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at the Cannes International Film Festival 2011


Mimmi Spång Sweden


selected by Swedish Film Institute


Garagefilm International AB Stockholm, Sweden phone +46 70 9227 989 mimmi@garagefilm.se www.garagefilm.se


After graduating from Sweden‘s National Film School in 2001, Mimmi began working at Memfis Film where she produced a short and production managed a number of feature films. Her latest feature Sebbe by Babak Najafi was named Best First Feature Film at the 2010 Berlinale. This year, Mimmi and her business partner Rebecka Lafrenz received the Lorens Award for Best Swedish Producers of 2010.


What kind of films and genres are you interested in? We are not looking for genres but good stories.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? A lot of new and fruitful contacts.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? The challenge is to find money – and it is becoming harder and harder. To find new collaborations is one way to meet this challenge. Focusing even more on what stories we tell and why. Focusing hard on developing talent and being consistent in our work and ideas – i.e. to sharpen our “tools”.


Opus Film Lodz, Poland phone +48 42 634 5500/1 lukasz@opusfilm.com www.opusfilm.com


Lukasz has been working for the past 10 years at Opus Film in which he shares ownership. His production credits include Slawomir Fabicki‘s Retrieval and Adam Guzinski‘s A Boy on a Galloping Horse. He recently produced Zero by Pawel Borowski and My Flesh My Blood by Marcin Wrona and is now developing new projects with them and Greg Zglinski as well as collaborating with Stateside producers.


What kind of films and genres are you interested in? I search for stories with universal themes and for directors who can speak a film language understood throughout all cultures.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? In my opinion, PRODUCERS ON THE MOVE can provide its participants with a solid network of like-minded producers across Europe and the world. We are looking to interest sales agents and foreign distributors in our recent projects, such as Greg Zglinski’s Courage or Kristin Deák’s Aglaja, and also searching for co- producers for the new Pawel Borowski and Greg Zglinski projects.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? The fundamental challenge facing European producers concerns the now inevitable digitalization of cinema. Another challenge is getting European films on screens outside of Europe. In this case, supporting and taking part in programs such as MEDIA Mundus is crucial.


– part I May 14


Lukasz Dzieciol Poland


selected by Polish Film Institute


Samm Haillay United Kingdom


selected by British Council


Third Films Newcastle upon Tyne, UK cell +44 7866 559 541 samm@thirdfilms.co.uk www.thirdfilms.co.uk


Samm founded Third Films with Duane Hopkins in 2001, producing Hopkins’ shorts and feature debut Better Things. He has since produced Daniel Elliott‘s award-winning shorts The Making of Parts and Jade and co-produced Gillian Wearing’s feature debut Self-Made which had its world premiere at the 2010 London Film Festival. Samm produced Hopkins‘ short Cigarette at Night selected for the Directors’ Fortnight at Cannes this year.


What kind of films and genres are you interested in? Films that excite me are those which are able to question the human condition in a way that is cinematographicaly interesting, new and different.


What do you want to get out of PRODUCERS ON THE MOVE and Cannes this year? Being part of PRODUCERS ON THE MOVE is a great opportunity to spotlight the projects I am working on and the directors I‘m working with. I have a short installation film, Cigarette at Night by Duane Hopkins, playing in la Quinzaine and am currently financing Duane‘s second feature, Bypass.


What do you think are the main challenges facing the European film industry over the next five years - and how can we meet them? As producers we have to begin to investigate ways in which we can nurture audiences by utilising digital and other platforms while maintaining the integrity of our work. I would also like to see the UK rejoin Eurimages and have some of our film fund set aside for co-productions. I feel this would make us a viable partner on a host of projects from the small and vital to the larger ones with more cachet.


with the support of the EU MEDIA Programme EFP is supported by financial partner project partners


w w w. e f p - o n l i n e . c o m


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