,...), Jake Lamar (USA - Bourgeois Blues,...), Susan B. Landau (USA - Producer - An Ideal Husband, Cool Runnings,...), Alain Layrac (F - Héroine, Mauvaises Féquentations,..) Philippe Le Guay (F - L'Année Juliette,...), Thierry Lhermitte (F - The Prince of the Pacific,...), Jean-Paul Lilienfield (F - XY,...), Don Mac Pherson (GB - The Big Man,...), Stephen Metcalfe (USA - Pretty Woman,...), Gavin Millar (GB - Danny, the Champion of the World,...), Edouard Molinaro (F - Beaumarchais,...), Bibbi Moslet (NOR- Lime), Marcia Nasatir (USA – Producer, Chinatown, ), Edouard Niermans (F - Le Retour de Casanova,...), Jonathan Nossiter (USA - Signs and Wonders,...), David Peoples (USA - Unforgiven, Twelve Monkeys,...), Janet Peoples (USA - Twelve Monkeys,...), Mark Peploe (GB - The Last Emperor,...), Frank Pierson (USA - Presumed Innocent, Dog Day Afternoon, ...), José Pinheiro (F - Family Rock,...), Claude Pinoteau (F - L'Etudiante,...), Sydney Pollack (USA – Out of Africa,...), Angela Pope (GB - Hollow Reed,...), Florence Quentin (F – Je reste!,...) Michael Radford (GB - Il Postino,...), Charles Randolph (USA – The Life of David Gale,...), Mimmo Raffaele (I - Appassionata,...), Lidia Ravera (I - Oggetti Smarriti,...), Alistair Reid (GB - The Night Digger,...), Richard Reitinger (D – Wings of Desire,..) Jean-Michel Ribes (F - Chacun pour toi,...), Tom Rickman (USA - Coal Miner's Daughter,...), Matthew Robbins (USA - The Sugarland Express,...), Richard Romanus (USA – If you believe,...) Jean-Pierre Ronssin (F - La Discrète,...), Dominique Roulet (F - Poulet au vinaigre,...), Sébastien Roulet (F - Granges brûlées,...), Amanda Schiff (GB - Producer), Stephen Schiff (USA - Lolita…), Susanne Schneider (D - Solo for clarinet,...), Ian Sellar (GB - Venus Peter,...), Lorenzo Semple, Jr. (USA - Three Days of The Condor, The Parallax View,…), Martin Sherman (USA/GB - Bent,...), Susan Shiliday (USA - Legends of The Fall,...), Zachary Sklar (USA - JFK,...), Shawn Slovo (South Africa - A World Apart,...), George Sluizer (GB - The Vanishing,...), Iain Softley (GB – K-Pax,...), Ed Solomon (USA - Men in Black,...), Scott Spencer (USA - Act of Vengeance,...), Julian Stanford (GB - film marketing consultant – James Bond, Elling,...) Whit Stillman (USA - Metropolitan,...), Bob Swaim (F - La Balance,...), Anthea Sylbert (G – If you believe,…) Colo Tavernier (F - Un dimanche à la campagne,...), Joan Tewkesbury (USA - Nashville,...), Duncan Thompson (GB - Kato,...), Fina Torres (VEN - Woman on Top,...), Pierre Trividic (F - Ceux qui m'aiment prendront le train,...), Alfred Uhry (USA - Driving Miss Daisy,...), Jaco Van Dormael (B - Le Huitième Jour,...), Marion Vernoux (F - Love, etc.,...), Daniel Vigne (F - Le Retour de Martin Guerre,...), Reinhardt Wagner (F - Musicien), Régis Wargnier (F - Indochine,...), Rémi Waterhouse (F - Ridicule,...), Gregory Widen (USA, Highlander,...) Gareth Wigan (USA - producer) Doug Wright (USA – Watbanaland, Quills,...) Workshop History > participants & advisors 1993 – 2004 (PDF) > programme of the workshop in Germany, autumn 2004 (PDF) Spring 1993 – Autumn 2002 Workshops 1 - 19 Workshops twice a year at Château Beychevelle near Bordeaux, France Autumn 2003 20. Workshop in Montréal, Canada Workshop at the Club 375C and Hotel Gault Spring 2004 21. Workshop in Marrakech, Morocco Workshop at Hotel Medina & Spa Autumn 2004 22. Workshop in Essen-Kettwig, Germany Workshop at Hotel Schloss Hugenpoet Filmmakers Voice "Even if it is not possible to react to all of the advisors thoughts practically, it opens your head towards the topics and problems of your draft and scriptwriting in general. We could talk so openly about expectations of producers, experiences of much more experienced authors, and problems we all face the same. I think I learned a lot just by listening to all those people, some of the advisors I will never forget. Even now, thoughts of them come