February 14-28
The Berlin International Film Festival has been attracting big names since it began in 1951, when Joan Fontaine appeared at a special screening of her 1940 film Rebecca. But it was only this year, after decades of hosting such established filmmakers as Akira Kurasawa and Francois Truffaut, that somebody had an elegantly simple idea: why not invite a bunch of young filmmakers to learn from the masters? Thus was born the Berlinale Talent Campus.
The application process was as simple as the idea. Writers, directors, actors, and producers who wanted to attend sent in a one-minute mini-film as a sample of their work. I choose an excerpt from a short film that I wrote and directed. Although I don’t like to brag, I am fairly certain that my film is the finest musical version of “Citizen Kane” ever to be shot on digital video. Fortunately, the big opening number is just about exactly one minute long. (Sample lyrics, sung to a tune much like “Oklahoma!”: “Xanadu! Where the world’s treasures come to lay! To describe this thing, you just gotta sing, ’cause the price is one no man can say!”)
The campus organizers obviously agree, because some two months after I apply, I receive a letter telling me I’ve been selected from over 2000 applicants. It is only when I go to the website that I discover the slightly less flattering fact that 499 other filmmakers have also been selected. It would be so much more satisfying to be included if more people had been excluded. Nonetheless, on February 9, I fly to Berlin for what proves to be a remarkable week.
What follows are some of the highlights. I should note that, although I took notes throughout the week, many of the quotes are presented from memory.