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Norway opens doors with SORFOND

Anna Maria Mühe Germany (Cracks In The Shell) Who are your inspirations? Every actor I like to watch inspires me in a special way. Dream director to work with? Two are Pedro Almodovar and Clint Eastwood, but the list is too long to name everyone. What’s next? I just shot a two- parter called Deckname Luna that will be on TV around Easter. It’s a spy thriller set in the 1960s. And I have Fly Away (Bis Zum Horizont, Dann Links!) by Bernd Böhlich coming out in the spring, with Otto Sander and Angelica Domröse. Any fun plans while you are in Berlin? I look forward to spend some time with my Shooting Stars colleagues.

BY GEOFFREY MACNAB Norway has launched SORFOND, a $690,000 film production fund. The fund, similar to Rotterdam’s Hubert Bals Fund and Berlin’s World Cinema Fund, is aimed at film-makers from developing countries. Lasse Skagen, artistic director

of one of the fund administrators, the Films from the South (FFS) festival, notes the first deadline is on Wednesday. Skagen is expect- ing to receive at least 40 applica-

tions in the initial funding round. Mahamat Saleh Haroun, the Chad-born director of A Scream- ing Man, is known to be among the first applicants. The fund, which will support

fiction features and documenta- ries, aims to invest in five to 10 fea- tures a year. The directors of eligible projects must come from countries on the DAC list for development aid drawn up by the Organisation for Economic Co- operation and Development.

Plans for revamped Venice

Continued from page 1 The festival will woo delegates by offering vastly improved facilities (including digital screening) as well as accommodation and hos- pitality. Barbera said the first floor of the Excelsior — the main hotel on the Lido — would be “com- pletely devoted to the market”. A budget is in place to offer 100-

120 leading buyers full accommo- dation in Venice. “We know that we cannot compete directly with

Toronto,” Barbera said. “We won’t say to buyers or sellers, ‘Don’t go to Toronto, come to Venice.’ We will say, ‘Why don’t you come to Venice for three or four days before, and then you go to Toronto as well.’ “In the last 10 years, [Venice]

didn’t do anything,” he said. He was sharply critical of the plans to build a hugely expensive new Pal- azzo del Cinema, abandoned when asbestos was found in the

Lasse Skagen To be eligible, a film-maker

must have 50% of the budget already in place and a Norwegian co-producer on board.

foundations. Barbera called the endeavour “crazy and pharaonic… It was a lot of money and it was a failure. [The money] is all gone.” Now the director, who takes up

the reins in Venice for a second time after his 1998-2002 stint in the post, has predicted: “In two or three years, we will completely renovate all the venues in the sec- tor of the Lido.” Asked whether Venice will

collaborate with the International Rome Film Festival which takes place in late October, Barbera said

All the fund asks for in return

for an investment which can stretch to more than $132,000 (¤100,000) is the right to screen the films it backs as Scandinavian premieres at the FFS. There is no requirement to spend it in Nor- way, nor will the fund hold on to Norwegian rights. SORFOND will run for an ini-

tial five years. “[It] has been developed organically through the work of the festival,” Skagen said.

that would depend on what hap- pens in Rome.Müller is one of the leading candidates to become director of the Rome event. “If Marco is there, it won’t be easy to have a collaboration between Rome and Venice,” he said. Barbera is due to visit Los

Angeles next month for meetings with the studios and the major production companies. “I am quite positive about the possibility to convince [the studios] to use Venice as a launchpad for the big films,” he said.







BILLY@INTANDEMFILMS.COM n 6 Screen International at the Berlinale February 13, 2012 Day 5 - Screen Int Junior Spread CABD.indd 1 WWW.COMESABRIGHTDAY.COM

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