again to my mind when I have to solve a writing problem.” Anne Wild (D), participant Spring 1999 - “What to do in case of fire?” „Der éQuinoxe-Workshop wird für mich ein unvergessliches Erlebnis bleiben. Die Organisation war perfekt: das Timing des Tagesablaufs, die Umgebung, die Unterbringung und die Verpflegung. Allerbeste Voraussetzungen, um konzentriert täglich in zwei dreistündigen Sitzungen die Drehbücher wieder und wieder zu analysieren und Möglichkeiten der Optimierung zu finden. Die Berater hatten sich sehr gut vorbereitet und tauschten darüberhinaus noch in täglichen Konferenzen ihre Eindrücke von den Besprechungen untereinander aus. Für alle war das ein gewaltiges Arbeitspensum, aber trotz aller Beanspruchung kam kein Stress auf: Die Kritik war immer konstruktiv, die Gespräche verliefen in einer kollegialen, freundlichen und entspannten Atmosphäre. (...) Bekanntlich werden Drehbücher nicht geschrieben, sondern umgeschrieben, in einem langwierigen Prozess. Um das aus- und durchhalten zu können, brauchen Autoren einen starken Glauben an sich selbst und ihr Projekt. Wenn man, wie in diesem Workshop, erleben kann, wie sich erfahrene und erfolgreiche Autoren und Produzenten für die ausgewählten Projekte begeistern und engagieren können, einfach nur aus Liebe zum Film und aus Freude an dieser Arbeit, dann bedeutet dies nicht nur eine Verpflichtung zu bestmöglicher Weiterarbeit - es motiviert auch dazu in höchstem Maß.“ Charlie Möller-Naß (D), participant Autumn 2004 - „Escape over the Himalayas“ “This is a good script, but – I am sorry to say – that’s definitely not enough” – that’s what an advisor said at the beginning of our conversation. For a week you and your script are subject to hot and cold showers. The biographies of the “advisors” are as different and varied as the discussions (and as different and varied as their criticisms, their suggestions for solutions, and their methods for analyzing a screenplay). And the discussions never stop. During dinner, during a coincidental encounter in the elevator, at the breakfast buffet. And the only thing you can hang onto the entire week is the fact that these people write screenplays themselves. You’ve seen and admired most of their films. They know what they’re talking about and what they’re doing with you. And they want your film to make it to the cinemas, and they want people to want to see your film. And then during the last conversation, during the flight home, and back at your desk, images gradually start to come to you, one idea leads to another, parts of a conversation echo in your head, and then another image pops up. And the film starts to roll. Florian Flicker (A), participant Spring 2004 - “Dolphins” Excellent wine, lousy weather, and INSPIRATION!" Holly-Jane Rahlens, participant Autumn 2002 - „Prince William, Maximilian Minsky and Me“ Wir acht ausgewählten Autoren aus aller Welt hatten eine Woche lang Gelegen- heit zu intensiven Sitzungen mit ebenso vielen renommierten, kompetenten und äußerst engagierten Autoren, Regisseuren und Produzenten. Das waren in unserem Falle etwa Sydney Pollack (Tootsie, Out of Africa), Jim Hart (Bram Stoker's Dracula, Hook), Jaques Fieschi (Nelly et Mr. Arnaud, Sade), Stephen Schiff (Lolita, The Deep End of the Ocean), um nur einige zu nennen. Selbstverständlich bekommt man von so unterschiedlichen Menschen auch unterschiedliche, z.T. sogar widersprüchliche Meinungen zu hören. In meinem Fall war es so, dass fast alle meine Gesprächspartner mich auf dieselben Drehbuchprobleme aufmerksam machten, die Lösungsvorschläge aber diametral auseinander gingen. Die Entscheidung, was der Autor daraus macht, bleibt ihm selbst überlassen. Abgesehen vom enormen Sachverstand unserer "Adviser" macht die Qualität von éQuinoxe die Freiheit aus, in der diese Begegnungen stattfinden: Abseits von allen Produktionsinteressen und -zwängen, nur von dem einen Interesse beflügelt, die Geschichten besser zu machen.