EUROPEAN TRAINING CREATIVE Trapp points out the distinction
between “creative” and “business” training is sometimes too formal. Twenty years ago, film school graduates would have very little knowledge about how the industry worked. “They’d start from being a set runner and then they’d work their way up,” she says. Trapp believes screenwriters and
directors need to learn business skills, just as producers need to develop sym- pathy towards and knowledge of the creative side of the business. What has changed is that there are far
more programmes offering a bridge to industry, designed to help recent film- school graduates to adjust to market realities. For example, Passion to Market (PTM) is a MEDIA-backed project run jointly by La Fémis in France, the Polish National Film, Television & Theatre School in Lodz and the UK’s National Film and Television School. It helps pro- ducer-director teams to develop feature scripts, treatments, promo materials and
‘It is an industry that has been professionalising
bit by bit’ Kristina Trapp, EAVE
even a trailer for promotion at festivals such as Rotterdam, Cannes and Berlin. French producer Bruno Nahon sug-
gests the PTM programme gives film- makers a feeling that “you are not alone” in the period after leaving film school. “At each step, more and more people are looking to your project and you’re beginning to understand how the point of view of the project can modify,” he says. Nahon and director Bojina Panayotova are developing Prom Queen, a teen movie with a political twist set in Bulgaria. Sometimes, the less conventional
ideas are the most effective. The Berli- nale Talent Campus is a six-day creative summit for rising film-makers held during the Berlinale. “It was once a mad idea of [Berlinale
director] Dieter Kosslick,” says one source. “Now, it has become a staple for identifying and helping up-and-com- ing film-makers.” There are also a number of training-
Courses offer a bridge to industry
n 16 Screen International European Training Special 2011
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