“ Ruth Toma (D), participant, Spring 2002 - „Peas at half past five“ „Equinoxe ist eine Wette auf das Gute im Autor - auf seine Neugier, Großzügigkeit im Geben und Nehmen, frei fließende Freude an der Arbeit, und das gleich im Pulk. Am Anfang scheint es völlig unmöglich so vielen verschiedenen Charakteren und Ideen gleichzeitig gerecht zu werden, mehr eine luxurierende Idee, als ein belastbares Arbeitskonzept. Aber dann gibt es plötzlich eine gemeinsame Sprache der Urheber, egal aus welchem Kulturkreis, und einen gemeinsamen Rhythmus: Leidenschaft für den Film. Das war die ganze Woche überall zu hören und zu spüren. Sehr erstaunlich und sehr musikalisch. Der Swing der Kreativität. Wenn er sich in die Werke fortsetzt, geht die Wette auf.“ Richard Reitinger, Advisor, Autumn 2004 “Die Gespräche, die ich während der Woche führen durfte, waren äußerst intensiv, sehr versiert und haben mich enorm bestärkt. Es gab sowohl detaillierte Besprechungen der einzelnen Figuren als auch allgemeinere und zugleich sehr persönliche Gespräche über das Thema des Films, und jeder der Advisors brachte seine eigene, aber immer konstruktive Sicht des Buches mit ein. Es herrschte weitgehend ein Konsens über das, was bereits gelungen war und was noch der Berabeitung bedarf, und ich war mit der Kritik sehr einverstanden (…). Insgesamt war es eine sehr inspirierende und ermutigende Erfahrung, die mich motiviert hat, wieder an die Arbeit am Buch zu gehen und eine neue Fassung zu schreiben. Ich hätte nie gedacht, dass mich die Zeit im Workshop so sehr bereichern würde, wie sie es getan hat, die Advisors waren ohne Ausnahme nicht nur hochprofessionell, sondern wunderbare und kluge Menschen, deren Rat und Geduld ich schätze und bewundere.” Sandra Nettelbeck (D), participant, Autumn 2004 - “Helen” „Ein Drehbuch zu schreiben bedeutet, sich auf eine lange Reise zu begeben, eine Reise mit durchaus ungewissem Ausgang. Manchmal hat man ein Ziel vor Augen, weiß aber nicht, wie man dorthin gelangen soll. Manchmal hat man den Ausgangspunkt, kennt aber sein Ziel noch nicht, manchmal ändert sich das Ziel in der Mitte der Reise. Also braucht man Lotsen, die einem den rechten Weg weisen, die einen zurückführen, wenn man sich verirrt hat, die einem das Ziel wieder vor Augen führen, wenn man es in einer Nebelwand von Möglichkeiten verloren hat. Die Advisors von eQuinoxe sind solche Lotsen. Nach einer Woche intensiven Austauschs, Gesprächen, Fragen, Diskussionen weiß man, wie die Reise weiter gehen kann und wie man seinem Ziel näher kommt: einem guten Drehbuch. Was Sir Ernest Shackleton schrieb, als er Männer für seine Südpol-Expedition suchte, könnte auch für jeden Autor gelten: „Men wanted for hazardous journey. Small wages. Bitter cold. Long months of complete darkness. Constant danger. Safe return doubtful. Honour and recognition in case of success.“ (Sir Ernest Shackleton) Der éQuinoxe workshop ist sicherlich eine der besten Möglichkeiten, den case of success ein Stück wahrscheinlicher zu machen.“ Susanne Schneider (D), Advisor, Autumn 2004; participant, Spring 2004 - „Zaza“ Bekannte Autoren und Regisseure haben sich für eine Woche Zeit genommen, mein Drehbuchentwurf zu lesen, mir unangenehme Fragen zu stellen, mir verblüffende Ideen zu geben und Varianten zu erfinden, aber auch zu verwerfen, alle vereint mit nur dem einzigen Interesse, der Welt schönere Filme zu schenken. Was können sich Autoren mehr wünschen? Veit Helmer, participant, Spring 2001 - „Gate to Heaven“ From script to screen Selection of produced and awarded films To this day, éQuinoxe has received over 8000 screenplays. More than 200 screenwriters have been selected and attended the workshops to benefit from the advice of more than 150 renowned advisors. Numerous films resulting from the process have been presented and awarded at international film festivals, and have found their way to the screen, such as 1995 Douce France by Malik Chibane (F) • Bayard d’Or, Festival de Namur Sin Querer by Ciro Cappelari (ARG/D) • NHK Screenplay Prize, Sundance Film Festival 1996 L’Élève by Olivier Schatzky (F) • Prix de la Mise en Scène at the Montréal Film Festival • Grand Prix at the Festival d’Arcachon Dying to go Home by Carlos Da Silva (PORT) • Prix de la jeunesse, Festival de San Sebastian The Last of the High Kings by David Keating (IRL) Bernie by Albert Dupontel (F) 1997 Artémisia by Agnès Merlet (F) • Nominated for the Golden Globe 1998 Ma Vie en Rose / My Life in pink by Alain Berliner (B) • Distribution USA: Sony Classics • Nominated for the Césars for the Best Debut Film • European Film Academy: Best Screenplay Prize • Golden Globe 1998: Best Foreign Film Marie Baie des Anges by Manuel Pradal (F) • Distribution USA: Sony Classics • Semaine de la Critique, Venice1997 Buud Yam by Gaston Kaboré (Burkina Faso) • Quinzaine des Réalisateurs, Cannes Forever by Nick Willing and Chris Harrald (GB) • Festival de Gérardmer 1998: Critic’s Prize & Special Prize of the jury 1998 Le Gone du Chaâba by Christophe Ruggia (F) • Nominated for the Césars 1999 for the Best Debut Film • Prix Cannes Junior • Rencontres Cinématographiques de Cannes: Audience Award • Berlin Int. Film Festival: CICAE Prize Dis-mois que je rêve by Claude Mouriéras (F) (Cinéa) • Prix Jean Vigo 1998 • Un Certain Regard, Cannes Film Festival 1998 Claire Dolan by Lodge Kerrigan (USA) • Official selection, Cannes Film Festival 1998 The Quarry by Marion Hänsel (BELG) • Grand Prix des Amériques, Montréal World Film Festival 1998 • Nominated for the Golden Dolphin, Tróia International Film Festival 1999 Serial Lover by James Huth (F) Zonzon by Laurent Bouhnik und Patrick de Lassagne (F) Restons groupés by Jean-Paul Salomé (F) 1999 La Révolution sexuelle n'a pas eu lieu by Judith Cahen (F) Prison à domicile by Christophe Jacrot and Sarah Lévy (F) Du bleu jusqu'en Amérique by Sarah Lévy (F) La Nuit du destin by Abdelkrim Balhoul (F) Killer by Marius Gawryz (POL) 2000 Saint-Cyr by Patricia Mazuy (F) • Eight Nominations for the Césars • Prix Jean Vigo 2000 • Cannes Film Festival 2000: Youth Award Promenons nous dans les bois by Lionel Delplanque (F) • Sitgef Festival (Spain) 2000: Best European Fantasy Film Sur un air d’autoroute by Thierry Boscheron (F) • Prix Spécial Comédie de la chaîne Comédie in l’Alpe d’Uez 2000 Everybody Famous! by Dominique Deruddere (B) • Nominated for the Oscars 2001 for Best Foreign Film Les Autres Filles by Caroline Vignal (F) (TS Productions) • Semaine de la Critique Cannes Film Festival 2000 Sexo por compasion by Laura Maña (E) • Sundance 2001 section World Cinéma • Festival of Brussels 2001, Official Selection Operation Goat by Konrad Szolajski (POL) Serenades by Mojgam Khadem (AUS) The Old Man Who Read Love Stories by Rolf de Heer (AUS) 2001 Sur mes lèvres by Jacques Audiard (F) • Césars 2001: Best Screenplay, Best Actress (Emmanuelle Devos) The Bleep Brothers by Yoshiyasu Fujita (JAP) • Sundance 2001, section World Cinéma La Confusion des genres by Ilan Duran Cohen (F) • Sundance 2001, section World Cinéma • Nominated for César for Best Actor and Best Masculine Hope Little Sénégal by Rachid Bouchareb (F) • Official Competition, Berlin International Film Festival, 2001 The Warrior by Asif Kapadia (GB) • Distribution USA: Miramax • Dinard 2001: Hitchcock d’Or Sutherland Trophy 2001 Vivante by Sandrine Ray (F) • Sundance 2001, section World Cinema Avec tout mon amour by Amalia Escriva (F) • Locarno International Film Festival 2001 Véloma/La mer à boire by Marie de Laubier (F) • Namur International Festival of French-Speaking Film 2001 Mademoiselle by Philippe Lioret (F) Archipelagos by Giovanni Columbu (I) 2002 Was tun, wenn's brennt? (What To Do In Case Of Fire?) by Anne Wild (D) • Best Film, Luenen Film Festival, 2002 Les Diables by Christophe Ruggia (F) • Grand Prix Cannes Junior 2002 • Grand Prix Avignon – New York 2002 • Grand Prix la Ciotat 2002 • Chicago 2002: Prize for Best masculine interpretation (Vincent Rottier) Samsara by Nalin Pan (D) • Distribution USA: Miramax • Prix du Public, Melbourne, Rotterdam 2002 • Prix Spécial du Jury, Moscou 2002 • Prix du Meilleur Film, Istanbul 2002 • Prix du Jury, Galway 2002 Chaos by Geraldine Creed (IRL) • Festival du Film Britannique et Irlandais de Cherbourg-Octeville 2002; Nominated in the category Best Film Toutes les filles sont folles by Pascale Pouzadoux (F) • Grand prix de la musique at the Paris Film Festival 2003 Japanese Story by Alison Tilson (AUS) • Quinzaine des Réalisateurs, Cannes Film Festival 2003 17, Rue Bleue by Chad Chenouga (F) Snowboarder by Olias Barco (F) Le Pays du chien qui chante by Yann Dedet (F) 2003 Jeux d’enfants by Yann Samuell (F) • John Schlesinger Award, Palm Beach International Film Festival 2004 • Jury Award, Newport Beach Festival 2004 Best Drama Sans Elle by Anna de Palma (F/PORT) Le Soleil Assassiné by Abdelkrim Bahloul (F) Tor zum Himmel (Gate to Heaven) by Veit Helmer (D) 2004 The Final Cut by Omar Naim (CAN) • Official Competition, Berlin International Film Festival 2004 • Catalonian International Film Festival 2004 • Deauville Film Festival 2004: Best Screenplay 25° en hiver (25 degrees in winter) by Stéphane Vuillet (BEL) • Official Competition, Berlin International Film Festival 2004 • Readers Jury Prize of “Berliner Morgenpost", Berlin International Film Festival 2004 La femme de Gilles by Frédéric Fonteyne (BEL) La Promessa by Hector Carré (ESP) L’enfant endormi by Yasmine Kassari (TUN/BEL) • Audience Award, Angers European First Film festival 2005 Le Cou de la Girafe by Safy Nebbou (F) The Illustrated Family Doctor by Kriv Stenders (AUS) Necropolis by Alexandre Gavras (F) Foreign Affairs by Ziad Doueri (USA) Erbsen auf halb sechs (Peas at half past five) by Ruth Toma/Lars Büchel (D) LINKS >MEDIA Plus Programme of the European Union AUSTRIA >MEDIA Desk Austria Contact: Ms. Gerlinde Seitner media@filminstitut.at >Austrian Film Institute Österreichisches Filminstitut >Filmfonds Wien E-Mail: office@filmfonds-wien.at >Drehbuchforum Wien E-Mail: office@drehbuchforum.at CZECH REPUBLIC >MEDIA Desk Czech Republic Contact: Ms. Daniela Kucmasova info@mediadesk.cz >Czech Film Commission Contact: Ludmila Claussova info@filmcommission.cz GERMANY > MEDIA Desk Deutschland Contact: Ms. Cornelia Hammelmann info@mediadesk.de > MEDIA Antenne Munich Contact: Ms. Ingeborg Degener info@mediaantennemuenchen.de > MEDIA Antenne Düsseldorf Contact: Ms. Heike Meyer Döring media@filmstiftung.de > MEDIA Antenne Berlin-Brandenburg Contact: Ms. Susanne Schmitt mediaantenne@medienboard.de Information & further links to German film subsidies: > Filmförderungsanstalt (FFA) / German Federal Filmboard > BKM – Beauftragte der Bundesregierung für Kultur und Medien Contact: christinaweiss@bmi.bund400.de > Filmstiftung NRW GmbH info@filmstiftung.de POLAND >MEDIA Desk Polska Contact: Ms. Agata Pietkiewicz mediadesk@icam.pt, mediadesk@mediadesk.org.pl SLOVENIA >MEDIA Desk Slovenia Contact: Tanika Sajatovic mediadesk.slo@film-sklad.si Selection of other MEDIA Plus funded Audiovisual Training Courses >North by Northwest Contact Annette Funch Thomassen n.nw@dfi.dk >EAVE – Les Entrepreneurs de l’AudioVisuel Européen Contact: eave@skynet.be >Ekran Contact: wajda@filmschool.wp.pl >EdeN Draft Zero Contact: Ursula Richards info@draftzero.com >MEDIscript Contact: Anne Coulon consortium.ecriture@free.fr >Mediterranean Film Institute / Script Development Workshops Contact: info@mfi.gr >Sources 2 Contact: Dr. Renate & Marion Gompper info@sources2.de >Step By Step / Master School Drehbuch Contact: info@masterschool.de >VERTICALStrategies Edition Salzgeber & Co GmbH Contakt: Björn Koll vertical@salzgeber.de >Essential Legal Framework / E.L.F. 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